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John Drakakis

only marginally distinctive from his adversaries, that acquisitiveness is more focused in The Merchant of Venice where the axis of conflict within the ‘discursive performance’ of economics is ‘trade’ and ‘usury’ and the contradictions that flow from their interaction, while the ‘mode of representation’ 52 clearly evident in the audience response to the execution of Roderigo Lopez is that of stage comedy. As David Hawkes has shown, ‘economics’ during the early modern period involved more than simply the management

in Shakespeare’s resources
Kate McLuskie and Kate Rumbold

previous public funding. They were contrasted with a commercially successful singer (Madonna), an ‘indie’ band (Coldplay) and a visual artist (Jack Vettriano). The principles of selection, however, were less to do with the artistic forms or their effects on audiences and more to do with the economics and politics of state support for the arts. The Secretary of State’s questions could have been

in Cultural value in twenty-first-century England
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Kate McLuskie and Kate Rumbold

between these high-minded principles and the possibility of their implementation is, perhaps inevitably, very wide, and this applies as much to the domain of culture as it does to the arenas of politics and economics. The frequent critiques of the resolutions that articulate their aspirations indicate not only the instability of ideas of value but of the kinds of knowledge and understanding required to negotiate

in Cultural value in twenty-first-century England
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David M. Bergeron

bickering between the legislators and James. At the end of the year while the parliamentarians were away, James simply dissolved Parliament. He did not convene another session until 1614. Meanwhile, he continued to spend profligately, generously rewarding his friends. James never developed a serious understanding of economics and finances; he persisted in believing that he presided over a country of

in Shakespeare’s London 1613
Creating a market for printed plays (1584–94)
Andy Kesson

’ investments more quickly than other books, but they also remained profitable far longer’. In the ensuing debate, Blayney, Farmer and Lesser have redefined concepts of market investment, profitability and popularity. 6 Partly in response to these debates over the economics of play publication, Shakespeare scholars have begun to rethink the culture

in John Lyly and Early Modern Authorship
Welles at the Mercury Theatre
Andrew James Hartley

employment, was perpetually in danger of turning in on itself with deadly consequences. The issue at the heart of the Cinna scene might have been any of the polarising issues of the day, be it economics, domestic politics, or – the hot button subject of the moment – isolationism. Welles’s cutting of the script refocused the production on the title character and on the mob which facilitated his

in Julius Caesar
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Kate McLuskie and Kate Rumbold

explains in his account of the origins of the financial crisis of 2008, There is a much bigger gap between the world of finance and that of the general public … Many bright literate people have no idea about all sorts of economics basics, of a type that insiders take as elementary facts about how the world works

in Cultural value in twenty-first-century England
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‘Ariachne’s broken woof’
Janice Valls- Russell, Agnès Lafont, and Charlotte Coffin

of Ovid also played their part in fashioning the representation of affect on stage, as did ‘illustrated Terences and Plautuses … their woodcuts copied again and again in dramatic editions’. 56 Research into the economics, architecture and sociology of the theatre industry and the politics underpinning companies’ agendas has cast fresh light on the conditions in which plays were

in Interweaving myths in Shakespeare and his contemporaries
Ovine tropes and the Golden Fleece in The Merchant of Venice
Atsuhiko Hirota

Faustus will be resolute. (A-Text, I.i.132–5) 14 Products brought to Europe from the New World under the Spanish rule were readily represented in terms of the Golden Fleece. Mythology, economics – both legal (merchant trade) and less so (piracy) – and politics mutually reinforce the ambivalence, not to say downright cynicism, of amorous

in Interweaving myths in Shakespeare and his contemporaries
Kate McLuskie and Kate Rumbold

area of cultural economics , to use existing and future studies as best practice guidance on the use of economic valuation for the cultural sector. DCMS should use existing work in this area to explore the possibility of developing a multi-criteria analysis for cultural decisions, of the type recommended in DCLG’s [Department for Communities and Local

in Cultural value in twenty-first-century England