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'The Untilled Field' is a novel by Irish author George Moore. Father Tom and Father Maguire are the local parish priests in a village. They are, of late, quite concerned with the declining moral standards of the village not least the 'drinking' and 'dancing' that seems to attract the younger villagers. But the greatest scandal comes when a young couple have a child out of wedlock. Now the church must do all they can to ensure the couple carries out a church wedding.
George Moore (1852-1933) was one of the most influential and versatile writers and journalists of the turn of the century. This five-volume, reset critical edition addresses scholarly interest in Moore, making available his generally neglected short story collections.
“Nearly every major figure of his era,” writes his biographer Adrian Frazier, “worked with Moore, tangled with Moore, took his impression from, or left it on, George Moore.” The Anglo-Irish novelist George Moore (1852–1933) espoused multiple identities. An agent provocateur whether as an art critic, novelist, short fiction writer or memoirist, always probing and provocative, often deliberately controversial, the personality at the core of this book invented himself as he reinvented his contemporary world. Moore’s key role—as observer-participant and as satirist—within many literary and aesthetic movements at the end of the Victorian period and into the twentieth century owed considerably to the structures and manners of collaboration that he embraced. This book throws into relief the multiple ways in which Moore’s work can serve as a counterbalance to established understandings of late nineteenth and early twentieth-century literary aesthetics both through innovative scholarly readings of Moore’s work and through illustrative case studies of Moore’s collaborative practice by making available, for the first time, two manuscript plays he co-authored with Pearl Craigie (John Oliver Hobbes) in 1894. It is this collaborative practice in conjunction with his cosmopolitan outlook that turned Moore into a key player in the fin-de-siècle formation of an international aesthetic community. This book explores the full range of Moore’s collaborations and cultural encounters: from 1870s Paris art exhibitions to turn-of-the-century Dublin and London; from gossip to the culture of the barmaid; from the worship of Balzac to the fraught engagement with Yeats; from music to Celtic cultural translation. Moore’s reputation as a collaborator with the most significant artistic individuals of his time in Britain, Ireland and France in particular, but also in Europe more widely, provides a rich exposition of modes of exchange and influence in the period, and a unique and distinctive perspective on Moore himself.
From the 1890s until the 1920s, a great tide of literary invention swept Ireland. As the country struggled for political independence, the writers who formed the Irish Literary Revival created a new, authentically Irish literature. Some, such as W. B. Yeats, John Synge, and Lady Gregory, celebrated the mystical tradition of Ireland's west; others, such as Sean O'Casey, explored Dublin's crowded streets and tenements. This fascinating, revealing, and beautiful book examines the relationship between these writers and the towns and countryside that fueled their imaginations. Part history, part biography, and part travel guide, A Journey into Ireland's Literary Revival takes the reader to Galway, the Aran Islands, Mayo, Sligo, Wicklow, and Dublin. Along the route, it visits the cottages and castles, crags and glens, theaters and pubs where some of the country's finest writers shaped an enduring vision of Ireland.
This is a critical survey of the fiction and non-fiction written in Ireland during the key years between 1880 and 1920, or what has become known as the Irish Literary Renaissance. The book considers both the prose and the social and cultural forces working through it.
Confessions of a Young Man is a memoir by Irish novelist George Moore who spent about 15 years in his teens and 20s in Paris and later London as a struggling artist. The book is notable as being one of the first English writings which named important emerging French Impressionists; for its literary criticism; and depictions of bohemian life in Paris during the 1870s and 1880s.
This study examines the question of whether or not the technology of bullock traction has spread in northern Ghana between 1982/83 and 1993/94 and, furthermore, what factors determine changes in the pattern of the adoption of bullock traction in this area. The introduction to the problem and the objectives of the study in chapter one are followed by a theoretical section in chapter two that focuses on the question why one would have expected a further spread of bullock traction. This chapter explains the direct benefits of bullock traction and reviews the current state of knowledge of this issue. Factors that might have resulted in changes in these direct benefits of bullock traction between 1982/83 and 1993/94 such as population growth and the effects of structural adjustment programs are discussed. Additionally, the implications of the life-cycle of households and the tradition of the inheritance of cattle for changes related to bullock traction adoption over time are identified. Chapter three introduces the empirical data collection procedure and methods. The study is a follow up study to the study of Panin (1988) who conducted research on the same farm-households in 1982/83, in three villages of the Northern Region of Ghana. Chapter four presents the empirical findings about the changes in the socio-economic conditions that are relevant for bullock traction adoption in the study villages. These data extend the information in chapter two to the village level. The empirical findings about changes in the effects of bullock traction at the field level are presented in chapter five. The analysis includes the effects of bullock traction on land use, household labor utilization, performance of crop production, and aspects of bullock traction renting. The effects of bullock traction at the farm-household level were addressed in chapter six. It is necessary to separate the analysis at the field level from the farm-household level analysis because farmers combine different