Eugene O'Brien – författare

There is considerable uncertainty about what level of traffic loading bridges should be designed for. Codes specify notional load models, generally to represent extreme levels of normal traffic, but these are often crude and have inconsistent levels of safety for different load effects. Over the past few decades, increasing quantities of reliable truck weight data has become available and it is now possible to calculate appropriate levels of bridge traffic loading, both for specific bridges and for a road network.

Bridge Traffic Loading brings together experts from all over the world to deliver not just the state-of-the-art of vertical loading, but also to provide recommendations of best-practice for all the major challenges in the field – short-span, single and multi-lane bridge loading, dynamic allowance and long-span bridges. It reviews issues that continue to be debated, such as which statistical distribution is most appropriate, whether free-flowing or congested traffic governs and dealing with future traffic growth. Specialist consultants and bridge owners should find this invaluable, as will regulators.

There is considerable uncertainty about what level of traffic loading bridges should be designed for. Codes specify notional load models, generally to represent extreme levels of normal traffic, but these are often crude and have inconsistent levels of safety for different load effects. Over the past few decades, increasing quantities of reliable truck weight data has become available and it is now possible to calculate appropriate levels of bridge traffic loading, both for specific bridges and for a road network.

Bridge Traffic Loading brings together experts from all over the world to deliver not just the state-of-the-art of vertical loading, but also to provide recommendations of best-practice for all the major challenges in the field – short-span, single and multi-lane bridge loading, dynamic allowance and long-span bridges. It reviews issues that continue to be debated, such as which statistical distribution is most appropriate, whether free-flowing or congested traffic governs and dealing with future traffic growth. Specialist consultants and bridge owners should find this invaluable, as will regulators.

Contemporary Irish Poetry and the Climate Crisis addresses what is arguably the most crucial issue of human history through the lens of late-twentieth and early twenty-first-century Irish poetry. The poets that it surveys range from familiar presences in the contemporary Irish literary canon – Seamus Heaney, Derek Mahon, Paula Meehan, Moya Cannon – to lesser-known figures, such as the experimental poet Maurice Scully, contemporary poets Stephen Sexton and Sean Hewitt, and the Irish-language poets Simon Ó Faoláin, Bríd Ní Mhóráin, and Máire Dinny Wren. Adopting a variety of ecotheoretical approaches, the essays gathered here address several interrelated themes crucial to the climate crisis: the way in which the scalar scope of climate change interweaves local and global, distant past and imminent future, nature and culture; the critical importance of acknowledging the complex kinship of the human and nonhuman; and the necessity of warning against the devastating environmental losses to come while mourning those that already occurred. Ultimately, by envisioning new ways of existing on an earth that humans no longer dominate, this book engages in what the philosopher Jonathan Lear refers to as a process of ‘radical anticipation’.

Contemporary Irish Poetry and the Climate Crisis addresses what is arguably the most crucial issue of human history through the lens of late-twentieth and early twenty-first-century Irish poetry. The poets that it surveys range from familiar presences in the contemporary Irish literary canon – Seamus Heaney, Derek Mahon, Paula Meehan, Moya Cannon – to lesser-known figures, such as the experimental poet Maurice Scully, contemporary poets Stephen Sexton and Sean Hewitt, and the Irish-language poets Simon Ó Faoláin, Bríd Ní Mhóráin, and Máire Dinny Wren. Adopting a variety of ecotheoretical approaches, the essays gathered here address several interrelated themes crucial to the climate crisis: the way in which the scalar scope of climate change interweaves local and global, distant past and imminent future, nature and culture; the critical importance of acknowledging the complex kinship of the human and nonhuman; and the necessity of warning against the devastating environmental losses to come while mourning those that already occurred. Ultimately, by envisioning new ways of existing on an earth that humans no longer dominate, this book engages in what the philosopher Jonathan Lear refers to as a process of ‘radical anticipation’.

Reading Paul Howard: The Art of Ross O’Carroll Kelly offers a thorough examination of narrative devices, satirical modes, cultural context and humour in Howard’s texts.

The volume argues that his academic critical neglect is due to a classic bifurcation in Irish Studies between high and popular culture, and it will use the thought of Pierre Bourdieu, Sigmund Freud, Mikhail Bakhtin and Jacques Derrida to critique this division, building a theoretical platform from which to examine the significance of Howard’s work as an Irish comic and satirical writer. Addressing both the style and the substance of his work, this text locates him in a tradition of Irish satirical writing that dates back to the Gaelic bards, and it includes writers like Swift, Wilde, Flann O’Brien and Joyce. Through textual and contextual analysis, this book makes the case for Howard as a significant and original voice in Irish writing, whose fusion of the three traditional types of satire (Horatian, Juvenalian and Menippean) has created a parallel Ireland that shines a satirical light on its real counterpart. As Freud suggests, humour is a way of accessing aspects of the psyche that normative discourses cannot enunciate, and Howard, through the confessional voice of Ross, offers a fictive truth on 20 years of Irish society, a truth that is not accessed by discourse in the public sphere or by what could be termed literary or high cultural fiction.

Reading Paul Howard: The Art of Ross O’Carroll Kelly offers a thorough examination of narrative devices, satirical modes, cultural context and humour in Howard’s texts.

The volume argues that his academic critical neglect is due to a classic bifurcation in Irish Studies between high and popular culture, and it will use the thought of Pierre Bourdieu, Sigmund Freud, Mikhail Bakhtin and Jacques Derrida to critique this division, building a theoretical platform from which to examine the significance of Howard’s work as an Irish comic and satirical writer. Addressing both the style and the substance of his work, this text locates him in a tradition of Irish satirical writing that dates back to the Gaelic bards, and it includes writers like Swift, Wilde, Flann O’Brien and Joyce. Through textual and contextual analysis, this book makes the case for Howard as a significant and original voice in Irish writing, whose fusion of the three traditional types of satire (Horatian, Juvenalian and Menippean) has created a parallel Ireland that shines a satirical light on its real counterpart. As Freud suggests, humour is a way of accessing aspects of the psyche that normative discourses cannot enunciate, and Howard, through the confessional voice of Ross, offers a fictive truth on 20 years of Irish society, a truth that is not accessed by discourse in the public sphere or by what could be termed literary or high cultural fiction.