Shakespeare in the Capitalocene:Titus Andronicus, Timon of Athens, and Early Modern Eco-Theater

Exemplaria ◽  
2018 ◽  
Vol 30 (4) ◽  
pp. 275-292
Author(s):  
Katherine Gillen
Keyword(s):  
Author(s):  
Elizabeth Frazer

Merchant of Venice and Timon of Athens are both read, in this chapter, as questioning the place of friendship in political societies and states. Classically, friendship, or friendly relations at least, between citizens has been understood as a condition of political stability; but in the early modern era an idea of friendship as a transcendent tie, indifferent to politics, and in tension with it was developing. Republican thought also questions the relationship between friendship and commerce, with some critics seeing these as antithetical, others seeing them as bound up together. Both of these plays problematize the dilemmas of exchange, of contract, of bonds in the sense of agreement and promise, in relation both to intimate ties, and to the authority of sovereign institutions. Merchant of Venice considers these matters in particular in relation to a society fissured by religious antagonism—by anti-semitism; both plays consider them in relation to a society marked by clear sex and gender distinction and exclusion.


Author(s):  
Johann Gregory

The notion of fragility is a pervasive one in Western culture. Considering its appearance in early modern texts can help us to understand the history of fragility, as an idea, metaphor and feeling. The relationship between humans and breakable things is used as a metaphor that recognizes human limitations in body or mind. This essay begins with one peculiar instance of fragility from Shakespeare’s Timon of Athens before analysing other examples in early modern culture. It ends by making a few tentative propositions regarding the relationships between literature, material culture and the representations of human fragility.


Author(s):  
Hester Lees-Jeffries

This chapter sets Shakespeare’s Hamlet, Troilus and Cressida, Timon of Athens, and King Lear in the context of classical and early modern satire—most notably the satiric vogue of the 1590s. It explores the language of disease (especially syphilis) and purgation, and considers the relationship between tragedy and satire, which is often focused on the figure of the malcontent. In particular, it suggests that satire is inherently undramatic, however theatrical the figure of the railing malcontent, such as Thersites, may initially appear.


2013 ◽  
Vol 48 (1) ◽  
pp. 85-99
Author(s):  
Steve Orman

Abstract This article seeks to explore representations of theatrical anger in William Shakespeare and Thomas Middleton’s Timon of Athens (1606?) and a play written by students from one of the Inns of Court, the Inner Temple, entitled Timon, written and performed at the Inn circa 1602. The article is concerned with two types of violence exhibited in both plays; rhetorical violence and ritualistic violence. Early modern rhetorical violence is self-consciously performative and manipulative compared to ritualistic violence which is unbridled and emasculating; a bodily performance that cannot be controlled via self-regulation. By exploring cultural perceptions of anger, this article attempts to account for the range of violence performed by the two Timons.


2018 ◽  
Vol 30 (3) ◽  
pp. 57-66
Author(s):  
Manfred Pfister

Although analysing Shakespeare’s sonnets in the context of ‘Shakespeare and money’ is not an obvious choice, I believe that Karl Marx’s ‘The Power of Money’ in his Economic and Philosophic Manuscripts are as relevant to the sonnets as they are to plays such as Timon of Athens. My reading of them will foreground their dialogue with terms and developments in early modern banking and focus on metaphors of economic transaction that run through the whole cycle; indeed, a third of them figure love, its wealth and truth, use and abuse, in terms of investment in order to project an alternative economy beyond the self-alienating world of banking/financial gain. This imbrication of the erotic with the economic comprises also the writing of love sonnets, a competitive game-like economic transaction. Soneteering is a way of ‘merchandizing love’ that inevitably casts a capitalist shadow across the supposedly most sincere expression of love.


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