Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
29
result(s) for
"O'Malley, Seamus"
Sort by:
The Short-Term Distributional Impact of Pension Auto-enrolment
The Irish government plans to introduce pension auto-enrolment with an initial employee contribution rate of 1.5 per cent eventually rising to 6 per cent. We examine the immediate distributional, poverty and inequality impacts of an auto-enrolment charge. We find that the bottom two income quintiles will see the smallest fall in disposable income, driven by the fact that only 2 per cent of family units in the lowest quintile and 18 per cent in the second quintile will actually be affected by autoenrolment. There will be little impact on the at-risk-of-poverty rate. This is explained by the fact that the largest negative impacts on disposable income will be in higher income quintiles.
Journal Article
Listening for Class in Ford Madox Ford’s Parade’s End
(1924), the first volume in his Parade's End tetralogy, depicts the protagonist Christopher Tietjens and his friend Macmaster on a train.1 Criticism is near unanimous in reading the scene as an historical allegory, seeing it as a dramatization of the pres- ence, in Raymond Williams's classic formulation, of the residual aristocratic class alongside the emergent forces of capitalism and bureaucracy.2 \"Macmaster; smallish; Whig\" is the son of a Scot- tish grocer. Pitting the bourgeois merchant with high aspirations against the aristocratic landowner who finds himself out of touch with the times is a device that had been repeated since at least the eighteenth century, and Ford's staging of these two classes in amicable conflict is solidly in the English literary tradition of ideological pairings, either by friendship or by marriage.6 However, as the tetralogy progresses, both in terms of plot and the ever-shifting form of Ford's prose, it becomes more than just a modernist, belated version of the land-capital pairing.
Journal Article
R. L. Stevenson’s “The Beach of Falesá” and the Conjuring-Tricks of Capital
[...]World labor activists have continually attempted to remind us of the physical nature of the supposedly virtual global economy.) We must continually be conscious of the degree to which im- ages have become reified, as they appear-but only appear-to exist independently of a material world of work. [...]defeating Case does not \"emancipate\" the economy from its unstable foundations, since it is still based on a currency of faith and the trading of commodified labor. According to Bram Dijkstra, \"Defoe's most persistent and emphatic economic theme consisted of an exposition of the intolerable impediments placed by the remnants of a feudalist world view upon the free and full development of a modern market economy.\" Most analyses of the story's stance on race stress Stevenson's critique of pure race and his emphasis on the hybridtities of the colonial situation. Besides Jason Marc Harris, see Roslyn Jolly, \"Stevenson's 'Sterling Domestic Fiction': 'The Beach of Falesá,'\" The Review of English Studies, 50.100 (November 1999), 463-82.
Journal Article
\The final aim is the flower\: Wild and Domestic Nature in \Sons and Lovers\
The fundamental opposition is one sex against the other, rather than people against machinery\" (80). [...]the father has his own dirty space and is an intruder when he drags his pit-dirt into the domestic space belonging to the rest of the family. Despite the novel's consistent protest of the costs of industrialism, to condemn the mechanical outright would be to ally oneself with the pure late-Romantic adoration of nature which Lawrence is subtly resisting in 1913 and openly attacking later in his career: in Apocalypse (1931) he dismisses the \"petty little love of nature\" of the contemporary world (76) .9 In fact, industry has two representatives in Sons and Lovers : while we never follow the father down the pits, we do spend ample time with Paul at Jordan's factory and we are allowed to watch Paul be social, flirt, perform tasks that are sometimes rewarding, and earn some authority to help shore up his young ego. In Thomas Hardy the garden has become the symbol of a sometimes triumphant, sometimes anxious middle class who have aspirations for the country manor house but must simultaneously transform nature in radical and violent ways in order to increase the capital necessary for social climbing. [...]the close proximity of garden and pit in Sons and Lovers is no accident: as much as the \"feminine\" realism of home and church strive to differentiate themselves from the pit and the pub, they are the requisite counterparts of each other. [...]the way Walter's dirt is described in the novel makes it clear that it is not a superficial covering that is washed away every evening: he is permanently branded by his occupation; it has become part of him\" (258).
Journal Article
HOW MUCH MUD DOES A MAN NEED? LAND AND LIQUIDITY IN \PARADE'S END\
As in many First World War novels and memoirs, mud is omnipresent in Parade's End. But Ford's use of mud goes beyond an impressionist depiction of the muddy trenches of the Western Front. With the conceit of mud Ford dramatizes and mediates Christopher Tietjens' psyche and the social world that has produced him. Mud becomes not just a signal to the war, but dramatizes the forces of modernity itself, the propulsions that led to war, the series of traumatic memories of battle, and the questions regarding Europe's postwar future that occupy Last Post. Through the tetralogy we can chart the continuous instability of land and landscapes, as trench mud is Ford's ultimate ideological symbol of the liquidity of landed relations that he believed culminated in the war. By the end, however, mud is not just undermining but also regenerative, as Tietjens emerges from his battles with mud radically transformed.
Journal Article
\THE FIFTH QUEEN\, REVISIONARY HISTORY AND THE STAGING OF NOSTALGIA
Ford Madox Ford's novel trilogy The Fifth Queen (1906-08) is a work of revisionary history in the strictest sense. Eschewing the methods of the nineteenth-century historical novel, The Fifth Queen re-represents images of the Tudor Court, especially those of Hans Holbein, and the result is a work that continually signals its own written nature and is self-critical of any historical text's ambition to be a window onto the past. The novels depict a world in crisis, but Ford's use of static imagery in the novel mitigates against the staging of such conflict, and the result is a fruitful discrepancy between a world in flux and frozen images. The novels are also concerned with nostalgia, which is not necessarily to say that they are nostalgic: Ford casts his main character, Katharine Howard, as a nostalgic figure, not to bemoan the condition of modernity, but to stage the very processes of nostalgia that the historical novel must constantly confront. Katharine pines for the days of antiquity, but the novels do not necessarily share in her views, and in fact act as a critique of any nostalgia for the feudal past that the novels depict. The chapter argues that Ford's combination of immersive rendering and self-consciousness about mediation and technique aligns the trilogy with modernist historiography. The Fifth Queen is thus read as a modernist historical novel rather than a nostalgic Edwardian genre-piece.
Journal Article
AMERICA'S FORD: GLENWAY WESCOTT, KATHERINE ANNE PORTER AND KNOPF'S \PARADE'S END\
In the early 1920s Ford Madox Ford began a long process of career reevaluation. Moving to rural retreats to recover from shell-shock and to work through his writer's block, Ford became a destination for young American writers apprenticing in Europe. Glenway Wescott and Katherine Anne Porter were two prominent fiction writers who sought Ford's advice and became his protégés - a process not without tensions, despite their creative and professional gains from his mentorship. According to Ford's memoirs, this period is also when he began to envisage a primarily American audience for his novel cycle to deal with his experience in the Great War, and he spent more time in the United States after the completion of the 'Tietjens novels'. It is fitting, then, that it was the New York-based publishing house Knopf that decided to bring those works back into print and sell them as one omnibus volume for the first time. Knopfs decision, accompanied by an American-centric pamphlet promoting the release of the newlytitled Parade's End, was momentous for Ford studies, and provided for several generations of readers and critics the opportunity to keep Ford in the literary canon.
Journal Article