"Ninety-Eight" a Story of the Irish Rebellion

Total Page:16

File Type:pdf, Size:1020Kb

h STORY DF THE IRISH REBELLION ESTABLISHED 1851. BIRKBECR BANK Southampton Buildings, Ciiancery Lane, London, W.C. Invested Funds - £10,000,000 Number of Accounts, 85,094 TWO-AND-A-HALF per CENT. INTEREST allowed on DEPOSITS, repayable on demand. TWO per CENT on CURRENT ACCOUNTS, on the minimum monthly balances, when not drawn below £100. STOCKS, SHARES, and ANNUITIES pur- chased and sold for customers. SAVINGS DEPARTMENT. Small deposits received, and Interest allowed monthly on each completed £1. The BIRKBECK ALMANACK, with particulars, post free. FRANCIS RAYENSCROFT, Manager. Telephone No. S. HOLBORN. Telegraphic Address: " BiRKBECK, LONDON.' EXHAUSTED IRED PEOPLE Find a refreshing, invigorating restorative in the life- giving, blood-puritying properties of PHOSF£RINB. It nourishes the whole body, feeds the tired brain, induces sleep and improves the appetite. By its aid the depleted blood of pale anssmic women and children is enriched and the impurities eliminated, thus imparting health and cheerfulness and vanquishing that miserable "all gone feeling," the natural result of poor thin blood or deficient vitality. HOSFERIHE TRADE MARK Has renewed the health of an almost countless number of broken down overworked men and women and restored rickety children to strength and activity. The exhausted student and all who have brain work or mental worry find it an excellent reviver. It is the only safe and certain remedy for general debility, spinal exhaustion, physical decay, loss of memory and nerve power. A short course of treatment promptly restores the energy of manhood and renews the vigour of youth, sleepless nights are prevented and the body regains its natural elasticity and buoyancy. "THE FAMILY DOCTOR," speaking «/PHOSFERINE in the issue of February I'^tti, 1897, says:— " This preparation maybe safely recommended as a good tonic in debilitated states of the system. For those who suffer from loss of appetite it will be found an excellent stomachic, and for nervous conditions it will serve as an excellent nerve tonic and sedative. In cases of mental exhaustion, melancholia, and sleep­ lessness especially, it will be found valuable. The compound is put up in convenient quantities and in popular form, full directions as to its use being enclosed." Price (in Great Britain), Battles, 1/1), 2/9, and 4/6; Poot Free, 1/3, 3/-, and 4/9. Proprietors: ASHTON «& PARSONS, Ltd. 17, FARRINGDON ROAD. LONDON, E.G. "NINETY-EIGHT" A STORY OF THE IRISH REBELLION BY JOHN HILL A NEiy EDITION DOWNEY & CO. LD. 12 YORK STREET, COVENT GARDEN, LONDON 1898 ILLUSTRATED EDITION OF "NINETY-EIGHT" • Crown Svo, cloth git, Gs. With Twelve images of Illustrations by A. D. i CONTENTS. -•- INTEODUCTIOX. pvca THE PIKE-IIEAD ....,..., 1 CHAPTER 1. WHO I WAS 11 CHAPTER II. I SET EYES ON THE MOST BEAUTIFUL GIUL I.V THE WOULD t^l CHAPTER IH. MOSTLY ABOUT MISS DOYLE 3.5 CHAPTER lY. EFFECTS OF THE CONXAUGHT AIH , . , . .44 CHAPTER Y. FURTHER, AND STRIKING, EFFECTS OF THE CONNAUGHT AIR 68 CHAPTER YI. I FIND MYSELF IN A HOLE ..,..., 65 CHAPTER YII. A NEST OF STOEM-PETEELS 77 CHAPTER YIII. HOW CAPTAIN FALT STEUCK BACK 88 vi CONTENTS CII.IPTER IX. FoREWARNrD ' 1^*J CHAPTER X. .\N .\NXIOUS XIGIIT Ill CHAPTER XT. BITS OF OLD PUBLIN 123 CHAPTER Xn. I AM PUZZLED 136 CHAPTER Xni. THE EERAND OF FATIIEK O'COIGLY 148 CHAPTER xn-. .