Beginning with a macabre performance of a scene from King Lear in Deadwood, this chapter focusses on the Shakespearean dramaturgy of this TV drama. The overarching claim is that David Milch rethinks the Western genre by tapping into Shakespeare’s trope of the world as stage. Al Swearengen’s monologues with the head of a dead Sioux chief as well as the way he conceives of his balcony as his private stage, are read in conjunction with the theatricalization of power in Hamlet. The dramatic tension between legitimate and rogue power at issue in Al’s claim to sovereignty also brings the genre of comedy into play. Characters and the role they play in the dramatic action in Measure for Measure and As You Like It are crossmapped with the set of characters that perform their parts on the thoroughfare of this camp town. The topsy-turvy world of comedy is further revisited in the enmeshment of parallel storylines in Deadwood. Oscillating between the various players and those who orchestrate the drama, this serial mode of narration draws into focus that there is no one unequivocal centre, putting into question the omnipotence of Al’s visual regime. At the same time, Shakespeare is shown once again to write the prototypical American myth, the Western frontier.
Well-organised and structured humanitarian organisations did offer women the chance to serve in public life during the interwar years, mostly in the fields of nursing and midwifery. This chapter examines the participation strategy of Francesca Wilson, a teacher whose application to volunteer during the First World War was initially rejected by the Quaker Friends. This chapter argues that through the interwar years, women became increasingly accepted by the Friends as important organisers and carers for children displaced and suffering due to war. This chapter also examines early humanitarian communications in the journals Reconstruction and The Friend, among others, and argues that they provided a platform for women to write about foreign affairs long before their presence on mainstream newspaper foreign pages was accepted. This chapter also looks at refugee work performed by the Quakers during the Spanish Civil War.
The chapter identifies and establishes the deco dandy, that hybrid,
ambivalent and ambiguous creature that only existed for a brief time in
Paris following the war. The figure was also capitalised as a key character
for the reconstruction of France’s alleged cultural supremacy. Already under
duress, France’s exports, namely its luxury industries, came under threat
from foreign sources. Menswear and satellite design fields were targeted,
the chapter suggests, to alter the course of action, to expand the terrain
of sorts, to compete in a field France was not yet well known for. The
figure of the dandy was reoriented to lead the charge. The conjuncture of
the style moderne and masculinity is explored by remaining sensitive to
those gestures that hint at the contours of the deco dandy’s ever-evolving
lifestyle modernism. Ambiguous and ambivalent in his position as both the
subject and object of consumption, he was at once decorative and masculine,
and displayed effeminate contours despite his athletic prowess. Endemic to
the deco dandy’s allure and success are two key concepts: the ensemble and
Einfühlung. Together, the force of these two concepts facilitated, empowered
and reinforced the potentialities of the deco dandy’s lifestyle
Historians have written about the growth of manufacturing in Lyonnais but have not explored the concrete ways it affected politics in the decades before the Revolution. I demonstrate that the political culture of the province promoted free trade as the means of furthering the expansion of local workshops. Immersed in this culture, the members of the provincial assembly publicly criticized the royal monopolies and tax farms inhibiting commerce. Yet when it came to actually reforming these institutions, they recoiled before the vested interests of local investors, court nobles, and royal finances. The discrepancy between the assembly’s liberal declarations and lack of action focused the gaze of commoners on the enduring privileges which, by all accounts, restricted opportunities and perpetuated poverty. People were thus motivated to join violent and fatal revolts in the summer of 1789 against the offices and personnel of the monopoly companies and tax farmers in St.-Étienne and Lyon.
The reading offered in the final chapter is not predicated on any explicit citation of Shakespeare in The Americans. Instead, it conceives of cold war politics in Washington D.C. in the 1980s in terms of Shakespeare’s carnevalesque comedies of transgression. On the one hand, the fact that cross-dressed Viola and the Fool find themselves shuttling between the court of Orsino and Olivia in Twelfth Night is used to theorize the position of the disguised Russian agents, playing their part of subterfuge in the struggle between the U.S. and the Soviet Union. On the other hand, the confusion A Midsummer Night’s Dream performs by making use of a magic love juice is used to think through the enchantment ideology works by transforming the vision of those whose eyes (and minds) it infects. The spy work the Jennings undertake is read in terms of a carnevalesque play with identities, taking place in a heterotopic space that transforms the ordinary city into a dreamlike stage. As in the comedies, this means that while their performance of Americanness invariably moves toward a moment of disenchantment, waking from this dream draws into focus the conundrum of closure in serial drama, which by definition is open-ended.
