Description
Book SynopsisEmerging amid the turbulent rise of market finance and wider socioeconomic changes, modern drama enacted vital critiques of art and life under capitalism. Alisa Zhulina shows how fin-de-siecle playwrights such as Ibsen, Strindberg and Chekhov interrogated the meaning of this newly coined economic concept.
Trade ReviewAn extraordinary book whose scope and ambition are truly impressive. Alisa Zhulina works hard to overcome the academic silos that separate the humanities from economic theory by recuperating a more expansive notion of economics—that of the
oikos—to put them in a productive exchange. All of this is executed with the highest rigor, intelligence, and creativity, and grounded in an expansive knowledge of the materials. There aren’t many scholars today who can match Zhulina’s linguistic and intellectual range." - Leonardo Lisi, Johns Hopkins University
Table of Contents
- Acknowledgments
- Introduction
- Chapter 1: Finance Capital: Henrik Ibsen and the Invisible Hand
- Chapter 2: The Dowry versus Erotic Capital: The Drama of Courtship in Strindberg, Shaw, and Benedictsson
- Chapter 3: Casino Capitalism: Anton Chekhov and Gambling
- Chapter 4: Labor and Strike: Gerhart Hauptmann’s The Weavers and Its Legacy in German Expressionism
- Coda
- Notes
- Bibliography
