Working Subjects in Early Modern English Drama

Michelle M. Dowd is an Associate Professor of English at the University of North Carolina - Greensboro, USA. Natasha Korda is a Professor of English at Wesleyan University, USA.

• Contents: Working subjects, Michelle M. Dowd and Natasha Korda; Mythos of labor: The Shoemaker's Holiday and the origin of citizen history, Crystal Bartolovich; Citizens and aliens as working subjects in Dekker's The Shoemaker's Holiday, John Michael Archer; Staging alien women's work in civic pageants, Natasha Korda; Osmologies of luxury and labor: entertaining perfumers in early English drama, Holly Dugan; Englishmen for My Money: work and social conflict?, Tom Rutter; Will Kempe's work: performing the player's masculinity in Kempe's Nine Daies Wonder, Ronda Arab; The rogues' paradox: redefining work in The Alchemist, Elizabeth Rivlin; Desiring subjects: staging the female servant in early modern tragedy, Michelle M. Dowd; Domestic work in progress entertainments, Sara Mueller; 'You take no labour': women workers of magic in early modern England, Molly Hand; Raising Mephistopheles: performative representation and alienated labor in The Tempest, David Hawkes; Custom, debt, and the valuation of service within and without early modern England, Amanda Bailey; The comic-tragedy of labor: a global story, Valerie Forman; Labor and travel on the early modern stage: representing the travail of travel in Dekker's Old Fortunatus and Shakespeare's Pericles, Daniel Vitkus; Afterword: early modern work and the work of representation, Jean E. Howard; Selected bibliography; Index.

'A strong collection of essays on both canonical and non-canonical dramatic entertainments from the English Renaissance, Working Subjects in Early Modern English Drama adds materially to an ongoing conversation in early modern studies.' Douglas Bruster, University of Texas, USA '[An] excellent collection of essays ... the scholars here assembled have seized on what is interesting and culturally revelatory in a refreshingly diverse array of texts.' from the Afterword by Jean E. Howard '[This] book makes three major interventions. One, in moving beyond citizen or city comedies, it considers labour in relation to diverse theatrical forms, including emerging ones such as tricomedies and travel plays. Two... it expands the focus to production and to diverse labouring subjects. Three, the volume illuminates the intersection of local and global economic and cultural networks, a real need in the field.' Renaissance Quarterly ’...One can only admire the ambitious nature of this book and its general success in carrying out its intention.’ Theatre Research International