Royal Exchange Research Articles

Pickwick and Scrooge: Two Excellent Men of Business

Abstract: Created six years apart, Scrooge and Pickwick exhibit extraordinary similarities in their backgrounds and plot trajectories. Scrooge and Pickwick start out as relatively isolated businessmen who make journeys of discovery and learn lessons in compassion. Their metamorphoses are deepened through their relationships with loyal employees. This article explores the scant details about the two men's business lives, including Scrooge's role as a creditor and his connection to the Second Royal Exchange in London, which burned down in January 1838. It also contextualizes Pickwick's ties to the South American sugar trade and the enslaved labor that contributes to his great wealth. The article speculates on the parallelisms between Scrooge and Pickwick and the effects of seeing them both within the scope of their identified business practices.

Nathan Meyer-Rothschild’s Reproduction of Business Masculinity in the Portrait A View from the Royal Exchange. A Historical, Bourdieusian and Visual Semiotic Exploration

Abstract Business Masculinity represents a distinctly English configuration of masculinity that was hegemonic in the City of London’s banking and finance industry until recently. This work uses visual semiotic analysis, historical analysis and Bourdieusian concepts to show how Rothschild reproduced the aesthetics of Business Masculinity in the portrait A View from the Royal Exchange (1817) by using clothing and other symbolic cultural capital. To secure his trajectory, Rothschild needed to align his identity with Business Masculinity and thus Englishness – and disassociate himself from Jewish masculinity – in a culture of antisemitism, as well as deal with the repercussions arising from his alleged manipulation of information about the Battle of Waterloo (1815). In this context, the portrait played a significant part in Rothschild’s public identity-management. Shortly after the portrait’s publication, Rothschild was trusted with key information and opportunities which were conducive to his enterprise growing exponentially. It is suggested that the portrait played a hitherto underacknowledged part in Rothschild’s trajectory, by disassociating Rothschild from Jewish masculinity and associating Rothschild with Business Masculinity.

The Breach by Naomi Wallace (review)

Reviewed by: The Breach by Naomi Wallace Erica Stevens Abbitt THE BREACH. By Naomi Wallace. Directed by Sarah Frankcom. Hampstead Theatre, London. May 12, 2022. In an era of social crisis in Britain and the United States, this production of Naomi Wallace’s provocative coming-of-age drama The Breach marked a series of firsts. It was the first time this award-winning British-American playwright had been featured at London’s Hampstead Theatre, despite its ongoing commitment to innovative drama. It was the first production for this venue directed by Sarah Frankcom, known for her fearless dedication to contemporary playwrights during her tenure at the Manchester Royal Exchange. It was also The Breach’s English-language premiere. Ironically, this play, written by a Kentucky native, and commissioned by the Actors Theatre of Louisville, was firmly rejected for production by a number of American stages. In France, where translations of Wallace’s play are popular, and her Obie-award-winning drama One Flea Spare is in the permanent repertoire of the Comédie-Française, The Breach received its world premiere (as La Brèche) in a critically-acclaimed production at the 2019 Avignon Festival. (A Québécois version of La Brèche was performed in Montreal in 2021, and the play has recently been translated into German.) Set in Kentucky in 1977 and 1991, The Breach dramatizes the lives of four people—first as teenagers, and then, for the three of them who survive into adulthood, as grown-ups—as their youthful dreams collide with the realities of a country ravaged by the Vietnam War and the destructive impact of Reaganomics. The central figure is feisty sixteen-year-old Jude (Shannon Tarbet, a standout in a powerful cast). She fiercely guards her geeky, brainiac younger brother Acton (Stanley Morgan), carving out a basement sanctuary in their blue-collar home, where their hard-working widowed mother scarcely ever sets foot. When Acton is mercilessly bullied at school, he seeks protection from rich kid Hoke (Alfie Jones), and his eager sidekick Frayne (Charlie Beck). Thirteen years later, when the adult Jude (Jasmine Black-borow) returns to town after Acton’s suicide, she reunites with a grown-up Hoke (Tom Lewis), now CEO of his father’s pharmaceutical company, and a wary, chastened Frayne (Douggie McMeekin), still trailing in Hoke’s wake. As the past and present intersect, secrets are revealed, and troubling questions resurface: Did the boys drug and rape Jude on the night of her seventeenth birthday with her brother’s consent? Or were they tricked by the siblings into a promise of protection for Acton and a lifetime of guilt? Was a crime committed—and, if so, who were the victims? And what happens next? In the Hampstead production of The Breach, the cast members encircled each other in a series of scenes moving fluidly across time and place. Frank-com honoured the playwright’s stage directions to embody wild moments with still bodies, which meant that actors appeared to hover on the edge of disturbing encounters. This approach (ably assisted by choreographer Jennifer Jackson) worked best with the younger performers, who vibrated with barely-repressed energy as they paused, almost in mid-flight, to speak of their father’s fatal fall or the shocking arrangement to trade access to Jude’s body for Acton’s survival. In the older actors, this risky technique was only fully realized near the end, when Blackborow (as the adult Jude) stood quietly, almost transfixed, delivering a joyful speech about the new life she planned with her daughter. Supporting the productive tension between gritty realism and the surreal, dream-like nature of this [End Page 85] Click for larger view View full resolution Shannon Tarbet (Jude) in The Breach. Photo: Johan Persson. [End Page 86] Click for larger view View full resolution Stanley Morgan (Acton), Douggie McMeekin (Frayne), Jasmine Blackborow (Adult Jude), Shannon Tarbet (Young Jude) in The Breach. Photo: Johan Persson. disturbing narrative, Naomi Dawson created a minimalist set, both intimate and dangerous. Deftly lit by Rick Fisher, with a soundscape by Tingying Dong evoking the anarchic undertones of an American generation in transition, the performance space reinforced the play’s...

