In this forceful study, Helen C. Scott situates The Tempest within Marxist analyses of the ‘primitive accumulation’ of capital, which she suggests help explain the play’s continued and particular resonance. The ‘storm’ of the title refers both to Shakespeare’s Tempest hurtling through time, and to Walter Benjamin’s concept of history as a succession of violent catastrophes. Scott begins with an account of the global processes of dispossession—of the peasantry and indigenous populations—accompanying the emergence of capitalism, which generated new class relationships, new understandings of human subjectivity, and new forms of oppression around race, gender, and disability. Developing a detailed reading of the play at its moment of production in the business of theatre in 1611, Scott then moves gracefully through the global reception history, showing how its central thematic concerns and figurative patterns bespeak the upheavals and dispossessions of successive stages of capitalist development. Paying particular attention to moments of social crisis, and unearthing a radical political tradition, Scott follows the play from its hostile takeover in the Restoration, through its revival by the Romantics, and consolidation and contestation in the nineteenth century. In the twentieth century transatlantic modernism generated an acutely dystopic Tempest, then during the global transformations of the 1960s postcolonial writers permanently associated it with decolonization. At century’s end the play became a vehicle for exploring intersectional oppression, and the remarkable ‘Sycorax school’ featured iconoclastic readings by writers such as Abena Busia, May Joseph, and Sylvia Wynter. Turning to both popular culture and high-profile stage productions in the twenty-first century, Scott explores the ramifications and figurative potential of Shakespeare's Tempest for global social and ecological crises today. Sensitive to the play’s original concerns and informed by recent scholarship on performance and reception history as well as disability studies, Scott’s moving analysis impels readers towards a fresh understanding of sea-change and metamorphosis as potent symbols for the literal and figurative tempests of capitalism’s old age now threatening ‘the great globe itself.’

"Women, the body and primitive accumulation"--Cover.

"Shakespeare's Tempest attracted countless anti-colonial writers during the period of decolonization in Africa and the Caribbean, and continues to offer rich material for writers and directors interested in the intimate and varied connections between war and empire. In her forceful study, Helen Scott situates The Tempest within Marxist analyses of the early modern process of 'primitive accumulation' of capital, which she suggests offer an explanation for the play's continued resonance at the turn of the twenty-first century. Beginning with the rise of 'postcolonial Shakespeares' followed by a reading of the play at its moment of production in 1611, Scott moves gracefully through more than two centuries of theatrical productions and literary appropriations to map the way the central thematic concerns and figurative patterns of the play bespeak the upheavals and dispossessions that accompanied the birth and growth of capitalism. She traces colonial interpretations of the play from Edmond Malone's 1803 reading to Beerbohm Tree's staging at the end of the nineteenth century, through Octave Mannoni's 1948 Prospero and Caliban and Philip Mason's 1962 'Prospero's Magic,' to the ascendency of postcolonial criticism in the 1980s. The play's significance during the era of national libration struggles emerges in Scott's readings of works by Aimé Cesaire, George Lamming, and Edward Kamau Brathwaite. Registering anxieties about imperialism and war in mid-twentieth-century Britain, The Tempest became a vehicle for exploring the intersection of oppression around race, class, gender, and sexuality in works by W. H. Auden, Marina Warner, Derek Jarman, and Philip Osment. Turning to twenty-first century productions, including Rupert Goold's 2006 Royal Shakespeare Company staging and Julie Taymor's 2010 film, Scott explores the ramifications and figurative potential of Shakespeare's play for global culture. Sensitive to the play's original concerns and informed by scholarship on performance history, Scott's moving study impels readers towards a fresh understanding of how the metaphors of sea change and metamorphosis betoken the literal and figurative tempests of capitalism's old age that now threaten 'the great globe itself.'"--Provided by publisher.

