The Olde Post inn was built in the 1800s. It opened as a post office in 1884, grocery & residence. It had a number of owners and was for some time derelict before it was renovated into a restaurant with accommodation in early 1990s. It has been run as a restaurant since and was taken over by Gearoid & Tara Lynch in November 2002. Since then it has gone under further refurbishment and been extended to include two Hampton Conservatories. To have a complete dining experience, it is not just about the food or wine it is about the whole package. From the moment that you arrive and are made to feel welcome, been given sincere genuine hospitality right through to a meal which incorporates the very best products to create great but exquisite flavours. https://arrow.tudublin.ie/menus21c/1427/thumbnail.jpg
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Since Paul and Máire Flynn opened The Tannery in 1997, it has become one of the most original and welcoming experiences in Irish food. What makes it special? There is Paul’s cooking, of course – his fresh Waterford produce, ever-changing menus and mouth-watering focus on flavour. There are cosy chats in the wine bar, warm and welcoming service from expert staff, a bright and buzzy atmosphere at the tables. There is our unique location in the seaside town of Dungarvan, a stone’s throw from the Copper Coast and Comeragh Mountains. But most of all, there is the Tannery’s knack for serving up that most important of ingredients: a great time. https://arrow.tudublin.ie/menus21c/1221/thumbnail.jpg
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handle: 10115/28753
Los liberales de todas las épocas han concedido siempre una gran importancia a las ideas en la historia y, en ese sentido, Lord Acton no es ninguna excepción. Al contrario, defendió en sus escritos que las ideas son fuerzas históricas muy poderosas que mueven el mundo. Son las causas de los sucesos polÃticos y, entre todas ellas, la más importante es la idea de libertad. Una idea moral entendida como libertad de conciencia de la que nacen todas las demás. Precisamente, por el reconocimiento del protagonismo de las ideas en las sociedades humanas, se le considera hoy en dÃa uno de los mayores exponentes de la disciplina Historia de las ideas polÃticas. Sin embargo, encontramos en el pensamiento histórico de Acton una serie de afirmaciones polémicas y contradictorias. Reconoce la imperfección de nuestro conocimiento, la complejidad de la historia y de las ideas que contribuyen a explicarla, a la vez que hace del historiador un juez inflexible, objetivo e imparcial que ha de juzgar, no sólo los hechos históricos y las ideas que los provocaron, sino también a los historiadores que los narraron. Hasta qué punto es compatible la visión liberal de la historia con ese historiador devenido en juez al que se le supone el conocimiento para discernir, nada más y nada menos, entre el bien y el mal, sigue siendo una incógnita.
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doi: 10.21825/hmgog.90122
handle: 10067/1941090151162165141
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"Making Pagans" argues that British stages played a powerful role in the articulation of religious difference in the seventeenth century, an era marked by an explosion of antiquarian and ethnographic scholarship and the first disciplinary stirrings of comparative religious studies. As scholars, colonists, and theologians struggled to classify the new ritual practices brought into view by excavation and exploration, they turned to the idea of "paganism," a concept that became widely adopted to categorize non-Abrahamic religions. Not a fixed or natural category, "paganism" was a contested, mutable, and fictional set of ritual homologies imagined to exist between radically heterogeneous cultures that ranged from imperial Rome to contemporary Mesoamerica and ancient Britain. The early modern public theater was one site where this religious category came into being, and this dissertation argues that its spectacular performances of alien rituals provided a populist, embodied counterpart to the academic and theological arenas in which this category was also forged. Surveying more than a hundred plays from the emergence of the public theater in the 1580s through the end of the Restoration, each of my four chapters isolates one widely-used performance set-piece of stage paganism: oracle scenes, mass suicides of noble pagan families, triumphal parades, and scenes of magical priestly conjuration. In designing these scenes, dramatists like Shakespeare, Marlowe, and Jonson adapted ethnographic and antiquarian scholarship to create striking ritual tableaux. Often, these set-pieces were initially tailored to the locales of particular plays--Jonson, for example, examined recently excavated Roman altars in designing his propitiation scene in Sejanus. But the cash-strapped theater companies that owned these properties and orchestrated specialized ritual performances around them apparently urged subsequent dramatists to recycle these set-pieces in new plays. This culture of material conservatism, I show, resulted in the striking anachronisms that are a hallmark of the period's drama: Jonson's Roman altars recur in plays set everywhere from mythic Thebes to contemporary South America, the carefully orchestrated group suicides in Marlowe's Dido, Queen of Carthage pop up again in ancient Turkey and prehistoric Britain, and the triumphal parades of The Wars of Cyrus reappear in contemporary Mesoamerica and elsewhere. Rather than dismiss these anachronisms as a mark of ignorance, "Making Pagans" argues that these unexpected transpositions had ethnographic force for audiences, creating fictional homologies between different sites and helping produce a sense of a trans-geographic, trans-temporal set of "pagan" ritual practices. These set-pieces became iconic beyond their in-house runs in individual repertories, and in the Restoration, the stock pagans of the Renaissance stage would shape the work of dramatists like Behn, Dryden, Lee, and Southerne, who recycled and adapted these pre-war set-pieces for their depictions of an increasingly capacious "paganism" that included indigenous and Asian religions. Drawing together theater history, Atlantic studies, and the history of comparative religion, "Making Pagans" reconceptualizes the uniquely iterative material practices of the theater as central to the construction of radical religious difference in early modernity.