\ DANGEE AND A DELIVEEANCE l'>7 CHAPTEll XY. THE l.idx ROARS, BUT IS I'ISSI'ADKI) VHOM l^rnxc THE SNAKK . .171 CHAPTER XVI. \i;i A I.ITTI.E Wiiit.i-: 1; 0 CHAPTEIi XVli. TI:E Till.HEN HANU ISO CIIAPTI;R XVIH. DUBLIN GETS A LITTLE TOO WAEM FOE I'S . L'(/0 CHAPTER XIX. THE RISING MOON 206 CONTENTS \ii CHAPTER XX. FJLGH THE SLEEPY HOUSE AWAKES ...... 220 CHAPTER XXI. CAPTAIN FALY HOLDS A COUET OF JITSTICE .... 229 CHAPTER XXII. WHILE SOFT WINDS SHOOK THE BAELEY .... 237 CHAPTER XXIH. OcH! DAE-A-CHEIST ! 'TIS SHE THAT STILL COULD STEIKE THE DEADLY BLOW 245 CHAPTER XXIY. SUSPENSE 256 CHAPTER XXV. THE TIDE RISES 267 CHAPTER XXYI. THBEB ROCK HILL 274 CHAPTER XXYII. THE TIDE IS WITH US STILL 287 CHAPTER XXVIII. NEW ROSS 293 CHAPTER XXIX, THE RACES OF CASTLEBAB .,•••<« S05 ii NINETY-EIGHT" INTEODUCTION. THE PIKE-HEAD. 1 FIRST saw my grandfather in the early part of the year 1868, and thought him a dreadful old man. He has since then become an angel—at least we hope so—and left me the task of deciphering and copying out his memoir of what was to him the most important and eventful part of his long and, for the most part, violently diversified career. There was little else that he did leave me, except one object which was more dear and sacred to him than the wealth of the world. At the date above mentioned, we—that is, my mother, my sister, my young brother and myself—had just come over from • America to join my father in partaking of the hospitality of my grandfather's roof for a while until better times should come, and we were living in restricted comfort, and what some people might call excessive numbers, in his small apartment in the Eue Medicis, in Paris, which is conveniently near to the pleasant gardens of the Luxembourg, where the old man would take his bit of au airing on fine days. 2 " NiNETY-ElGHT " At this time I was a mere lad, having been born in Ireland in the troublous year of 1848, wliile my father, Denis Cahir O'Connor Faly, was on the seaciiran—that is, wandering and hiding in the Tipperary mountains—after the unfortunate affair of Ballingary, and I Avas baptized Patrick Cahir O'Connor Faly (We all keep the Cahir in our names in memory and in proof of our descent from Cathair Mor, King of Leinster and Ard-righ, or monarch, of all Ireland,) IMy father found his way in due course, vhi Tasmania, to the United States, being provided with a passage for the first and colonial stage of his pilgrimage by the English Government, like I\reagher of the Sword. Now, at the ripe but vigorous prime of fifty-five, a Major in the armv of tlie United States and Brio-adier-General in the army of the Irish republic, who had been wounded at Fredericksburg while in Meaglier's Brigade, and taken jiart in the first invasion of Canada (which onlv failed tlirough the treachery of a salaried informer in shakina" British rule in North America from the summit to the base), my fatlu-r was once more a refugee from the English (Jovernment in consequence of the active movement in Ireland in the early part of '67, and the Chester Piaid, in which he was one of the numerous leaders wlio had gained their experience in tlie great American Civil War, He had many friends in Paris of like sympathies to his own, wlio were at that period still indulging in hopes of anotlier and more successful Fenian war in Ireland, thoueh, as it turned out, Canada again became the actual scene of conflict a year or two later, and he was naturally very busy with organization, correspondence, and arrangements for the escape of suspects from Great Britain and Ireland. Ij uaturally, was not taken into his confidence on all THE PIKE-HEAD ,3 these matters, though I had a fair general notion of what was going on, being considered at present too young to be