Tragicomic Redemptions : Global Economics and the Early Modern English Stage /

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Valerie Forman contends that three seemingly unrelated domains--new economic theories and practices; the discourses of Christian redemption; and the rise of tragicomedy as the stage's most popular genre--were together crucial to the formulation of a new and paradoxical way of thinking about los...

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Detalles Bibliográficos
Autor principal: Forman, Valerie
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Philadelphia : University of Pennsylvania Press, 2008.
Colección:Book collections on Project MUSE.
Temas:
Theater > Economic aspects.
Theater.
Literature and society.
Literature and globalization.
English drama > Early modern and Elizabethan.
Economics in literature.
Drama > Economic aspects.
LITERARY CRITICISM > European > English, Irish, Scottish, Welsh.
Theâtre > Angleterre > Histoire > 17e siecle.
Theâtre > Angleterre > Histoire > 16e siecle.
Theâtre > Aspect economique > Angleterre.
Theâtre (Genre litteraire) > Aspect economique > Angleterre.
Litterature et societe > Angleterre.
Litterature et mondialisation.
Économie politique dans la litterature.
Theâtre anglais > 16e siecle > Histoire et critique.
Theater > England > History > 17th century.
Theater > England > History > 16th century.
Theater > Economic aspects > England.
Drama > Economic aspects > England.
Literature and society > England.
English drama > Early modern and Elizabethan, 1500-1600 > History and criticism.
England.
History.
Criticism, interpretation, etc.
Electronic books.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Stasis and insularity in The merchant of Venice and Twelfth night
  • The voyage out: Pericles
  • Poverty, surplus value, and theatrical investment in The winter's tale
  • Captivity and "free" trade: Fletcher's The island princess and English commerce in the East Indies in the early 1600s
  • Balance, circulation, and equity in the "prosperous voyage" of The renegado
  • Webster's The devil's law-case, the limits of tragicomic redemption, and tragicomedy's afterlife.

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