Relying on works by Spenser, Marlowe, Shakespeare, Nashe, and Donne, The Face of Mammon argues that the coinage of the sixteenth century is a very different object from the money that we know today¿not only formally but conceptually, in that modern money is the object proper to a discourse, economics, that had not yet taken shape in the sixteenth century. Instead, David Landreth reveals that a Renaissance coin is an arena contested among multiple earlymodern discourses that each seek to encompass it, such as ontology, ethics, and politics.
Relying on works by Spenser, Marlowe, Shakespeare, Nashe, and Donne, The Face of Mammon argues that the coinage of the sixteenth century is a very different object from the money that we know today¿not only formally but conceptually, in that modern money is the object proper to a discourse, economics, that had not yet taken shape in the sixteenth century. Instead, David Landreth reveals that a Renaissance coin is an arena contested among multiple earlymodern discourses that each seek to encompass it, such as ontology, ethics, and politics.
David Landreth is an Associate Professor of English at the University of Calfornia, Berkeley.
Inhaltsangabe
List of Illustrations Acknowledgments Introduction Chapter 1: At Home with Mammon: Matter, Money, and Memory in The Faerie Queene and The Jew of Malta Chapter 2: Monetary Policy: King John and Measure for Measure Chapter 3: Dismembering the Ducat in The Merchant of Venice Chapter 4: Wit without Money in Donne and Nashe Afterword Appendix: Tudor monetary units Notes Works cited Index
List of Illustrations Acknowledgments Introduction Chapter 1: At Home with Mammon: Matter, Money, and Memory in The Faerie Queene and The Jew of Malta Chapter 2: Monetary Policy: King John and Measure for Measure Chapter 3: Dismembering the Ducat in The Merchant of Venice Chapter 4: Wit without Money in Donne and Nashe Afterword Appendix: Tudor monetary units Notes Works cited Index
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