admitted regularly and responsibly as a Fenian; and to tell the truth, I was more interested in the splendour and novelty and bewilderment of Paris, which was just then in all the glory of that Second Empire wliich people little thought was destined so soon to fall, than in politics. The great Exhibition had taken place, Madame Schneider was delighting the world with the Grande Duchesse de Gerolstein, and the Jardin Mabille in the Avenue Mon­ taigne was in full swing. Can you be surprised if a lad of twenty found Paris more attractive for awhile than the purchase and storing of revolvers and rifles, especially if that lad's life had been hitherto spent, since early childhood, at Buffalo, N.Y. ? It might be a very praiseworthy and desirable thing to go and get hung or be sent to penal servitude for Ireland, and it would probably happen to nie in due course if all went well, but I did not want; to begin yet, I thought, but to try, so far as my very modest and limited resources went, to enjoy myself and study this marvellous Paris now being revealed to my astonished gaze for the first time. But my serious attention was brought again to bear on the affairs of my unhappy native land by the singular conduct of my grandfather, Colonel Cormac Cahir O'Connor l^aly—Colonel Fally the French called him, in whose armies he had served, long years ago, when another Napoleon reigned. Until I came to Paris I knew little of my grandfather save that he existed, that he had been an officer in the French service, and that my father had been born in Paris in 1813, at which time my grandfather was taking part in the great and terrible Armageddon of r , 4 " NINETY-EIGHT " Leipzig, where the nations were gathered together for slaughter for three whole days. And of late years, during which I was turning from a boy into a man, my father was so taken up with war, and then with schemes for making war, that I had not much opportunity for asking questions about my ancestor, so that he came upon me rather as a surprise.
Recommended publications
  • Waiting for God by Simone Weil
    WAITING FOR GOD Simone '111eil WAITING FOR GOD TRANSLATED BY EMMA CRAUFURD rwith an 1ntroduction by Leslie .A. 1iedler PERENNIAL LIBilAilY LIJ Harper & Row, Publishers, New York Grand Rapids, Philadelphia, St. Louis, San Francisco London, Singapore, Sydney, Tokyo, Toronto This book was originally published by G. P. Putnam's Sons and is here reprinted by arrangement. WAITING FOR GOD Copyright © 1951 by G. P. Putnam's Sons. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner without written per­ mission except in the case of brief quotations embodied in critical articles and reviews. For information address G. P. Putnam's Sons, 200 Madison Avenue, New York, N.Y.10016. First HARPER COLOPHON edition published in 1973 INTERNATIONAL STANDARD BOOK NUMBER: 0-06-{)90295-7 96 RRD H 40 39 38 37 36 35 34 33 32 31 Contents BIOGRAPHICAL NOTE Vll INTRODUCTION BY LESLIE A. FIEDLER 3 LETTERS LETTER I HESITATIONS CONCERNING BAPTISM 43 LETTER II SAME SUBJECT 52 LETTER III ABOUT HER DEPARTURE s8 LETTER IV SPIRITUAL AUTOBIOGRAPHY 61 LETTER v HER INTELLECTUAL VOCATION 84 LETTER VI LAST THOUGHTS 88 ESSAYS REFLECTIONS ON THE RIGHT USE OF SCHOOL STUDIES WITII A VIEW TO THE LOVE OF GOD 105 THE LOVE OF GOD AND AFFLICTION 117 FORMS OF THE IMPLICIT LOVE OF GOD 1 37 THE LOVE OF OUR NEIGHBOR 1 39 LOVE OF THE ORDER OF THE WORLD 158 THE LOVE OF RELIGIOUS PRACTICES 181 FRIENDSHIP 200 IMPLICIT AND EXPLICIT LOVE 208 CONCERNING THE OUR FATHER 216 v Biographical 7\lote• SIMONE WEIL was born in Paris on February 3, 1909.
