Swift, the Book, and the Irish Financial Revolution
He enjoyed the entertainments of city living, including the stage and coffee houses. He was a member of the Scriblerus Club, a prestigious informal association of authors that included the poet Alexander Pope and aimed to deflate quackery in politics and culture.
It was only when he was embittered by the failure of his ambitions and tortured by gout that he came to shun company. His last years were made pitiable by the slow loss of his faculties.
Eccentric habits, such as scrutinising the servants at dinner in a mirror near the table, hardened into what many of his contemporaries perceived as madness. Much of the literary and academic commentary on his life is prurient in tone. Did he secretly marry Stella, as gossips of the day claimed? Did he have strange sexual obsessions, as might be suggested by the voyeuristic and scatological poetry he produced at various points in his life?
These have not proved terribly productive or interesting lines of inquiry. The evidence regarding his private thoughts is scanty, and posthumous psychoanalysis does not yield reliable results. Stubbs relegates these questions to a minor role in his book. The best way of beginning to understand so dauntingly strange a figure as Swift is to re-create him as he appeared to his contemporaries, and Stubbs does this with panache and verve.
He was a keen walker and rider, and strong in body; and he was extremely delicate on the matter of his personal hygiene. Meanwhile, you might say what you liked against Dr Swift — if you dared; the rather fearsome figure in his black coat and wig.
Those who knew him also knew there was, however, another facet to Swift, which, for all his seeming robustness and indeed belligerence, could render him helpless in the space of minutes. There have been many lives of Swift.https://unopacmul.tk
Swift The Book And The Irish Financial Revolution Satire And Sovereignty In Colonial Ireland Author
This savage misanthropist was a stern critic of war and empire-building, and, living during a period of financial revolution that covered the South Sea Bubble, he attacked an economy that was based on easy credit. Padhraig Higgins, Sean D. Baltimore: Johns Hopkins University Press. Moore's ambitious book. Swift himself may not have appreciated the dubious honor of gracing a note issued by the Central Bank of Ireland, given his implacable opposition to a national bank and his doubts over the value of paper money.
However, the banknote aptly symbolizes the themes considered here: state finance, sovereignty, national literary culture, and Irish identity.
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Swift has long occupied an ambivalent place in eighteenth-century Irish historiography. In recent years, Irish historians such as James Kelly and Most users should sign in with their email address. If you originally registered with a username please use that to sign in. To purchase short term access, please sign in to your Oxford Academic account above. Don't already have an Oxford Academic account?
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Product | Swift, the Book, and the Irish Financial Revolution
Sign In. This inter-disciplinary promiscuity is, however, a structural problem and means the work sometimes reads more like a collection of essays than a monograph. But Moore is nowhere stronger than when he highlights the fetish of sterling as a monetary buttress to identity in Ascendancy Ireland, the connected metaphors of textiles and print trades and, by highlighting political beliefs, patronage and plain hack-writing, in his challenge to the Habermasian idea of the emergence of a disinterested public sphere in this period.
This book, with its compelling case for an Downloaded by [King's College London] at 20 July Anglo-Irish elite steering policy in deference to their financial advantage, stops short of being excellent by twisting Swift into a role he may not have occupied. Perhaps the simplest compliment I can pay to the author, therefore, is to say that I no longer feel quite so ignorant.
For in the main, Dubin has analysed Robert closely and compellingly. In doing so she has planted an important tree in the historiographically evergreen forest of works on Parisian art in the Revolutionary Era. The arguments of each chapter all gravitate in some way towards these overarching themes.
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The first chapter charts the rise of the contemporary concerns for decay and chance. Dubin then takes the reader on a journey: first through jardins pittoresques, laden with ruinous fabriques that helped to put the notion of inconstancy in aesthetic form pp. Related Papers. Swift, Utrecht and Ireland. By Matt Gertken.
By Sean Moore. By Patrick Walsh. By Kevin Whelan. By Siobhan O'Gorman.