One of the most enduring tropes of modern Irish history is the MOPE thesis, the idea that the Irish were the Most Oppressed People Ever. Political oppression, forced emigration and endemic poverty have been central to the historiography of nineteenth-century Ireland. This volume problematises the assumption of generalised misery and suggests the many different, and often surprising, ways in which Irish people sought out, expressed and wrote about happiness. Bringing together an international group of established and emerging scholars, this volume considers the emerging field of the history of emotion and what a history of happiness in Ireland might look like. During the nineteenth century the concept of happiness denoted a degree of luck or good fortune, but equally was associated with the positive feelings produced from living a good and moral life. Happiness could be found in achieving wealth, fame or political success, but also in the relief of lulling a crying baby to sleep. Reading happiness in historical context indicates more than a simple expression of contentment. In personal correspondence, diaries and novels, the expression of happiness was laden with the expectations of audience and author and informed by cultural ideas about what one could or should be happy about. This volume explores how the idea of happiness shaped social, literary, architectural and aesthetic aspirations across the century. CONTRIBUTORS: Ian d'Alton, Shannon Devlin, Anne Dolan, Simon Gallaher, Paul Huddie, Kerron Ó Luain, David McCready, Ciara Thompson, Andrew Tierney, Kristina Varade, Mai Yatani

Why do we send children to school? Who should take responsibility for children's health and education? Should girls and boys be educated separately or together? These questions provoke much contemporary debate, but also have a longer, often-overlooked history. Mary Hatfield explores these questions and more in this comprehensive cultural history of childhood in nineteenth-century Ireland. Many modern ideas about Irish childhood have their roots in the first three-quarters of the nineteenth century, when an emerging middle-class took a disproportionate role in shaping the definition of a 'good' childhood. This study deconstructs several key changes in medical care, educational provision, and ideals of parental care. It takes an innovative holistic approach to the middle-class child's social world, by synthesising a broad base of documentary, visual, and material sources, including clothes, books, medical treatises, religious tracts, photographs, illustrations, and autobiographies. It offers invaluable new insights into Irish boarding schools, the material culture of childhood, and the experience of boys and girls in education.

NAMED A BEST BOOK OF THE YEAR BY THE WASHINGTON POST and REAL SIMPLE A profound and enchanting new novel from Booker Prize-longlisted author Niall Williams about the loves of our lives and the joys of reminiscing. You don't see rain stop, but you sense it. You sense something has changed in the frequency you've been living and you hear the quietness you thought was silence get quieter still, and you raise your head so your eyes can make sense of what your ears have already told you, which at first is only: something has changed. The rain is stopping. Nobody in the small, forgotten village of Faha remembers when it started; rain on the western seaboard was a condition of living. Now--just as Father Coffey proclaims the coming of electricity--it is stopping. Seventeen-year-old Noel Crowe is standing outside his grandparents' house shortly after the rain has stopped when he encounters Christy for the first time. Though he can't explain it, Noel knows right then: something has changed. This is the story of all that was to follow: Christy's long-lost love and why he had come to Faha, Noel's own experiences falling in and out of love, and the endlessly postponed arrival of electricity--a development that, once complete, would leave behind a world that had not changed for centuries. Niall Williams' latest novel is an intricately observed portrait of a community, its idiosyncrasies and its traditions, its paradoxes and its inanities, its failures and its triumphs. Luminous and otherworldly, and yet anchored with deep-running roots into the earthy and the everyday, This Is Happiness is about stories as the very stuff of life: the ways they make the texture and matter of our world, and the ways they write and rewrite us.

Interest in nineteenth-century studies has never been greater, and contrasts sharply with previous neglect of many aspects of that century's history and culture. These essays by leading scholars assess and interpret developments from 1990 onwards in the field of nineteenth-century Irish studies, and from a wide range of disciplinary perspectives. The book covers political, social, religious and women's history and historical geography as well as anthropological and sociological studies of nineteenth-century Ireland. Further chapters cover nineteenth-century music, art history, literature in English, Gaelic culture and language and the Irish diaspora. This will be an invaluable research tool and reference book for many years to come.

This book explores representations of the domestic in Irish women’s magazines. Published in 1960s Ireland, during a period of transformation, they served as modern manuals for navigating everyday life. Traditional themes – dating, marriage, and motherhood – dominated. But editors also introduced conflicting voices to complicate the narrative. Readers were prompted to reimagine their home life, and traditional values were carefully subverted. The domestic was shown to be a negotiable concept in the coverage of such issues as the body and reproductive rights, working wives and equal pay. Dominant societal perceptions of women were also challenged through the inclusion of those who were on the margins – widows, unmarried mothers, and never-married women. This book considers the motivations of editors, the role of readers, and the influence of advertisers in shaping complex debates about women in society in 1960s Ireland.