tillage technologies at the farm-household level. This chapter includes changes over time regarding household demographics, resource endowment, farm labor allocation, crop production performance, income statements, and the costs and benefits of an investment in bullock traction. Chapter seven of this study is concerned with the question of whether the changes in the bullock ownership pattern for the sampled households are in line with general trends at village level. For this purpose, the village census of 1994 was compared with 1982 and the result is that the ownership of bullocks and implements has declined which means that the results of the analysis at farm-household level is in line with general trends at village level. Although individual ownership of bullock traction declined, the area plowed by bullocks in the study area increased because renting of bullock traction services increased. Chapter eight of the study discusses important empirical results of chapters four to seven in light of the arguments made in the theoretical chapter two and draws attention to the conclusions of the empirical results. Important points discussed in chapter eight are: methodological issues, the labor-saving effect of bullock traction that is maintained over the years, the effect on crop yields that was found to exist in 1982 but not in 1994, the importance of the life-cycle of households to understand changes in bullock traction adoption at farm-household level, and the effects of structural adjustment programs on the adoption of bullock traction. The study ends with the formulation of recommendations for agricultural extension and further agricultural research. About the Author
Studies of Irish fiction are still scanty in contrast to studies of Irish poetry and drama. Attempting to fill a large critical vacancy, Irish Novels 1890-1940 is a comprehensive survey of popular and minor fiction (mainly novels) published between 1890 and 1922, a crucial period in Irish cultural and political history. Since the bulk of these sixty-odd writers have never been written about, certainly beyond brief mentions, the book opens up for further exploration a literary landscape, hitherto neglected, perhaps even unsuspected. This new landscape should alter the familiar perspectives on Irish literature of the period, first of all by adding genre fiction (science fiction, detective novels, ghost stories, New Woman fiction, and Great War novels) to the Irish syllabus, secondly by demonstrating the immense contribution of women writers to popular and mainstream Irish fiction. Among the popular and prolific female writers discussed are Mrs J.H. Riddell, B.M. Croker, M.E. Francis, Sarah Grand, Katharine Tynan, Ella MacMahon, Katherine Cecil Thurston, W.M. Letts, and Hannah Lynch. Indeed, a critical inference of the survey is that if there is a discernible tradition of the Irish novel, it is largely a female tradition. A substantial postscript surveys novels by Irish women between 1922 and1940 and relates them to the work of their female antecedents. This ground-breaking survey should also alter the familiar perspectives on the Ireland of 1890-1922. Many of the popular works were problem-novels and hence throw light on contemporary thinking and debate on the 'Irish Question'. After the Irish Literary Revival and creation of the Free State, much popular and mainstream fiction became a lost archive, neglected evidence, indeed, of a lost Ireland.
This new general introduction emphasises the importance of the short story to an understanding of modern fiction.In twenty succinct chapters, the study paints a complete portrait of the short story - its history, culture, aesthetics and economics. European innovators such as Chekhov, Flaubert and Kafka are compared to Irish, New Zealand and British practitioners such as Joyce, Mansfield and Carter as well as writers in the American tradition, from Hawthorne and Poe to Barthelme and Carver.Fresh attention is paid to experimental, postcolonial and popular fiction alongside developments in Anglo-American, Hispanic and European literature. Critical approaches to the short story are debated and reassessed, while discussion of the short story is related to contemporary critical theory. In what promises to be essential reading for students and academics, the study sets out to prove that the short story remains vital to the emerging culture of the twenty-first century.
The Irish writer George Moore (1852-1933) was a very significant and often controversial figure on the literary stages of Paris, London and Dublin at a key cultural moment. Between 1880 and 1931, his creative involvements included spells with literary theatres in London and Dublin, jousts with the daring and repression of the fin de siècle, and a hail-and-farewell to Yeats and the Irish Revival. This collection of essays offers fresh insights into diverse elements of his œuvre and reflects some of the wide variety in Moore’s literary innovations, influences and legacy. Contributors note his pioneering contributions to the short story, his penetrating insights into Greek classical literature, his avant-garde feminism and egalitarianism, and – what may surprise 21st-century readers of biblical-theme blockbusters - his sensitive but contentious novelistic treatment of the historical Jesus. In this volume, there are studies of sophisticated composition, and fresh approaches to textual analysis. The multiple Moore talents are scrutinised, myths are dispelled and new evidence is uncovered for historic linkages. George Moore’s anticipation of Freudian psychological insights and his engagement with Darwinian theses are but two of his close involvements with key nineteenth-century figures. Manet, Degas, Parnell, Kant, Maupassant, Gladstone, Zola, Marx and Woolf must feature on the list of names that are inseparable from Moore’s life and work. Yeats and Joyce also loom large and their under-acknowledged indebtedness to Moore poses difficult questions for literary history. While Moore’s own debt to French artistic influences, English models, and Irish heritage has long been recognised, perceptions of Moore’s writing from outside the Anglophone world highlight issues that demand further consideration. This multi-faceted author is well-served by these new studies that, in turn, suggest additional avenues yet to be explored.