This well-known book reasserts the central importance of political and religious ideology in the origins of the English Civil War. Recent historiography has concentrated on its social and economic causes: Sommerville reminds us what the people of the time thought they were fighting about. Examining the main political theories in c.17th England - the Divine Right of Kings, government by consent, and the ancient constitution - he considers their impact on actual events. He draws on major political thinkers like Hobbes and Locke, but also on lesser but more representative figures, to explore what was new in these ideas and what was merely the common currency of the age. This major new edition incorporates all the latest thinking on the subject.
This well-known book reasserts the central importance of political and religious ideology in the origins of the English Civil War. Recent historiography has concentrated on its social and economic causes: Sommerville reminds us what the people of the time thought they were fighting about. Examining the main political theories in c.17th England - the Divine Right of Kings, government by consent, and the ancient constitution - he considers their impact on actual events. He draws on major political thinkers like Hobbes and Locke, but also on lesser but more representative figures, to explore what was new in these ideas and what was merely the common currency of the age. This major new edition incorporates all the latest thinking on the subject.
J.P. Moreland—Christian philosopher, theologian, and apologist—issues a call to recapture the drama and power of kingdom living—to cultivate a revolution of Evangelical life, spirituality, thought, and Spirit-led power. Drawing insights from the early church, he unpacks three essential ingredients of this revolution: Recovery of the Christian mind. Renovation of Christian spirituality. Restoration of the power of the Holy Spirit. Western society is in crisis: the result of our culture's embrace of naturalism and postmodernism, and a biblical worldview has been pushed to the margins. Christians have been strongly influenced by these trends, with the result that their personal lives often reflect the surrounding culture more than the way of Christ, and the church's transforming influence on society has waned as a result. Kingdom Triangle is divided into two major sections: The first examines and provides a critique of secular worldviews and shows how they have ushered in the current societal crisis. The second lays out a strategy for the Christian community to regain the potency of kingdom life and influence in the world. Moreland believes that evangelical Christianity can mature and lead the surrounding society out of the meaningless morass it finds itself in with humility and vision. With clear insight, he puts the thoughtful Christian in a position to understand our current cultural struggle and to return to a responsible presentation of "the way of Christ" as not just a way of right living, but also a way of knowledge and meaningful life.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of relevant newspapers and periodicals. This second edition of The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1910 through December 1919. The volume chronicles more than 3,000 productions at 35 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and closing dates Number of performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as a plot description, first-night audience reception, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Chu Chin Chow, The Gaol Gate, Hindle Wakes, Justice, Kismet, Pygmalion, and Rebecca of Sunnybrook Farm, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information on adaptations and translations, plot sources, and comments—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1910–1919 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1940–1949: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1940 through December 1949. The volume chronicles more than 2,400 productions at 53 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Light of Heart, Mr. Bolfry, Perchance to Dream, Pacific 1860, Bless the Bride, The Lady’s Not for Burning, The Late Edwina Black, Outrageous Fortune, Seagulls over Sorrento, and Buoyant Billions, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1940-1949 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
We know that faith means “being sure of what we hope for and certain of what we do not see” (Hebrews 11:1, NIV). Love Your God with All Your Mind explains the importance of using your mind not only to win others to Christ but also to experience personal spiritual growth. Author J. P. Moreland challenges you to use logic and reason to further God’s kingdom through evangelism, apologetics, worship, and vocation. This revised edition includes expanded appendixes and three new chapters that outline how to reason for the reality of God and the historicity of Jesus’ life teachings, death, and resurrection.
Unlike dry introductions to philosophy that readers may have encountered previously, Unraveling Philosophy by Adam Groza and J. P. Moreland, provides a simple overview of the importance and ongoing relevance of philosophy from a Christian perspective. Readers will be exposed to major figures, eras, and questions raised in the history of philosophy. Additionally, this project functions as a textbook and workbook all in one, including illustrations, quotes, interactive exercises, and reflection questions throughout. Professors, students, and armchair learners will find it to be quite simply the readiest introduction to philosophy available.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1950, through the 31st of December, 1959. The volume chronicles more than 3,100 productions at 52 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Look Back in Anger, One Way Pendulum, The Birthday Party, A Taste of Honey, Chicken Soup with Barley, Five Finger Exercise, The Hostage, and Waiting for Godot, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1950-1959 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
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