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Mythographic complexities in 1 Iron Age
Charlotte Coffin

… Translated out of Frenche by Wyllyam Caxton (London: William Copland, 1553), III, fol. 10v. All quotations refer to this edition, which Yves Peyré deems a plausible source: Peyré (gen. ed.), ‘Heywood’s library: the books Thomas Heywood used when he wrote Troia Britanica ’ , Troia , available at www.shakmyth.org , accessed 24 June 2020. 21 For further analysis of Caxton’s paratext see William Kuskin, Symbolic Caxton: Literary Culture and Print Capitalism (Notre Dame, IN: University of Notre Dame Press, 2008), pp. 93–7. 22 Kuskin, Symbolic Caxton , p. 236

in Thomas Heywood and the classical tradition
Theorising practice in Thomas Heywood’s Ages plays
Chloe Kathleen Preedy

, E2r. 35 John Webster, ‘To his beloved friend Maister Thomas Heywod’. In Heywood, Apology , sig. A2v. 36 Heywood, Apology , sig. A4v. 37 See for example David Hawkes, ‘Thomas Gresham’s law, Jane Shore’s mercy: value and class in the plays of Thomas Heywood’, English Literary History , 77:1 (2010), 25–44; Richard Rowland, ‘ The Captives : Thomas Heywood’s “whole monopoly off mischieff”’, Modern Language Review, 90 (1995), 585–602; Theodora A. Jankowski, ‘Historicizing and legitimating capitalism: Thomas Heywood’s Edward IV and If You Know Not

in Thomas Heywood and the classical tradition
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Erotic commodification, cross-cultural conversion, and the bed-trick on the English stage, 1580–1630
Daniel Vitkus

of all things and ignores the reality of use value. 1 That mistake is the primal ruse of emergent capitalism, and it was profoundly disturbing for early modern society in England. This fundamental economic disruption reverberated through various cultural productions, bringing together (and often eliding) economic, erotic, and religious or racial concerns: women are bought and sold as

in Conversions
Scotland’s screen destiny
Mark Thornton Burnett

complementary perspective, ‘postmodernism’, as Colin MacCabe states, ‘is the cultural form of the current moment of ... global multinational capitalism’. 9 This is not to claim that postmodernism and globalization are in any way synonymous, but it is to suggest that, in a world system paradoxically revelling in instability, replication and the difficulty of ever achieving an authentic cultural utterance, the

in Shakespeare and Scotland
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The Wire
Elisabeth Bronfen

singular and comprehensive failures to be found in the nation’s domestic history’, with Baltimore, the particular playing field, standing in for the more global condition of urban centres in early twenty-first-century capitalism. 7 Both the television series and Shakespeare’s series of history plays thus reconceive actual historical domestic strife (the English Wars of the Roses, the American war on drugs) as a theatricalised game, in which shifts in political power are embodied by individual actors playing through the schemes open to them. The Wire ’s connection to

in Serial Shakespeare
The English Comedy as a transnational style
Pavel Drábek

class and the popular element, Weimann narrows down the discussion to an ideological dialectics of early capitalism vs. the folk (proletarian) element. In doing so, he forecloses the transcendental or metaphysical (or spiritual) aspect of early modern theatre, which still operates – as Weimann meticulously documents – within the frameworks of folk ritual. Richard Hillman departs

in Transnational connections in early modern theatre
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The Americans
Elisabeth Bronfen

queen. The Jenningses, and all whom they involve in their clandestine operations, are shown to perform – as transgressive revelry – the Cold War fantasies devised in the capitals of both these nations. Although, in this case, the Soviet Union has not been vanquished from the start, in hindsight we know the Americans to have won the arms race and the struggle for global capitalism. To think of the secret service handlers, investigators, and spies as fairy-like proxies and confused lovers means positing a narrative frame for this TV drama which, in its dramaturgic

in Serial Shakespeare
Abstract only
Richard Hillman

: the evolution from feudalism to capitalism, the fragmentation of the monolithic medieval Church, the contested concentration of monarchic power, the virtual abandonment, step by reluctant step, of England’s territorial pretensions in France. During this period, the English, like the French, still found it difficult to conceive of themselves without taking the other/Other into account. Conversely, to

in French origins of English tragedy
Kate McLuskie and Kate Rumbold

‘global capitalism’ and mass reproduction. They encompassed both producers and consumers since the entrance fees to events and performance provided only a fraction of the exhibition’s and the performances’ cost and its only explicit forms of exclusion were those applied to the significant numbers of groups whose applications to offer their products as part of the ‘Cultural Olympiad’ were turned down

in Cultural value in twenty-first-century England
Ovine tropes and the Golden Fleece in The Merchant of Venice
Atsuhiko Hirota

also helps to shape the play’s rich syncretic patterns of classical and biblical tropes. This intertextuality is enabled primarily by early modern variations on the myth, which include the use of metaphorical language to address economic issues, overseas trade and the importance of the wool industry: Mark Netzloff has analysed the myth in relation to early modern mercantilism and proto-capitalism as

in Interweaving myths in Shakespeare and his contemporaries