東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

All the world's a market: Economic l...

Higginbotham, Derrick.

FindBook

Google Book

Amazon

博客來

All the world's a market: Economic life on English stages, c. 1400--c. 1625.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	All the world's a market: Economic life on English stages, c. 1400--c. 1625./
作者:	Higginbotham, Derrick.
面頁冊數:	248 p.
附註:	Source: Dissertation Abstracts International, Volume: 71-09, Section: A, page: 3282.
Contained By:	Dissertation Abstracts International71-09A.
標題:	Literature, Medieval. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3420800
ISBN:	9781124180724

All the world's a market: Economic life on English stages, c. 1400--c. 1625.
Higginbotham, Derrick.

All the world's a market: Economic life on English stages, c. 1400--c. 1625. - 248 p.

Source: Dissertation Abstracts International, Volume: 71-09, Section: A, page: 3282.

Thesis (Ph.D.)--Columbia University, 2010.

Between 1400 and 1625, England began the uneven transition to a capitalist economy, a process in which, I argue, the theater plays a crucial role. In order to demonstrate this role, my dissertation examines plays taken from the late medieval and early modern periods that depict characters' fraught involvement in producing, acquiring, or marketing goods. In successive chapters, I examine stage representations of the following four economic figures: merchants, shopkeepers, cloth-workers, and consumers. My project reveals that dramatic representations of these figures utilize gender discourses to express and resolve the social conflicts that their work inspires, even as commercialization redefined gender roles. All the World's a Market also refocuses debates about periodization by demonstrating that medieval plays create dramatic templates when representing business activity that early modern dramas borrow and then adapt. By tracking how the theater mobilizes and refigures these dramatic models, my dissertation uncovers often-overlooked continuities across these literary periods that show the theater's sustained effort to apprehend and manage the cultural consequences of commercial change. At key moments in each chapter, I juxtapose plays with non-literary texts to explore the shared language between dramatic works and historical documents, including parliamentary proclamations, guild ordinances, and records of dramatic activity, as well as manuscript illustrations and commercial engravings. In so doing, I highlight how individual dramas modify long-standing dramatic templates to re-inscribe or contest contemporary configurations of commercial and gender identities. All the World's a Market ultimately has noteworthy implications for English literary and theater history since it eschews a linear account of changes in the depiction of commercial practices that begins with their censure and ends with their embrace, emphasizing instead the instability in meaning that economic transformation provokes. As commercialization sets free desires that dislocate the gender order, the theater, I conclude, emerges as an influential institution because it materializes yet also mediates the gendered conflicts spurred by business activity, helping audiences to acculturate, even if only provisionally, to the volatility of early capitalism.

ISBN: 9781124180724Subjects--Topical Terms:

571675
Literature, Medieval.

All the world's a market: Economic life on English stages, c. 1400--c. 1625.
LDR:03326nam 2200325 4500 001 1397116
005 20110705104733.5
008 130515s2010 ||||||||||||||||| ||eng d
020 $a 9781124180724
035 $a (UMI)AAI3420800
035 $a AAI3420800
040 $a UMI $c UMI
100 1 $a Higginbotham, Derrick. $3 1675931
245 1 0 $a All the world's a market: Economic life on English stages, c. 1400--c. 1625.
300 $a 248 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-09, Section: A, page: 3282.
500 $a Adviser: Jean E. Howard.
502 $a Thesis (Ph.D.)--Columbia University, 2010.
520 $a Between 1400 and 1625, England began the uneven transition to a capitalist economy, a process in which, I argue, the theater plays a crucial role. In order to demonstrate this role, my dissertation examines plays taken from the late medieval and early modern periods that depict characters' fraught involvement in producing, acquiring, or marketing goods. In successive chapters, I examine stage representations of the following four economic figures: merchants, shopkeepers, cloth-workers, and consumers. My project reveals that dramatic representations of these figures utilize gender discourses to express and resolve the social conflicts that their work inspires, even as commercialization redefined gender roles. All the World's a Market also refocuses debates about periodization by demonstrating that medieval plays create dramatic templates when representing business activity that early modern dramas borrow and then adapt. By tracking how the theater mobilizes and refigures these dramatic models, my dissertation uncovers often-overlooked continuities across these literary periods that show the theater's sustained effort to apprehend and manage the cultural consequences of commercial change. At key moments in each chapter, I juxtapose plays with non-literary texts to explore the shared language between dramatic works and historical documents, including parliamentary proclamations, guild ordinances, and records of dramatic activity, as well as manuscript illustrations and commercial engravings. In so doing, I highlight how individual dramas modify long-standing dramatic templates to re-inscribe or contest contemporary configurations of commercial and gender identities. All the World's a Market ultimately has noteworthy implications for English literary and theater history since it eschews a linear account of changes in the depiction of commercial practices that begins with their censure and ends with their embrace, emphasizing instead the instability in meaning that economic transformation provokes. As commercialization sets free desires that dislocate the gender order, the theater, I conclude, emerges as an influential institution because it materializes yet also mediates the gendered conflicts spurred by business activity, helping audiences to acculturate, even if only provisionally, to the volatility of early capitalism.
590 $a School code: 0054.
650 4 $a Literature, Medieval. $3 571675
650 4 $a Theater. $3 522973
650 4 $a Economics, General. $3 1017424
650 4 $a Literature, English. $3 1017709
650 4 $a Sociology, Social Structure and Development. $3 1017425
650 4 $a Gender Studies. $3 898693
690 $a 0297
690 $a 0465
690 $a 0501
690 $a 0593
690 $a 0700
690 $a 0733
710 2 $a Columbia University. $3 571054
773 0 $t Dissertation Abstracts International $g 71-09A.
790 1 0 $a Howard, Jean E., $e advisor
790 $a 0054
791 $a Ph.D.
792 $a 2010
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3420800