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A rivet is a permanent mechanical fastener. Before being installed a rivet consists of a smooth cylindrical shaft with a head on one end. The end opposite the head is called the buck.
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On installation the rivet is placed in a punched or drilled hole, and the tail is upset, or bucked (i.e., deformed), so that it expands to about 1.5 times the original shaft diameter, holding the rivet in place. To distinguish between the two ends of the, the original head is called the factory and the deformed end is called the shop head or buck-tail.Because there is effectively a head on each end of an installed rivet, it can support tension (loads parallel to the axis of the ); however, it is much more capable of supporting shear loads (loads perpendicular to the axis of the shaft). Bolts and screws are better suited for tension applications.Fastenings used in traditional wooden boat building, like copper nails and clinch, work on the same principle as the rivet but were in use long before the term rivet came about and, where they are remembered, are usually classified among the nails and bolts respectively.Read more about Rivet:,Other articles related to ' rivet'.
Widely regarded as one of Ireland’s foremost contemporary novelists, occupies a curious place in Irish literature. Although her talent is widely recognised, and she has won many awards, her works have so far rarely appeared in critical studies of contemporary Irish literature.Born in Dublin in 1930 to the playwright and the actor and producer Shelah Richards, Johnston was educated at, and lived for many years in Co Derry before returning to Dublin, where she now lives. Her first novel was published in 1972 when she was 42, and since then she has published 18 novels.Her awards include The Evening Standard Best First Novel Award for The Captain and the Kings (1972), The Whitebread Prize for The Old Jest (1979), and her fourth novel Shadows on our Skin (1977), was shortlisted for the Booker prize.
In 2012 she was awarded a Lifetime Achievement Award from the Irish Book Awards and she was one of the writers nominated in 2014 for the position of first Irish Laureate for Fiction.For the many fans of her work, Johnston’s skillfully constructed novels, with their elegant economic realism and tight storylines, constitute a distinctive and sophisticated voice in Irish literature. Writing about the impact that Johnston’s debut novel The Captain and the Kings, had on him, recently described how he loved the book for “its sparse intensity and intimacy and how the simplicity of the writing belied the complexity of her characters.”The qualities that were evident to Bolger in Johnston’s first novel have manifested themselves to equal effect in each of her subsequent novels.
Broadly speaking, Johnston’s work deals with family sins and human frailty within the context of the turbulent history of 20th-century Ireland. The scope of her novels includes examinations of gender, class, religion and politics.
Her stories involve characters on both ends of the aging spectrum, from youth and adolescence to old age and inevitable decline. They are Protestant and Catholic, male and female, urban and rural.
As one critic has noted, her novels “record with great care the ways in which individuals recoil from, or attempt to meet, the political, economic and cultural exigencies that impinge so crucially, and so damagingly, on their lives”.Big HouseOne of the narratives of Irish history that Johnston frequently draws upon is the literature of the Irish “Big House”. Fictional representations of the social and cultural organisation of the Anglo-Irish or Protestant ascendancy class dates back to Maria Edgeworth’s Castle Rackrent, published in 1800, with perhaps the most well-known exponent of the genre being.Contemporary novelists such as and have also used the motif of the Big House in their work; however, Johnston’s imaginative incorporation of this theme is far more extensive. Her Big House novels highlight the destructive effects of the religious, economic and class divisions on those who inhabit and also those who surround the Big House. In these stories, her characters appear to be prisoners of both personal and political history, trapped by family expectations and pre-ordained societal expectations.
The man is Major Barry, an IRA commander on the run, and Nancy’s innocent attempt to escape her insular world results in tragedy when she agrees to convey a message from Barry to one of his contacts in Dublin. As a result of his instructions, 12 soldiers are shot in Dublin. When the young couple succeeds in their plan and Kevin drives away to deliver the gates to their potential buyer, the reader guesses before Minnie does that only heartache and betrayal will be her recompense.In the trenchesIn one of her early stories, How Many Miles to Babylon (1974), Johnston moves the setting of the novel from the initial background of a rural estate, to the battlefields of Flanders during the first World War. The possibility of communication across class or religious divisions is usually explored in Johnston’s novels through two lonely individuals, and in this instance the protagonists are both male.Alexander Moore, the only child of parents in a loveless marriage, grows up lonely and friendless on his family’s estate in Co Wicklow.
When he befriends Jerry Crowe, a stable hand who works on the estate, his mother forbids all interaction with Jerry because he is socially inferior. When Jerry enlists in the British Army because his family needs the money, Alec impulsively enlists too.Alec’s action is prompted by his mother’s revelation that his father is someone other than her husband. In the trenches the two friends are separated again by class and now also by rank. They are commanded by Major Glendinning, a ruthless officer who shares Alec’s mother’s belief in the class system.
When Jerry is tried and convicted as a deserter after leaving his unit to search for his father, Glendinning orders Alec to command the firing squad. In an act of mercy, Alec privately kills his friend and he in turn is arrested and condemned to die.The flare-up of sectarian violence in Northern Ireland in the 1960s, which continued for several decades, prompted a number of interventions by a diverse range of writers, artists and intellectuals from both sides of the border. Johnston turned her attention to contemporary Northern Ireland, specifically the violence in Derry in the early 1970s and the machinations of the IRA in the early 1980s, with two novels, Shadows on our Skin (1977), which was shortlisted for the Booker prize, and The Railway Station Man (1984). In Shadows on our Skin, Johnston explores the relationship between a young working-class Catholic boy in Derry, Joe Logan, and Kathleen Doherty, the teacher who befriends him. Joe lives with his beleaguered mother and an ailing embittered father who is living in the past with a heroic fantasy he has constructed to maintain his self-esteem. Mrs Logan, who has been hardened by poverty and a loveless marriage, is fiercely protective of Joe, and tries to shield him from the conflict that destroyed her husband and threatens to engulf her older son Brendan.Her character is in many ways reminiscent of the inner-city mother figure featured in Paula Meehan’s poem, The Pattern, who also sublimates her frustrated energies into constant cleaning and scrubbing.
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When Brendan returns from England he encroaches on his younger brother’s relationship with Kathleen, and eventually confides in Joe that he dreams of a future life with her. In a jealous rage Joe tells Brendan something about Kathleen that only he knows: she is dating a British soldier. Unbeknownst to Joe, Brendan is involved with the IRA and having confided in Kathleen, he panics when he finds out about her boyfriend and disappears. Joe’s revelation results in a devastating punishment for Kathleen, similar to that described by in his poem Punishment.The Railway Station Man begins in Derry with the news that Helen Cuffe’s husband has been accidentally killed by a terrorist when visiting a pupil whose father was in the RUC. Helen leaves Derry for the quiet costal village of Knappogue, in Donegal, a move calculated to insulate her from the violence she suffered in Derry. Helen retreats from the world through her painting, and avoids all efforts by her son to jolt her into political awareness.In this isolated area she meets an Englishman, Roger Hawthorne, who is devoting himself to reconstructing a disused railway station.
Roger, who was pressurised into fighting in the second World War by his imperialist family, is both physically and psychologically damaged as a result.
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