Chapter 8 stages an encounter with biosocial power in the form of entrepreneurship education, using the history of Junior Achievement Worldwide as a point of departure in examining how entrepreneurship education has become a ‘method’ aimed at cultivating ‘non-cognitive entrepreneurial competencies’ in school-going children from primary education onwards, and how this prefigures the future as an ‘enterprise culture’. Focusing on the relation between the normative fiction of an ‘entrepreneurial mindset’ and the material conditions underpinning ‘necessity entrepreneurship’, the chapter explores how ‘disadvantage’ has become the engine of enterprise and innovation. In the context of an enterprise culture, equal inequality becomes a horizon of opportunity.
This book is a detailed study of the transnational and transmedia stardom/celebrity of Charlotte Gainsbourg. Gainsbourg is one of the most interesting and important actresses working in cinema today, both in her native France and abroad. Her film career, spanning five decades, has seen her work with many significant French and international directors, as well as forging a remarkable collaboration with international auteur Lars von Trier. Her status as musician, style icon, muse to fashion designer Nicolas Ghesquière and the daughter of Jane Birkin and Serge Gainsbourg has cemented her celebrity both in France and internationally. Gainsbourg’s transnational and transmedia stardom, predicated in part on her bilingualism and bicultural background, makes her a fascinating case study in contemporary stardom and celebrity in a global context. The book has two main aims: to provide a comprehensive account of Gainsbourg’s career, to chart its trajectory and pathways, to describe her star persona and to introduce readers to a range of her films as well as extra-filmic material on the actress, singer and style icon; and to position Gainsbourg in contemporary film history. It combines textual analysis of performance, costume, space, characterisation and narrative with archival research and extra-cinematic materials to interrogate the construction of Gainsbourg’s persona.
Chapter 6 presents a genealogy of reformatory education and public hygiene, focusing on how ‘health’ has come to traverse medical and moral conceptions of childhood, and how the figure of the healthy child – once configured as a ‘national asset’ – has since become a form of ‘capital investment’. Tracking this through the datafication of childhood, the core concern is how neoliberal enterprise culture has become a Procrustean bed, with biosocial power doing the work of fashioning life by empowering and supporting children in accordance with prescribed ‘outcomes’. The chapter concludes by taking up a critical perspective on the issue of obesity, examining the battle against childhood obesity as one of the ways in which neoliberal enterprise culture is immunised.
A series of first female presidents from Commander in Chief to House of Cards
This is the first of two chapters focussed on the representation of the first female president in TV drama. It begins with a reading of House of Cards and Claire Hale Underwood’s rise to power through the lens of Macbeth. In a second step, it offers a typology of queenship in Shakespeare’s plays, with the Princess in Love’s Labour’s Lost as a representative of the comedies on one end, Queen Margaret as a representative of the history plays in the center, and villainesses from the tragedies, such as Tamar in Titus Andronicus on the other end. The point of connection is that in Shakespeare’s plays as in TV drama a mixture of cultural fascination and anxiety regarding female sovereignty is put on display. In a final step, this chapter offers an overview of the first wave of women to gain access to the Oval Office on screen – Caroline Reynolds in Prison Break, Mackenzie Allen in Commander in Chief, Allison Taylor in 24 and Elaine Barrish in Political Animals. Elizabeth McCord in the final season of Mme Secretary is shown to offer yet a further variation on the female politician’s struggle for acknowledgement in face of severe opposition from her peers.
This book is a history of nineteenth-century Dublin through human–animal relationships. The book offers a unique perspective on ordinary life in the Irish metropolis during a century of significant change and reform. The book argues that the exploitation of animals formed a key component of urban change, from municipal reform to class formation to the expansion of public health and policing. The book uses a social history approach but draws on a range of new and underused sources including archives of the humane society and the Zoological Society, popular songs, visual ephemera and diaries. The book moves chronologically from 1830 to 1900 with each chapter focused on specific animals and their relationship to urban changes. The first chapter examines the impact of Catholic emancipation and rising Catholic nationalism on the Zoological Society and the humane movement. The second chapter looks at how the Great Famine drove reformers to try to clearly separate the urban poor from animals. The third chapter considers the impact of the expanding cattle trade on the geography, infrastructure and living conditions of the city. The fourth chapter looks at how middle-class ideas about the control of animals entered the legal code and changed where and how pigs and dogs were kept in the city. The fifth and final chapter compares ideas of the city as modern or declining and how contrasting visions were associated with particular animals. The book will interest anyone fascinated by the history of cities, the history of Dublin or the history of Ireland.