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La Paracoccidioidomicosis (PCM), es una enfermedad sistémica endémica de países de América Latina, con alto impacto en términos de morbilidad, mortalidad y costos para el sistema de salud si los enfermos progresan a sus estadios avanzados. Este trabajo tuvo como objetivo recopilar datos divulgados en publicaciones sobre casos autóctonos de PCM, desde los primeros casos diagnosticados en Paraguay, con una descripción del contexto histórico e identificando a los pioneros en el diagnóstico en Paraguay, siguiendo un orden cronológico, hasta los casos más recientemente informados. Metodología: búsqueda en bibliotecas nacionales y bases de datos online de casos de PCM en Paraguay, publicados en revistas científicas históricas nacionales y otras fuentes disponibles en formato impreso, y artículos científicos más recientes disponibles en formato electrónico, respectivamente. Resultados: Se identificaron 479 casos de PCM en publicaciones entre los años 1935 y 2023, correspondientes a casos autóctonos y cuyos diagnósticos fueron realizados en territorio paraguayo. El Dr. Juan Boggino y colaboradores fueron los responsables de los primeros diagnósticos en el país. La forma clínica predominante fue la crónica. La media de edad de 45,78 años. La gran mayoría de los pacientes diagnosticados fueron oriundos de la Región Oriental del país, predominantemente hombres agricultores. Conclusión: La PCM es una enfermedad endémica del Paraguay, desde los primeros casos diagnosticados y hasta hoy en día, son detectados pacientes con una evolución grave y discapacitante de la enfermedad, lo que demuestra la necesidad de la difusión de su conocimiento y ampliación de la capacidad diagnóstica precoz a nivel nacional. Debido a su pleomorfismo clínico y su capacidad de simular otras enfermedades, es importante incluir a la PCM como diagnóstico diferencial de pacientes que presenten factores de riesgo para el desarrollo de la enfermedad.
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Tourism and conservation policies in Sweden share a significant common history, involving constructions of the non-human world. In this paper, the development of this historical relationship is traced through national park policies and the Swedish Tourist Association's yearbooks, from the late nineteenth century onward. We explore this in theoretical terms of what Nancy Fraser has called 'boundary struggles': constantly mutating institutionalized divisions between capitalist production and nature, public governance, and social reproductive activities. Through our analysis, we identify five discursive formationssignificant changes in the discursive constructions of the non-human world entailing reconfigurations of boundary struggles. Shifts between notions of sublime and wild nature external to capitalism, as stakes in welfare state accessibility debate, and as tools in the current moment of intensified commodification of the non-human world, confirm the persistence of boundary struggles in capitalist society.
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Tesis ini merupakan penelitian mengenai bagaimana memori kolektif sebuah peristiwa sejarah yang terjadi di sebuah wilayah Kabupaten Sukabumi yang berkembang dan menjadi landasan dalam pola kehidupan masyarakat yang terdokumentasikan pada sebuah monumen kesejarahan di wilayah tersebut. dalam kurun waktu tahun 1992 sampai tahun 2023 dan menelaah representasi praktik kultural yang terjadi didalamnya. Sumber data adalah pengelola monumen, beberapa perwakilan tokoh masyarakat dan masyarakat terkait. Kerangka berpikir yang melandasi penelitian adalah kajian memori kultural (cultural memory studies). Landasan metodologinya adalah pendekatan Cultural Studies. Hasil penelitian menunjukkan bahwa bangunan monumen palagan bojongkokosan memegang peranan dalam pembentukan dan pemantik memori kolektif peristiwa heroik Bojongkokosan bagi kesadaran akan sejarah pada masyarakat Sukabumi.