    [Show full text]
  • Damien Hirst Visual Candy and Natural History
    G A G O S I A N 7 February 2018 DAMIEN HIRST VISUAL CANDY AND NATURAL HISTORY EXTENDED! Through Saturday, March 3, 2018 7/F Pedder Building, 12 Pedder Street Central, Hong Kong I had my stomach pumped as a child because I ate pills thinking they were sweets […] I can’t understand why some people believe completely in medicine and not in art, without questioning either. —Damien Hirst Gagosian is pleased to present “Visual Candy and Natural History,” a selection of paintings and sculptures by Damien Hirst from the early- to mid-1990s. The exhibition coincides with Hirst’s most ambitious and complex project to date, “Treasures from the Wreck of the Unbelievable,” on view at Palazzo Grassi and Punta della Dogana in Venice until December 3. Since emerging onto the international art scene in the late 1980s as the protagonist of a generation of British artists, Hirst has created installations, sculptures, paintings and drawings that examine the complex relationships between art, beauty, religion, science, life and death. Through series as diverse as the ‘Spot Paintings’, ‘Medicine Cabinets’, ‘Natural History’ and butterfly ‘Kaleidoscope Paintings,’ he has investigated and challenged contemporary belief systems, tracing the uncertainties that lie at the heart of human experience. This exhibition juxtaposes the joyful, colorful abstractions of his ‘Visual Candy’ paintings with the clinical forms of his ‘Natural History’ sculptures. Page 1 of 3 The ‘Visual Candy’ paintings allude to movements including Impressionism, Abstract Expressionism and Pop Art, while the ‘Natural History’ sculptures—glass tanks containing biological specimens preserved in formaldehyde—reflect the visceral realities of scientific investigation through minimalist design.
    [Show full text]
  • THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
    Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g.
    [Show full text]
  • The Theory and Practice of Visual Arts Marketing
    The Tension Between Artistic and Market Orientation in Visual Art Dr Ian Fillis Department of Marketing University of Stirling Stirling Scotland FK9 4LA Email: [email protected] Introduction For centuries, artists have existed in a world which has been shaped in part by their own attitudes towards art but which also co-exists within the confines of a market structure. Many artists have thrived under the conventional notion of a market with its origins in economics and supply and demand, while others have created a market for their work through their own entrepreneurial endeavours. This chapter will explore the options open to the visual artist and examine how existing marketing theory often fails to explain how and why the artist develops an individualistic form of marketing where the self and the artwork are just as important as the audience and the customer. It builds on previous work which examines the theory and practice of visual arts marketing, noting that there has been little account taken of the philosophical clashes of art for art’s sake versus business sake (Fillis 2004a). Market orientation has received a large amount of attention in the marketing literature but product centred marketing has largely been ignored. Visual art has long been a domain where product and artist centred marketing have been practiced successfully and yet relatively little has been written about its critical importance to arts marketing theory. The merits and implications of being prepared to ignore market demand and customer wishes are considered here. 1 Slater (2007) carries out an investigation into understanding the motivations of visitors to galleries and concludes that, rather than focusing on personal and social factors alone, recognition of the role of psychological factors such as beliefs, values and motivations is also important.
