T. Davis – författare

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.

Davis and Womack investigate the emerging gaps between literary scholarship and the reading experience. The idea of reconciling the void - the locus of our sociocultural disillusionment and despair in an uncertain world - concerns explicit artistic attempts to represent the ways in which human beings seek out meaning, hope and community.

There are many general surveys of the Reformation available, and they all typically devote some space to how theologians such as Martin Luther and John Calvin understood the Lord's Supper and Christ's presence in the bread and wine. However, they usually do not provide a great deal of detail about the development of the Reformers' thoughts or the finer elements of their respective opinions. This volume by Thomas Davis fills these gaps with a more narrowly focused study. He devotes several chapters to Luther and to Calvin, examining their use of language and their understanding of the presence of Christ, both in the Lord's Supper and in the broader sense of his presence in the church.

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.