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The Olde Post inn was built in the 1800s. It opened as a post office in 1884, grocery & residence. It had a number of owners and was for some time derelict before it was renovated into a restaurant with accommodation in early 1990s. It has been run as a restaurant since and was taken over by Gearoid & Tara Lynch in November 2002. Since then it has gone under further refurbishment and been extended to include two Hampton Conservatories. To have a complete dining experience, it is not just about the food or wine it is about the whole package. From the moment that you arrive and are made to feel welcome, been given sincere genuine hospitality right through to a meal which incorporates the very best products to create great but exquisite flavours. https://arrow.tudublin.ie/menus21c/1427/thumbnail.jpg
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Since Paul and Máire Flynn opened The Tannery in 1997, it has become one of the most original and welcoming experiences in Irish food. What makes it special? There is Paul’s cooking, of course – his fresh Waterford produce, ever-changing menus and mouth-watering focus on flavour. There are cosy chats in the wine bar, warm and welcoming service from expert staff, a bright and buzzy atmosphere at the tables. There is our unique location in the seaside town of Dungarvan, a stone’s throw from the Copper Coast and Comeragh Mountains. But most of all, there is the Tannery’s knack for serving up that most important of ingredients: a great time. https://arrow.tudublin.ie/menus21c/1221/thumbnail.jpg
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handle: 10115/28753
Los liberales de todas las épocas han concedido siempre una gran importancia a las ideas en la historia y, en ese sentido, Lord Acton no es ninguna excepción. Al contrario, defendió en sus escritos que las ideas son fuerzas históricas muy poderosas que mueven el mundo. Son las causas de los sucesos polÃticos y, entre todas ellas, la más importante es la idea de libertad. Una idea moral entendida como libertad de conciencia de la que nacen todas las demás. Precisamente, por el reconocimiento del protagonismo de las ideas en las sociedades humanas, se le considera hoy en dÃa uno de los mayores exponentes de la disciplina Historia de las ideas polÃticas. Sin embargo, encontramos en el pensamiento histórico de Acton una serie de afirmaciones polémicas y contradictorias. Reconoce la imperfección de nuestro conocimiento, la complejidad de la historia y de las ideas que contribuyen a explicarla, a la vez que hace del historiador un juez inflexible, objetivo e imparcial que ha de juzgar, no sólo los hechos históricos y las ideas que los provocaron, sino también a los historiadores que los narraron. Hasta qué punto es compatible la visión liberal de la historia con ese historiador devenido en juez al que se le supone el conocimiento para discernir, nada más y nada menos, entre el bien y el mal, sigue siendo una incógnita.
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gold |
citations | 0 | |
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influence | Average | |
impulse | Average |
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doi: 10.21825/hmgog.90122
handle: 10067/1941090151162165141
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"Making Pagans" argues that British stages played a powerful role in the articulation of religious difference in the seventeenth century, an era marked by an explosion of antiquarian and ethnographic scholarship and the first disciplinary stirrings of comparative religious studies. As scholars, colonists, and theologians struggled to classify the new ritual practices brought into view by excavation and exploration, they turned to the idea of "paganism," a concept that became widely adopted to categorize non-Abrahamic religions. Not a fixed or natural category, "paganism" was a contested, mutable, and fictional set of ritual homologies imagined to exist between radically heterogeneous cultures that ranged from imperial Rome to contemporary Mesoamerica and ancient Britain. The early modern public theater was one site where this religious category came into being, and this dissertation argues that its spectacular performances of alien rituals provided a populist, embodied counterpart to the academic and theological arenas in which this category was also forged. Surveying more than a hundred plays from the emergence of the public theater in the 1580s through the end of the Restoration, each of my four chapters isolates one widely-used performance set-piece of stage paganism: oracle scenes, mass suicides of noble pagan families, triumphal parades, and scenes of magical priestly conjuration. In designing these scenes, dramatists like Shakespeare, Marlowe, and Jonson adapted ethnographic and antiquarian scholarship to create striking ritual tableaux. Often, these set-pieces were initially tailored to the locales of particular plays--Jonson, for example, examined recently excavated Roman altars in designing his propitiation scene in Sejanus. But the cash-strapped theater companies that owned these properties and orchestrated specialized ritual performances around them apparently urged subsequent dramatists to recycle these set-pieces in new plays. This culture of material conservatism, I show, resulted in the striking anachronisms that are a hallmark of the period's drama: Jonson's Roman altars recur in plays set everywhere from mythic Thebes to contemporary South America, the carefully orchestrated group suicides in Marlowe's Dido, Queen of Carthage pop up again in ancient Turkey and prehistoric Britain, and the triumphal parades of The Wars of Cyrus reappear in contemporary Mesoamerica and elsewhere. Rather than dismiss these anachronisms as a mark of ignorance, "Making Pagans" argues that these unexpected transpositions had ethnographic force for audiences, creating fictional homologies between different sites and helping produce a sense of a trans-geographic, trans-temporal set of "pagan" ritual practices. These set-pieces became iconic beyond their in-house runs in individual repertories, and in the Restoration, the stock pagans of the Renaissance stage would shape the work of dramatists like Behn, Dryden, Lee, and Southerne, who recycled and adapted these pre-war set-pieces for their depictions of an increasingly capacious "paganism" that included indigenous and Asian religions. Drawing together theater history, Atlantic studies, and the history of comparative religion, "Making Pagans" reconceptualizes the uniquely iterative material practices of the theater as central to the construction of radical religious difference in early modernity.