    [Show full text]
  • Shedding Light on the Modalities of Authority in a Dar Al-Uloom, Or Religious Seminary, in Britain
    religions Article Shedding Light on the Modalities of Authority in a Dar al-Uloom, or Religious Seminary, in Britain Haroon Sidat Centre for the Study of Islam in the UK, School of History, Archaeology and Religion, Cardiff University, Cardiff CF10 3EU, UK; Sidathe@cardiff.ac.uk Received: 25 July 2019; Accepted: 26 November 2019; Published: 29 November 2019 Abstract: ‘God is the Light of the heavens and the earth ::: ’ (Quran, 24:35.) This article sheds light on the modalities of authority that exist in a traditional religious seminary or Dar al-Uloom (hereon abbreviated to DU) in modern Britain. Based on unprecedented insider access and detailed ethnography, the paper considers how two groups of teachers, the senior and the younger generation, acquire and shine their authoritative light in unique ways. The article asserts that within the senior teachers an elect group of ‘luminaries’ exemplify a deep level of learning combined with practice and embodiment, while the remaining teachers are granted authority by virtue of the Prophetic light, or Hadith, they radiate. The younger generation of British-born teachers, however, are the torchbearers at the leading edge of directing the DU. While it may take time for them to acquire the social and symbolic capital of the senior teachers, operationally, they are the ones illuminating the way forward. The paper discusses the implications of the changing nature of authority within the DU is likely to have for Muslims in Britain. Keywords: Dar al-Uloom; Islam in Britain; Deoband; ulama; tradition; authority 1. Introduction During research undertaken for my PhD thesis, authority emerged as a significant analytical category and became one of the lenses through which I examined the Dar al-Uloom (DU).1 Its relationship with the Islamic tradition, that of being anchored in an authentic past, results in intense competition among British Muslims who vie to present themselves as heirs of an authentic interpretation and practice of Islam (Gilliat-Ray 2010).
    [Show full text]
  • Nostalgia and the Irish Fairy Landscape
    The land of heart’s desire: Nostalgia and the Irish fairy landscape Hannah Claire Irwin BA (Media and Cultural Studies), B. Media (Hons 1) Macquarie University This thesis is presented for the degree of Doctor of Philosophy in Media and Cultural Studies. Faculty of Arts, Department of Media, Music, Communication and Cultural Studies, Macquarie University, Sydney August 2017 2 Table of Contents Figures Index 6 Abstract 7 Author Declaration 8 Acknowledgments 9 Introduction: Out of this dull world 1.1 Introduction 11 1.2 The research problem and current research 12 1.3 The current field 13 1.4 Objective and methodology 14 1.5 Defining major terms 15 1.6 Structure of research 17 Chapter One - Literature Review: Hungry thirsty roots 2.1 Introduction 20 2.2 Early collections (pre-1880) 21 2.3 The Irish Literary Revival (1880-1920) 24 2.4 Movement from ethnography to analysis (1920-1990) 31 2.5 The ‘new fairylore’ (post-1990) 33 2.6 Conclusion 37 Chapter Two - Theory: In a place apart 3.1 Introduction 38 3.2 Nostalgia 39 3.3 The Irish fairy landscape 43 3 3.4 Space and place 49 3.5 Power 54 3.6 Conclusion 58 Chapter Three - Nationalism: Green jacket, red cap 4.1 Introduction 59 4.2 Nationalism and the power of place 60 4.3 The wearing of the green: Evoking nostalgia for Éire 63 4.4 The National Leprechaun Museum 67 4.5 The Last Leprechauns of Ireland 74 4.6 Critique 81 4.7 Conclusion 89 Chapter Four - Heritage: Up the airy mountain 5.1 Introduction 93 5.2 Heritage and the conservation of place 94 5.3 Discovering Ireland the ‘timeless’: Heritage
    [Show full text]
  • Irish Landscape Names
    Irish Landscape Names Preface to 2010 edition Stradbally on its own denotes a parish and village); there is usually no equivalent word in the Irish form, such as sliabh or cnoc; and the Ordnance The following document is extracted from the database used to prepare the list Survey forms have not gained currency locally or amongst hill-walkers. The of peaks included on the „Summits‟ section and other sections at second group of exceptions concerns hills for which there was substantial www.mountainviews.ie The document comprises the name data and key evidence from alternative authoritative sources for a name other than the one geographical data for each peak listed on the website as of May 2010, with shown on OS maps, e.g. Croaghonagh / Cruach Eoghanach in Co. Donegal, some minor changes and omissions. The geographical data on the website is marked on the Discovery map as Barnesmore, or Slievetrue in Co. Antrim, more comprehensive. marked on the Discoverer map as Carn Hill. In some of these cases, the evidence for overriding the map forms comes from other Ordnance Survey The data was collated over a number of years by a team of volunteer sources, such as the Ordnance Survey Memoirs. It should be emphasised that contributors to the website. The list in use started with the 2000ft list of Rev. these exceptions represent only a very small percentage of the names listed Vandeleur (1950s), the 600m list based on this by Joss Lynam (1970s) and the and that the forms used by the Placenames Branch and/or OSI/OSNI are 400 and 500m lists of Michael Dewey and Myrddyn Phillips.
