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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

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

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 políticos 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 día uno de los mayores exponentes de la disciplina Historia de las ideas políticas. 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.

"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.