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The Vicar of Wakefield
- A Tale, supposed to be Written by Himself
- Oliver Goldsmith
- Edited by Aileen Douglas, Ian Campbell Ross
- Coming soon
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- Expected online publication date:
- June 2024
- Print publication:
- 30 June 2024
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This newly edited critical edition of an enduringly popular tale, one of the most widely reprinted and illustrated works of fiction in English, offers readers an authoritative text along with extensive and helpful annotation. Following the lives of the vicar and his family, and the various calamities which befall them, The Vicar of Wakefield was one of the most popular and beloved works of eighteenth-century fiction. A lively introduction details the reception of Goldsmith's tale, from comments by Frances Burney and Goethe, through Sir Walter Scott, Washington Irving and Henry James, to critics of the twentieth and twenty-first centuries. The volume also includes appendices comprising a wealth of contextual information, enhancing the work for contemporary readers. For scholars of Goldsmith and new readers alike, this edition will prove the authoritative version of a tale that moved generations of readers to laughter and to tears.
Chapter 4 - ‘What follows’: Maria Edgeworth’s Works for Older Children
- Edited by Louise Joy, University of Cambridge, Jessica Lim, University of Cambridge
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- Book:
- Women's Literary Education, 1690-1850
- Published by:
- Edinburgh University Press
- Published online:
- 20 October 2023
- Print publication:
- 28 February 2023, pp 96-114
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Summary
In the latter part of 1820, Maria Edgeworth, accompanied by her two much younger stepsisters, was on an extended visit to the Continent and staying in Pregny, close to Geneva. From Switzerland, Edgeworth directed a triangular correspondence, the other vertices of which were her ‘dear Triumvirate Council of critics and friends’ at home in the Irish midlands, and the publisher Rowland Hunter in London. Manuscript, transcripts, critical opinions, proofs and views on marketing circulated between the three sets of participants. At issue was the preparation for the press of a work that Hunter would publish in 1821: Rosamond: A Sequel to Early Lessons. At one point in the correspondence, Edgeworth reassured those at home who had expressed doubts as to what was apparently Hunter’s preferred title: ‘Sequel does not exclusively mean end. It means also Continuation or what follows.’ Origins and beginnings are the stuff of myth and glamour; ‘Continuation or what follows’ attracts less notice, but it too can be venturesome. Rosamond occurs in that interstitial period between childhood and young adulthood, taking its young heroine from age eleven to fourteen, an age when girls are considered ‘neither quite as children, nor quite as women’. Frank: A Sequel to Early Lessons (1822) concerns a younger child, nine when the sequel begins and eleven at its close. In spatial terms, both works broach new ground as their young protagonists encounter new social situations and challenges beyond the protected familial spaces in which Edgeworth’s works for younger children, Early Lessons (1801) and Early Lessons Continued (1814), mainly occur. Edgeworth’s sequels represent the receptive and expressive powers of older children as they acquire knowledge of the self and of the world, come to understand themselves as separate from the supportive family matrix and begin to establish themselves as gendered speaking subjects. Through continuation, through the process of imagining ‘what follows’, Edgeworth pushed into new spaces and contributed to an expanded understanding of what fiction might be. The juncture of Edgeworth’s literary career at which these fictions were written was one in which writerly acts of ‘continuation’ held especial resonance. With the death in 1817 of Richard Lovell Edgeworth, Maria lost not only a much-loved father but also a literary collaborator, one Edgeworth was inclined to credit as a moving force for her work: ‘it was to please my father I first exerted myself to write, to please him I continued’.
Percentage contribution of reference recipes to Food Groups for Irish and UK Food Based Dietary Guidelines.
- Sali Abouhajar, Michael Dolan, Damian O'Kelly, Aileen Kennedy, Katherine Younger, Elizabeth O'Sullivan, Frances Douglas
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- Journal:
- Proceedings of the Nutrition Society / Volume 79 / Issue OCE2 / 2020
- Published online by Cambridge University Press:
- 10 June 2020, E89
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Food Based Dietary Guidelines (FBDG) are a set of recommendations that describe the quantity and types of foods to consume to promote healthy eating and prevent diseases such as obesity. However, when assessing compliance with FBDG, calculating contributions from composite dishes is challenging, since the specific recipe ingredients are often unknown. This project aims to establish proportional contribution of composite dishes to food groups defined by the Irish and UK FBDG. This will facilitate automated assessment of compliance with FBDG for users of novel technology such as Nutritics, a suite of integrated nutrition analysis software tools for healthcare professionals, educators and industries. Territory specific food composition data (n = 3291) for Ireland and the UK were downloaded from the 2015 McCance & Widdowson Composition of Foods Integrated Dataset (CoFIDs). Recipes were identified and classified into groups broadly aligned with the food groups defined in the Healthy Food for Life Ireland and the Eatwell Guide UK. Supplementary recipe details were accessed from McCance & Widdowson 7th Edition book and online resources. Recipes were categorised by recipe type and ingredients were categorised into food groups. Percentage contribution of each food group to the total recipe was calculated. Of the 3,291 foods, 1,108 were classified as recipes, details were available for 138 of these. Of the 138 recipes, there were fruit & vegetable dishes (n = 20), breads, potatoes, pasta and rice dishes (n = 12), meat, fish and alternative protein sources dishes (n = 40), dairy dishes (n = 23), high fat/oil, sugar, salt dishes (n = 43). For fruit & vegetable dishes, the median percentage contribution to the fruit & vegetable food group was 67% (15% min/ 100% max). For breads, potatoes, pasta and rice dishes the median percentage contribution to the breads, potatoes, pasta and rice food group was 53% (17% min/ 89% max). For meat, fish and alternative protein sources dishes, the median percentage contribution to meat, fish and alternative protein sources food group was 55% (16% min/ 85% max), for dairy dishes, the median percentage contribution to the dairy food group was 90% (53% min/ 96% max). For high fat/oil, sugar, salt dishes the median percentage contribution to the high fat/oil, sugar, salt food group was 22% (3% min/ 97% max). The calculation of recipes into percentage contribution to food groups can support assessment of adherence to FBDG when using reference recipes. This is a useful tool to support healthcare professionals when assessing dietary intake where specific recipe components are unknown.