    [Show full text]
  • They Call It the Hajji Mall
    David Buchanan They Call it the Hajji Mall he first time I heard the word, hajji, it didn’t even register. Until a few months ago, I was certain that my first encounter with the word happened in a cafeteria on an American Air Force base in the United Arab Emirates Tin 2007. I was wrong. I had just completed a rough draft of this essay when I accidentally stumbled upon an old email on my computer from my first deployment in 2005. Following a hunch, I searched my hard drive for the word “hajji” and then read the following line from a message that I had sent my brother from my base in Riyadh, Saudi Arabia: “Left base today and bought some stuff at a market just outside our front gate. They call it the Hajji Mall.” My brother has a frustratingly strong memory, and he responded to my email that same day: “Hadji was Johnny Quest’s sidekick.” He was right. In the Johnny Quest cartoon series (first aired in 1964), Hadji is a 12-year-old orphan from Calcutta. He is the adopted brother of the protagonist/hero Johnny Quest; he knows judo; he is quick to deliver whatever wisdom the adventure of the episode demands. What the creators of Johnny Quest ignored, and what I did not realize (despite six semesters studying Arabic in college) was that the word hajji is an Anglicized, phonetic representation of a very real, and very specific word in the Arabic language. According to the Oxford English Dictionary, hajji (sometimes spelled hadji, haji, or hogie) is defined as “The title given to one who has made the greater pilgrimage .
    [Show full text]
  • Glohealth Juvenile Championships Day 3
    GloHealth Juvenile Championships Day 3 Gende First Name Last Name Club r Age Event Jordan Mynes Cabinteely A.C. Boys U12 600m Richard White Cabinteely A.C. Boys U12 600m Oliver Charles Carrick-on-Shannon A.C. Boys U12 600m O'Connor Jack Dooneen A.C. Boys U12 600m Conor Leane Dunboyne A.C. Boys U12 600m Peter Hamilton Kildare A.C. Boys U12 600m Liam Hannigan Letterkenny A.C. Boys U12 600m Liam Conway Monaghan Phoenix A.C. Boys U12 600m Odhran Hamilton Newry AC Boys U12 600m Ultan O'Callaghan Newry AC Boys U12 600m John O'Flynn North Cork A.C. Boys U12 600m Tom Kilgannon Ratoath A.C. Boys U12 600m Joshua Ericson Skerries A.C. Boys U12 600m Nathan Sheehy Cremin St. Marys (Limerick) A.C. Boys U12 600m James Mannion St. Ronans A.C. Boys U12 600m Shane Moran Swinford A.C. Boys U12 600m Johnny Deasy Belgooly A.C. Boys U12 High Jump Eoghan Nash Belgooly A.C. Boys U12 High Jump Charlie Lyons Crusaders A.C. Boys U12 High Jump Killian Cahill Cushinstown A.C. Boys U12 High Jump O'Muircheartaig Tadhg h Dunboyne A.C. Boys U12 High Jump Kevin Smith Dundrum South Dublin A.C. Boys U12 High Jump Declan Slevin Finn Valley A.C. Boys U12 High Jump Joseph Aidoo Letterkenny A.C. Boys U12 High Jump Eoin Breslin Lifford A.C. Boys U12 High Jump Brendan Finnan Longford A.C Boys U12 High Jump Patrick Marry Rosses A.C. Boys U12 High Jump Jack Forde St. Killians A.C.