Following up on his earlier best-seller, The Global Police State, this exciting new study by critically-acclaimed scholar and activist William I. Robinson offers a big-picture contribution to understanding contemporary global society in the aftermath of the coronavirus pandemic. It puts forth an original and cutting-edge exposé of the radical transformation of global capitalism now underway, driven by new digital technologies and turbo-charged by the pandemic. It provides shocking data and analysis on the concentration of power and control in the hands of corporate conglomerates, tech giants, mega-banks, and the military-industrial complex. The book documents the extent of unprecedented global inequalities as the mass of humanity faces violent dispossession and uncertain survival. Enabled by digital applications, the ruling groups, unless they are pushed to change course by mass pressure from below, will turn to ratcheting up the global police state to contain the global revolt. If the book issues a dire warning against the emergence of a dystopic digitalized dictatorship it also finds great hope and inspiration in the burgeoning social movements of the poor and the dispossessed as humanity descends into global civil war. While deeply analytical and theoretically sophisticated, the study is written in such a style that it is eminently accessible to a wider public beyond the academy. While the work will satisfy scholars, it is destined to become a companion text to those struggling on the frontlines for global social justice and a more hopeful future.

The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.

Susan Buck-Morss asks: What does revolution look like today? How will the idea of revolution survive the inadequacy of the formula, “progress = modernization through industrialization,” to which it has owed its political life? Socialism plus computer technology, citizen resistance plus a global agenda of concerns, revolutionary commitment to practices that are socially experimental and inclusive of difference—these are new forces being mobilized to make another future possible. Revolution Today celebrates the new political subjects that are organizing thousands of grass roots movements to fight racial and gender violence, state-led terrorism, and capitalist exploitation of people and the planet worldwide. The twenty-first century has already witnessed unprecedented popular mobilizations. Unencumbered by old dogmas, mobilizations of opposition are not only happening, they are gaining support and developing a global consciousness in the process. They are themselves a chain of signifiers, creating solidarity across language, religion, ethnicity, gender, and every other difference. Trans-local solidarities exist. They came first. The right-wing authoritarianism and anti-immigrant upsurge that has followed is a reaction against the amazing visual power of millions of citizens occupying public space in defiance of state power. We cannot know how to act politically without seeing others act. This book provides photographic evidence of that fact, while making us aware of how much of the new revolutionary vernacular we already share. Susan Buck-Morss is distinguished professor of political philosophy at the CUNY Graduate Center, NYC. Her work crosses disciplines, including art history, architecture, comparative literature, cultural studies, German studies, philosophy, history, and visual culture.

The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience.

With strong first-hand reporting and an original, provocative thesis, Naomi Klein returns with this book on how the climate crisis must spur transformational political change

Receptive to influences of such diverse theorists as Derrida, Jameson, Foucault, Irigaray, Kristeva, Lacan and Althusser, materialist Shakespeare criticism has long since left behind the days of 'vulgar' Marxism and has emerged as a rich interpretive practice. The essays chosen for this book cover all of Shakespeare's dramatic genres and include works on King Lear, Othello, As You Like It, Measure for Measure, The Tempest, The Merchant of Venice, Henry V, Macbeth, The Taming of the Shrew and Julius Caesar. Contributors: Paul Delany; Louis Adrian Montrose; Walter Cohen; Alan Sinfield; Stephen Greenblatt; Michael D. Bristol; Katherine Eismann Maus; James R. Andreas; Robert Weimann; Graham Holderness; Lynda E. Boose; John Drakakis; Claire McEacherm; Frederic Jameson; and Ivo Kamps.

A longtime professor of Ethnic Studies at the University of California at Berkeley, Ronald Takaki was recognized as one of the foremost scholars of American ethnic history and diversity. When the first edition of A Different Mirror was published in 1993, Publishers Weekly called it "a brilliant revisionist history of America that is likely to become a classic of multicultural studies" and named it one of the ten best books of the year. Now Rebecca Stefoff, who adapted Howard Zinn's best-selling A People's History of the United States for younger readers, turns the updated 2008 edition of Takaki's multicultural masterwork into A Different Mirror for Young People. Drawing on Takaki's vast array of primary sources, and staying true to his own words whenever possible, A Different Mirror for Young People brings ethnic history alive through the words of people, including teenagers, who recorded their experiences in letters, diaries, and poems. Like Zinn's A People's History, Takaki's A Different Mirror offers a rich and rewarding "people's view" perspective on the American story.