A termék adatai:
| ISBN13: | 9781350247086 |
| ISBN10: | 1350247081 |
| Kötéstípus: | Puhakötés |
| Terjedelem: | 264 oldal |
| Méret: | 216x138 mm |
| Nyelv: | angol |
| 700 |
Témakör:
Money and Magic in Early Modern Drama
Sorozatcím:
Arden Studies in Early Modern Drama;
Kiadó: The Arden Shakespeare
Megjelenés dátuma: 2024. június 27.
Kötetek száma: Paperback
Normál ár:
Kiadói listaár:
GBP 28.99
GBP 28.99
Az Ön ára:
12 182 (11 601 Ft + 5% áfa )
Kedvezmény(ek): 13% (kb. 1 820 Ft)
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Hosszú leírás:
Money, magic and the theatre were powerful forces in early modern England. Money was acquiring an independent, efficacious agency, as the growth of usury allowed financial signs to reproduce without human intervention. Magic was coming to seem Satanic, as the manipulation of magical signs to performative purposes was criminalized in the great 'witch craze.' And the commercial, public theatre was emerging - to great controversy - as the perfect medium to display, analyse and evaluate the newly autonomous power of representation in its financial, magical and aesthetic forms.
Money and Magic in Early Modern Drama is especially timely in the current era of financial deregulation and derivatives, which are just as mysterious and occult in their operations as the germinal finance of 16th-century London. Chapters examine the convergence of money and magic in a wide range of early modern drama, from the anonymous Mankind through Christopher Marlowe to Ben Jonson, concentrating on such plays as The Alchemist, The New Inn and The Staple of News. Several focus on Shakespeare, whose analysis of the relations between finance, witchcraft and theatricality is particularly acute in Timon of Athens, The Comedy of Errors, Antony and Cleopatra and The Winter's Tale.
Money and Magic in Early Modern Drama is especially timely in the current era of financial deregulation and derivatives, which are just as mysterious and occult in their operations as the germinal finance of 16th-century London. Chapters examine the convergence of money and magic in a wide range of early modern drama, from the anonymous Mankind through Christopher Marlowe to Ben Jonson, concentrating on such plays as The Alchemist, The New Inn and The Staple of News. Several focus on Shakespeare, whose analysis of the relations between finance, witchcraft and theatricality is particularly acute in Timon of Athens, The Comedy of Errors, Antony and Cleopatra and The Winter's Tale.
Tartalomjegyzék:
Acknowledgements
Notes on Contributors
Introduction: David Hawkes (Arizona State University, USA)
Chapter One: Daniel Vitkus (University of California, San Diego, USA), 'The Perverse Eco-Politics of Object-Oriented Criticism: Money, Magical Thinking, and the New Materialism'
Chapter Two: William Casey Caldwell (Carthage College, USA), 'The Vice of Collecting Money in Mankind'
Chapter Three: Kaitlyn Culliton (Texas A&M, USA), 'Cozening Queens and Phony Fairies: Fairy Counterfeits in Early Modern Drama'
Chapter Four: David Hawkes (Arizona State University, USA), 'The Sign of Abel Drugger: Fake News, Finance and Flattery in Ben Jonson's 'Dotages'
Chapter Five: Melissa Vipperman-Cohen (Eleanor Roosevelt College, USA) 'Coins, Counterfeit, and Queer Threat in The Comedy of Errors'
Chapter Six: Hugh Grady (Arcadia University in Glenside, USA), 'The Magic of Bounty in Timon of Athens: Gold, Society, Nature'
Chapter Seven: Kemal Onur Toker (Brandeis University, USA), '"An Antony that Grew the More by Reaping:" The Immeasurable Bounty of the Sharing Economy in Cleopatra's Egypt'
Chapter Eight: Rebecca Steinberger (Misericordia University, USA), 'Woman, Warrior, or Witch? Fetishizing Margaret of Anjou on the Early Modern Stage'
Chapter Nine: Ja Young Jeon (City University of New York, USA), '"The stone is mine:" Theater, Witchcraft, and Ventriloquism in The Winter's Tale'
Index
Notes on Contributors
Introduction: David Hawkes (Arizona State University, USA)
Chapter One: Daniel Vitkus (University of California, San Diego, USA), 'The Perverse Eco-Politics of Object-Oriented Criticism: Money, Magical Thinking, and the New Materialism'
Chapter Two: William Casey Caldwell (Carthage College, USA), 'The Vice of Collecting Money in Mankind'
Chapter Three: Kaitlyn Culliton (Texas A&M, USA), 'Cozening Queens and Phony Fairies: Fairy Counterfeits in Early Modern Drama'
Chapter Four: David Hawkes (Arizona State University, USA), 'The Sign of Abel Drugger: Fake News, Finance and Flattery in Ben Jonson's 'Dotages'
Chapter Five: Melissa Vipperman-Cohen (Eleanor Roosevelt College, USA) 'Coins, Counterfeit, and Queer Threat in The Comedy of Errors'
Chapter Six: Hugh Grady (Arcadia University in Glenside, USA), 'The Magic of Bounty in Timon of Athens: Gold, Society, Nature'
Chapter Seven: Kemal Onur Toker (Brandeis University, USA), '"An Antony that Grew the More by Reaping:" The Immeasurable Bounty of the Sharing Economy in Cleopatra's Egypt'
Chapter Eight: Rebecca Steinberger (Misericordia University, USA), 'Woman, Warrior, or Witch? Fetishizing Margaret of Anjou on the Early Modern Stage'
Chapter Nine: Ja Young Jeon (City University of New York, USA), '"The stone is mine:" Theater, Witchcraft, and Ventriloquism in The Winter's Tale'
Index
