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• W837672885 abstract "Michelle M. Dowd and Natasha Korda, eds, Working Subjects in Early Modern English Drama (Farnham: Ashgate, 2011). xiii+291pp. ISBN 978 1 4094 1077 5.This collection of essays explores how labour, workers, goods, capital and systems of economic exchange were represented on the early modern stage, focusing particularly on the concept of work in all its manifold forms, and, in general, deploying a loosely Marxist theoretical paradigm. Despite these commonalities, the range of material covered by individual authors is surprisingly large - as 'work' involves a complex array of activities including shoemaking, sewing, perfumery and other forms of craftsmanship, morris-dancing, trickery, prostitution, domestic service, magic, agricultural labour, sheep-shearing and seamanship. Similarly, while the type and degree of labour is regulated by an individual's economic assets, social class and ethnicity, the Protestant Reformation's theological redefinition of work as a holy vocation, not a divine punishment resulting from the Fall, ensures that the workers considered encompass all levels of the social hierarchy, from virtuous gentlewomen, to indentured servants in the North American colonies, and slaves in the Caribbean. This catholicity extends to the range of performances included under the rubric of 'early modern English drama' - progress entertainments, civic pageants, entrepreneurial one-man shows, like Will Kempe's morris-dance from London to Norwich, as well as comedies, tragedies, tragicomedies, historical and travel plays written for the outdoor and indoor playhouses of Elizabethan and Jacobean London. Indeed, the work of the theatre and its complex interconnections with the proto-capitalist economy of early modern England is a recurrent and unifying theme throughout the volume.The editors claim that Working Subjects interrogates 'the processes by which the drama began to forge new connections between labor and subjectivity' (p. 1), paying detailed attention to the material and poetic dimensions of the medium, and investigating 'the interface between changing or historically emergent modalities of work and the forms of subjectivity to which they gave rise in a broad range of dramatic genres' (p. 3). Valerie Forman takes up the issue of genre in one of the most ambitious essays in the collection. She argues that tragicomedy - the most popular dramatic genre in seventeenth-century England - 'makes global trade and travel its subject precisely because....it is the product of a relationship between two potentially opposing genres - one that foregrounds loss, and the other resolution' (p. 209). Due to its 'narrative basis in the economic logic of [Christian] redemption' it is 'particularly well suited to negotiate the complexities of England's participation in global trade'. 'Tragicomedy's redemptive emphasis on loss and return registers and addresses these economic complexities through its reimagining of initial losses as expenditures that return as, and even produce, more prosperous futures' (p. 210). Forman's reading of The Island Princess and The Winter's Tale is a tour de force, but does not entirely resolve the methodological difficulties of reading the genre of tragicomedy, via its allegorical roots in the biblical metanarrative, as a representation of proto-capitalist economics.Even more problematic are the generalisations in David Hawkes's essay that (in Jean E. Howard's words) 'sees the early modern theatrical mode of production as directly contributing to the seismic and pernicious cultural shiftby which abstract symbols came to substitute for actual things both in finance and in regimes of representation' (p. 249). As Howard further notes, in her stimulating afterword, the early modern theatre's 'mode of artistic production was mixed' interrupting 'seamless realism' with a range of 'popular performance traditions, such as clowning, jigging, asides. …" @default.
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