Food Based Dietary Guidance - Weighing up the recommendations
- Michael Dolan, Sali Abouhajar, Damian O'Kelly, Elizabeth O'Sullivan, Aileen Kennedy, Frances Douglas
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- Journal:
- Proceedings of the Nutrition Society / Volume 79 / Issue OCE2 / 2020
- Published online by Cambridge University Press:
- 10 June 2020, E397
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Food Based Dietary Guidelines (FBDG) are dietary recommendations described in terms of amounts of foods that should be consumed. They are designed to support healthy eating through simple messaging and indicate how to achieve a nutritionally adequate diet. However, assessing compliance with FBDG targets can be difficult. The quantity of food either being consumed or prescribed and the amount of that food that constitutes a serving are needed to calculate the contribution of the food towards a food group target. The aim of this study was to define the serving weight of foods, guided by definitions from Irish FBDG, to the McCance and Widdowson Composition of Foods Integrated Dataset 2015 (CoFID). This will enable the automatic assessment of compliance to FBDG using Nutritics nutrition analysis software. Foods from CoFID were categorised into six food groups as defined by Ireland's FBDG. Quantified servings from the Irish FBDG were matched to foods. Calculation criteria were developed to establish a serving size for remaining foods within each food group. For fats and oils, as well as raw fruits and vegetables, household measurements were converted to grams, using Food Portion Sizes from the Food Standards Agency. Quantities for cooked fruits and vegetables were calculated using weight-change factors published by Bognar. For the breads, cereals and potatoes group a serving size was calculated using the midpoint for the calorie bands in this group, as defined by the Food Safety Authority of Ireland. For the dairy group, a serving size was determined by calculating the quantity needed to provide 250 mg of calcium. This was in line with achieving the total daily recommended amount of calcium from the dairy group from 3 servings. For meat, fish and alternatives (MFA), serving sizes were developed using the recommended amount of protein per body weight reference value for males and females. For foods high in fat, sugar and salt, serving sizes were defined using 100kcal as the recommended amount of energy provided for snacks. Out of 3,291 foods, 1,980 were grouped into 6 food groups. Quantified servings were available for 694 foods in 3 food groups. Calculated serving sizes were developed for the remaining 1,276 foods. The quantity of each food that constitutes a serving will be integrated into Nutritics to automatically assess compliance to FBDG. This will enable Health Care and Food Industry Professionals to deliver informed advice on meeting population health targets.
Chapter 11 - The Province of Poetry: Women Poets in Early Eighteenth-Century Ireland
- from Part IV - Gender and Sexuality
- Edited by Moyra Haslett, Queen's University Belfast
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- Book:
- Irish Literature in Transition, 1700–1780
- Published online:
- 28 February 2020
- Print publication:
- 12 March 2020, pp 227-243
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Summary
This chapter examines the variety of ways in which women poets in early eighteenth-century Ireland negotiated expectations of gender. It focuses on Mary Barber’s Poems on Several Occasions (1735), a volume containing work by several other writers, most notably six poems by Constantia Grierson (c. 1705–1732). Female poets tempered the appearance of poetic ambition by means of several strategies. In Barber’s case the best known of these is ventriloquism, in the various poems she wrote to be spoken by her young son. Both Barber and Grierson firmly place their work in the context of decorous female sociability by emphasising its occasional nature: particularly noteworthy being the ruse of presenting poems not as distinguished artefacts, but as supplementary objects, in the several poems taking the form of ‘lines written’ in books. Ambition can, however, be discerned. Barber sought and gained significant patrons in Jonathan Swift and the Earl of Orrery, and successfully raised an impressive subscription list. More subtly, the volume as a whole also shows each poet help to secure the poetic reputation of the other through an elaborate poetics of compliment, reflecting self-consciously on female authorship.
1 - The novel before 1800
- John Wilson Foster, University of British Columbia, Vancouver
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- Book:
- The Cambridge Companion to the Irish Novel
- Published online:
- 28 January 2007
- Print publication:
- 14 December 2006, pp 22-38
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Summary
Uses of romance
'When we speak of the People, we ought carefully to make a Distinction between Irish and Irish.' The voice is not that of a stage-Irishman committing a blunder, but a cosmopolitan Englishman in William Chaigneau's novel, The History of Jack Connor (1752). He continues: 'that is, we ought to regard the Protestants of Ireland as ourselves, because, in Fact, they are our Brethren and our Children; and so to manage the poor Natives, who are mostly Papists, that by Clemency and good Usage we may wean them from ill Habits, and make them faithful and useful Subjects'. Use of the adjective 'Irish' clearly required distinctions. There may be a huge gap between Irish and Irish, but none between Irish and English: Irish Protestants are different from poor Irish natives, but essentially the same as the English speaker of Chaigneau's text. Acts of positioning, literary and geographical, of readers as well as characters, are crucial to eighteenth-century Irish fiction. Often, those acts are complicated by the fact that they are also, as in the present instance, silently redrawing earlier demarcations, correcting previous distinctions between 'ourselves' and 'them'.
Most eighteenth-century Irish fiction was produced by Irish Protestants, either the descendants of early Norman settlers (the Old English) or more recent arrivals. Yet the identity such writers shared determined neither their relationships with native culture - which ranged from the intimate to the remote - nor the strength of their attachment to the English mainland.