Migrants’ Narratives

Crossings · 2025-10-02

Acknowledgments

Cornell University Press eBooks · 2021

• Geology

Ack now l e dgm e ntsThank you.Those words feel impossibly inadequate to account for the individuals and communities who have helped to make this book a real thing in the world.I dedicate this book to a trinity of scholarly mentors, with profound gratitude (I am not sure I would have stayed in grad school without them): to Emily Bartels (the sine qua non

Afterword: Knowledge Production, Reproduction and Shifting Borders in the Literature and Economies of the Early Modern Atlantic World

Springer eBooks · 2020

• Sociology
• Political Science
• Economy

Constructing white privilege

2018-10-03 · 2 citations

This essay explores how the discourses and practices of development necessary to transform “wild” spaces into productive plantations in the New World became constituted in the early modern transatlantic political economy. In particular, I read Southerne’s Oroonoko in relation to other literary and historical documents in order to unpack and make visible the development of the plantation economy through the simultaneous racialization and gendering of laboring bodies, especially female bodies. I argue that Southerne’s Oroonoko highlights this racialization through both its focus on economic inheritance and sexual procreation and its transformation of generic conventions. I begin by tracing how the transportation of the conventions of the marriage plot, particularly of the English stage, requires their reconfiguration in the West Indies in order to imagine and make sense of the processes of plantation development. I then focus on the connections between the play’s unusual tragicomic split-plot structure and the ways that procreation and the production of global commodities become linked as relations of race, sex, and gender negotiate the business of slavery that will provide a source not only of profit but also for the accumulation of capital for generations to come. I conclude by demonstrating that the play’s split-plot structure actually imagines and enacts segregation through which the prosperous world it constructs as “white” can operate as if it is independent from the tragic world of African slavery on which it depends.

Do medical students recall and use the language of ethics they are taught pre-clinically once they are in the clinical training environment? An empirical study in ethics education

Medical Teacher · 2012-04-30

Early Modern “Neoliberalisms”: England and the English Caribbean

Modern Language Quarterly · 2011-08-19 · 2 citations

By viewing economic, political, and literary developments through the anachronistic lens of neoliberalism, this essay calls attention to largely overlooked interrelations between the market and seventeenth-century arguments for political freedom. The essay tracks the trope of the neo-Roman political slave to tyranny as it collides with the institution of African slavery in early modern political debates over property and in pamphlets protesting injustices in the trades in sugar, slaves, and indentured servants. Using narrative digressions to stage a struggle for primacy between background and foreground and between text and New World context, Aphra Behn's Oroonoko: A Royal Slave exploits these tensions between the economic and political domains to reveal the market not only as an ethical framework for political freedom but also as a tyrant ruling over those it dispossesses. Taken together, the essay's texts tell a story about economic and political entanglements that intensify even as the economic realm attempts to establish itself as an independent domain. This story develops alongside another: if freedom was initially conceived out of a relationship between subject and ruler, by the end of the seventeenth century the possibilities for political freedom depended on a set of global relations that included not only the citizen and the government but also its colonies and the markets they produce.

Tragicomic Redemptions

University of Pennsylvania Press eBooks · 2008-01-01 · 42 citations

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 loss and profit in relationship to one another.

Transformations of Value and the Production of “Investment”in the Early History of the English East India Company

Journal of Medieval and Early Modern Studies · 2004-09-01 · 13 citations

Research Article| September 01 2004 Transformations of Value and the Production of “Investment”in the Early History of the English East India Company Valerie Forman Valerie Forman Search for other works by this author on: This Site Google Journal of Medieval and Early Modern Studies (2004) 34 (3): 611–642. https://doi.org/10.1215/10829636-34-3-611 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Valerie Forman; Transformations of Value and the Production of “Investment”in the Early History of the English East India Company. Journal of Medieval and Early Modern Studies 1 September 2004; 34 (3): 611–642. doi: https://doi.org/10.1215/10829636-34-3-611 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsJournal of Medieval and Early Modern Studies Search Advanced Search The text of this article is only available as a PDF. © by Duke University Press2004 Article PDF first page preview Close Modal You do not currently have access to this content.

Material Dispossessions and Counterfeit Investments: The Economies of Twelfth Night

Palgrave Macmillan US eBooks · 2003-01-01 · 6 citations

In the final moments of Mark Norman and Tom Stoppard's film, Shakespeare in Love, Will Shakespeare and Viola deLesseps conceive the plot for Twelfth Night. This new comedy is intended to recuperate Shakespeare's loss of a love object—Viola deLesseps herself. In this fictive account, Twelfth Night would serve to disavow the very economic forces at the film's center—that is, those that produce the need to marry the wealthy merchant's daughter (Viola) to the financially strapped aristocrat (Lord Wessex) in order to save the Lord's investment in the Americas. Thus this Twelfth Night is imagined to rewrite Shakespeare in Love in perhaps the same way that the actual Twelfth Night writes over the merchant forces central to one of its own sources, Gl'Ingannati. Moreover, even as the film foregrounds the economics of the theater in Shakespeare's need for 50 pounds in order to become Burbage's partner, the film marks the separation of the economic sphere from that of the aesthetic and the affective. Ironically it does so by having the very marker of that separation also serve as the means by which Shakespeare gets the money he needs. Shakespeare acquires the 50 pounds by winning a wager that a play can show us the "very truth and nature of love"; "culture" and love with it are elevated from the base economic on which they depend and are even purified of it.KeywordsEconomic ForceMaterialist HistoryHistorical ForceEast India CompanyFinal MomentThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Marked Angels: Counterfeits, Commodities, and The Roaring Girl

Renaissance Quarterly · 2001-12-01 · 20 citations

This article traces the connections between the circulation of commodities and counterfeit coins in The Roaring Girl. Contextualizing the play's representation of counterfeits within a discussion of the relationship between real and counterfeit money in the early modern period, I argue that the play registers and addresses economic pressures, in part through its commentary on, and revision of, the conventions of stage comedy. In particular, the play offers enhanced forms of realism and the fiction of the “individual” in the title character, Moll, to compensate for the absence of legible material guarantees for value, legitimacy, or status. I conclude with a reading of the play's representation of masterless persons as the necessary shadow side of the plethora of opportunities seemingly offered by the market.