    [Show full text]
  • Terrorist and Organized Crime Groups in the Tri-Border Area (Tba) of South America
    TERRORIST AND ORGANIZED CRIME GROUPS IN THE TRI-BORDER AREA (TBA) OF SOUTH AMERICA A Report Prepared by the Federal Research Division, Library of Congress under an Interagency Agreement with the Crime and Narcotics Center Director of Central Intelligence July 2003 (Revised December 2010) Author: Rex Hudson Project Manager: Glenn Curtis Federal Research Division Library of Congress Washington, D.C. 205404840 Tel: 2027073900 Fax: 2027073920 E-Mail: [email protected] Homepage: http://loc.gov/rr/frd/ p 55 Years of Service to the Federal Government p 1948 – 2003 Library of Congress – Federal Research Division Tri-Border Area (TBA) PREFACE This report assesses the activities of organized crime groups, terrorist groups, and narcotics traffickers in general in the Tri-Border Area (TBA) of Argentina, Brazil, and Paraguay, focusing mainly on the period since 1999. Some of the related topics discussed, such as governmental and police corruption and anti–money-laundering laws, may also apply in part to the three TBA countries in general in addition to the TBA. This is unavoidable because the TBA cannot be discussed entirely as an isolated entity. Based entirely on open sources, this assessment has made extensive use of books, journal articles, and other reports available in the Library of Congress collections. It is based in part on the author’s earlier research paper entitled “Narcotics-Funded Terrorist/Extremist Groups in Latin America” (May 2002). It has also made extensive use of sources available on the Internet, including Argentine, Brazilian, and Paraguayan newspaper articles. One of the most relevant Spanish-language sources used for this assessment was Mariano César Bartolomé’s paper entitled Amenazas a la seguridad de los estados: La triple frontera como ‘área gris’ en el cono sur americano [Threats to the Security of States: The Triborder as a ‘Grey Area’ in the Southern Cone of South America] (2001).
    [Show full text]
  • BRIGHT LIGHTS James W. Hyams Published by the Eleanor D
    BRIGHT LIGHTS James W. Hyams Published by the Eleanor D. Wilson Museum at Hollins University, Roanoke, Virginia. hollins.edu/museum • 540/362-6532 Photography: Jeff Hofmann Design: Laura Jane Ramsburg This exhibition is sponsored in part by the City of Roanoke through the Roanoke Arts Commission. BRIGHT LIGHTS James W. Hyams January 18 - March 25, 2018 Eleanor D. Wilson Museum at Hollins University CONTENTS 3 Director’s Note Jenine Culligan 4 How to Become an Accidental Art Collector and Alleged Artist James W. Hyams 7 Casual Observations of an Interested Neighbor Bill Rutherfoord 28 Acknowledgements James W. Hyams Director’s Note Jenine Culligan The art-collecting bug bit Jim Hyams early and hard. Over his lifetime, he has carefully chosen an astounding collection of prints by the most important international contemporary artists. Surrounded by art in his museum-like home, Jim absorbs—and is inspired by—this work on a daily basis. Living with and loving art can be an end in itself, but sharing your collection and educating people about art is another; in this, Jim has been deeply thoughtful and generous. The Eleanor D. Wilson Museum has enjoyed a close association with Jim since the summer of 2005 when Photorealist Prints from the James W. Hyams Collection was displayed, followed in 2008 with Print as Muse: Reflections on Vanitas from the James W. Hyams Collection. Jim has been generous in donating art to the museum’s collection as well, with a print by Ron Kleeman and a mixed media work by Robert Kushner. The Eleanor D. Wilson Museum is pleased to exhibit these ten sculptures created by Jim Hyams, displayed in homage alongside the work that inspired him.
    [Show full text]
  • King's Research Portal
    King’s Research Portal DOI: 10.18316/rcd.v9i17.3742 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Adams, R. (2017). 'The Saatchi Generation': Art and Advertising in the UK in the Late 20th Century. Conhecimento & Diversidade, 9(17), 33-47. https://doi.org/10.18316/rcd.v9i17.3742 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]