culture such as cycling and hostelling afforded new recreational opportunities, and the more general rise of the countryside as a site of mass leisure. Subsequent chapters are more overtly concerned with the politics of making photographs, from theways different working-class communities were encouraged to represent themselves in the 1970s and 1980s, to press photographers in Northern Ireland, to photography that documented poverty and power in the 1980s. The latter is informed by important oral histories conducted with Frankie Quinn, Derek Speirs and Joanne O’Brien, the great chronicler of Irish migrants in Britain and a founder of the woman-only agency Format who became known for their coverage of the Greenham Common Peace Camp in particular. While clearly impossible to encompass all aspects of such a large subject, I think the section on recent developments in photography in Ireland would benefit from some adjustments in any further editions of the book. The author offers a list of higher education institutions where photography is taught as an academic subject, but excludes Technological University Dublin (formerly Dublin Institute of Technology), which is one of the very few Irish higher education institutions that runs a B.A. degree specifically dedicated to photography. Its graduates have had a major influence on the development of photographic culture in Ireland over the past two decades, not least through the annual PhotoIreland festival that is one of themost important foruns for critical discussion about photography on the island. In terms of the assertion that ‘Professional and artistic photography is still jarringly masculine’ (p. 242), it is worth noting the many contemporary female photographers in Ireland who have created important work, exhibited and published widely, and been recognised internationally – including Amelia Stein, Dragana Jurišić, Mandy O’Neill and Miriam O’Connor. Each chapter of Snapshot stories bursts with ideas, new research and highly suggestive indicators of how much more work could and should be undertaken on photography as both visual and material culture, the study of which would lead to a greater understanding of everyday life in Ireland and how it was experienced, shaped and seen. If its readership includes those who work and study in university history departments, it exemplifies the value of expanding the scope of historiographic method to include a serious engagement with the ways in which images and artefacts can be mobilised not only to illustrate history but to help us understand it.

中文翻译：

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扼杀天使：爱尔兰的白喉和儿童免疫接种。迈克尔·德怀尔。第 212 页。利物浦：利物浦大学出版社。2018 年。85 英镑/24.95 英镑。

自行车和旅馆等文化提供了新的娱乐机会，而乡村作为大众休闲场所的兴起更为普遍。随后的章节更公开地关注拍摄照片的政治，从 1970 年代和 1980 年代鼓励不同工人阶级社区代表自己的方式，到北爱尔兰的新闻摄影师，再到记录 1980 年代贫困和权力的摄影。后者是通过与弗兰基·奎因、德里克·斯皮尔斯和乔安妮·奥布莱恩进行的重要口述历史获得的，后者是英国爱尔兰移民的伟大编年史家，也是女性机构 Format 的创始人，因报道格林汉姆共同和平而闻名尤其是营地。虽然显然不可能涵盖如此大主题的所有方面，我认为关于爱尔兰摄影最近发展的部分将受益于本书任何进一步版本的一些调整。作者提供了将摄影作为一门学科教授的高等教育机构列表，但不包括都柏林科技大学（前都柏林理工学院），这是为数不多的专门开设学士学位的爱尔兰高等教育机构之一摄影。在过去的二十年里，它的毕业生对爱尔兰摄影文化的发展产生了重大影响，尤其是通过一年一度的爱尔兰摄影节，这是对岛上摄影进行批判性讨论的最重要论坛之一。就“专业和艺术摄影仍然具有令人不快的阳刚之气”的断言而言（第 242 页），值得注意的是，爱尔兰许多当代女性摄影师创作了重要作品，广泛展出和出版，并获得国际认可——包括 Amelia Stein、Dragana Jurišić、Mandy O'Neill 和 Miriam O'Connor。Snapshot 故事的每一章都充满了想法、新的研究和高度暗示性的指标，表明在摄影作为视觉和物质文化方面可以而且应该开展多少工作，研究这些工作将有助于更好地了解爱尔兰的日常生活和它是如何被体验、塑造和看到的。如果它的读者群包括在大学历史系工作和学习的人，