| − | "Anglo-Saxon" was a term favored by the French (to criticize close diplomatic relations between the US and Britain), and by the Irish Catholics, who considered themselves Celtic and resisted Anglo-Saxon (English) rule in Ireland. Irish American humorist [[Finley Peter Dunne]] popularized the ridicule of "Anglo Saxon" circa 1890-1910, even calling President [[Theodore Roosevelt]] one. Roosevelt insisted he was Dutch, and invited Dunne to the White House for conversation. "To be genuinely Irish is to challenge WASP dominance," argues Irish politician Tom Hayden.<ref>Tom Hayden, ''Irish on the Inside: In Search of the Soul of Irish America'' (2003) p. 6</ref> The depiction of the Irish in the films of [[John Ford]] was a counterpoint to WASp standards of rectitude. "The procession of rambunctious and feckless Celts through Ford's films, Irish and otherwise, was meant to cock a snoot at WASP or 'lace-curtain Irish' ideas of respectability."<ref>Luke Gibbons, Keith Hopper, and Gráinne Humphreys, ''The Quiet Man'' (2002) p 13</ref> | + | "Anglo-Saxon" was a term favored by the French (to criticize close diplomatic relations between the US and Britain), and by the Irish Catholics, who considered themselves ethnically Celtic and resisted Anglo-Saxon (English) rule in Ireland. Irish American humorist [[Finley Peter Dunne]] popularized the ridicule of "Anglo Saxon" circa 1890-1910, even calling President [[Theodore Roosevelt]] one. Roosevelt insisted he was Dutch, and invited Dunne to the White House for conversation. "To be genuinely Irish is to challenge WASP dominance," argues Irish politician Tom Hayden.<ref>Tom Hayden, ''Irish on the Inside: In Search of the Soul of Irish America'' (2003) p. 6</ref> The depiction of the Irish in the films of [[John Ford]] was a counterpoint to WASp standards of rectitude. "The procession of rambunctious and feckless Celts through Ford's films, Irish and otherwise, was meant to cock a snoot at WASP or 'lace-curtain Irish' ideas of respectability."<ref>Luke Gibbons, Keith Hopper, and Gráinne Humphreys, ''The Quiet Man'' (2002) p 13</ref> |