Michael Dempsey

"In a future where death is a thing of the past, how far would you go to solve your own murder?  Paul Donner  is a NYPD detective with a drinking problem and a marriage on the rocks.  Then he and his wife get dead--shot to death in a "random" crime.  Fifty years later, Donner is back--revived courtesy of the Shift, a process whereby inanimate DNA is re-activated.  This new "reborn" underclass is not only alive again, they're growing younger, destined for a second childhood. The freakish side-effect of a retroviral attack on New York, the Shift has turned the world upside down.  Beneath the protective geodesic Blister, clocks run backwards, technology is hidden behind a noir facade, and you can see Bogart and Dicaprio in the Maltese Falon III. In this unfamiliar retro-futurist world of maglev Studebakers and plasma tommy guns, Donner must search for those responsible for the destruction of his life.  His quest for retribution leads him to the heart of the mystery surrounding the Shift's origin and up against those who would use it to control a terrified nation"--P. [4] of cover.

Necropolis

Financial Risk Management and Derivative Instruments offers an introduction to the riskiness of stock markets and the application of derivative instruments in managing exposure to such risk. Structured in two parts, the first part offers an introduction to stock market and bond market risk as encountered by investors seeking investment growth. The second part of the text introduces the financial derivative instruments that provide for either a reduced exposure (hedging) or an increased exposure (speculation) to market risk. The fundamental aspects of the futures and options derivative markets and the tools of the Black-Scholes model are examined. The text sets the topics in their global context, referencing financial shocks such as Brexit and the Covid-19 pandemic. An accessible writing style is supported by pedagogical features such as key insights boxes, progressive illustrative examples and end-of-chapter tutorials. The book is supplemented by PowerPoint slides designed to assist presentation of the text material as well as providing a coherent summary of the lectures. This textbook provides an ideal text for introductory courses to derivative instruments and financial risk management for either undergraduate, masters or MBA students.

Financial Risk Management and Derivative Instruments

Barbara Dawson

Logan Sisley

Jessica O'Donnell

This publication celebrates the pioneering achievement of Hugh Lane in founding a gallery of modern art, one of the world's first, in Dublin a century ago. Lane was a Cork-born, London-based art dealer who was among the first to collect French Impressionist paintings. His ambition to establish a gallery of modern art, now Dublin City Gallery The Hugh Lane, was realised in 1908 with an astonishing collection of Irish, British and Continental work gathered by Lane and his supporters. The path to his dream was not without struggle, and the fascinating story of the founding of the Gallery and of the turbulent controversy over his bequest has captivated audiences ever since his early death aboard the Lusitania in 1915. Many of the world-renowned treasures collected by Lane are illustrated, including all of Lane's contested thirty-nine Continental paintings, providing an insight into the man and his age. Impressionist masterpieces by Manet, Renoir, Monet and Morisot are reunited with Lane's modern collection for the first time since they were removed from Dublin to London in 1913. Distinguished essayists explore the importance of Lane's legacy. Barbara Dawson, Robert O'Byrne and Roy Foster illuminate Lane's life, the cultural context of Ireland in the early twentieth century and the controversy over the thirty-nine Continental paintings. Jessica O'Donnell, Philip McEvansoneya and Christopher Riopelle detail the founding of the collection, Lane's acquisition of important Impressionist paintings and the wider European context for the collection. Joanna Shepard reveals the essential work of conservators in preparing Lane's legacy for exhibition. Raymund Ryan, Seán O'Reilly and John Redmill explore the architectural context of the Gallery's current home, Charlemont House, and the collections once housed there by Lord Charlemont, while Niamh Ann Kelly reflects on the relationship of contemporary art to the art of the past.

Michael Dempsey

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