The Boston Massacre: A Family History by Serena Zabin

Reviewed by: The Boston Massacre: A Family History by Serena Zabin Lauren Duval The Boston Massacre: A Family History. By Serena Zabin. Boston: Houghton Mifflin Harcourt, 2020. 314 pages. Cloth, paper, ebook. On a frosty March evening, Jane Crothers—who may have been a bar-maid at Boston’s Royal Exchange Tavern—crossed the street to speak with Private Hugh White, the sentry stationed outside the Custom House. An Irishman who enlisted in the Twenty-Ninth Regiment in 1759, thirty-year-old White had arrived in Boston a year and a half prior. Tensions occasionally flared between the troops and the local population, but for the most part, he—like many of his fellow soldiers—had found friendship and community in Boston. That evening, as he stood outside the Custom House, he chatted with neighbors, inquiring after their wives and children. A few blocks away, the clamor of angry voices echoed through the snow-covered city. Did the private know the cause, Crothers wanted to know. He did not. Tolling bells abruptly ended their conversation as the square in front of the Custom House flooded with angry, shouting Bostonians, hurling wood and ice. Guns drawn, seven soldiers rushed to Private White’s aid. As she would later testify, Crothers inched closer to the soldiers for protection, giving her a clear view of a man in a dark coat who, she alleged, clapped one of the soldiers on the back and encouraged them to fire—which they did shortly thereafter. Revealing her familiarity with the officers residing in the city, Crothers was “positive the man was not the Captain [Thomas Preston]” (155).1 Her witness testimony would prove key in exonerating Captain Preston from a charge of ordering the troops to fire on civilian inhabitants. This was not the end of Crothers’s engagement with the British army. When, three weeks later, Crothers married Private Joseph Whitehouse of the Fourteenth Regiment, she became an official part of Britain’s military establishment. By the time she testified as a witness for the defense at Captain Preston’s trial the following October, partisan narratives crafted to explain the violence of that night deliberately overlooked the experiences of women such as Crothers who bridged Boston’s military and civilian communities. Instead, as they pointed fingers at one another, Bostonians, lawyers, military officials, and politicians proclaimed that “an enormous gulf separated soldiers and civilians” (207) and that the two populations were—and always had been—separate. But such assertions, Serena Zabin shows in The Boston Massacre: A Family History, are more reflective of political posturing and legal maneuvers than the lived experiences of the men, women, and children who made their lives together in revolutionary Boston. [End Page 198] In her masterful retelling of the events that would become known as the Boston Massacre, Zabin reorients the familiar story of British troops firing into a rowdy crowd around the family ties of women such as Crothers and the neighborly relationships displayed in Private White’s conversations outside the Custom House. “From the moment their guns went off, the spotlight of history has focused its narrow beam on those British soldiers” (137), Zabin writes. But, she contends, there is so much more to the story—“a much wider and richer catalog of . . . events” that includes “women as well as men, friends as well as foes” (150). Focusing on the period from the troops’ 1765 embarkation for the North American colonies through the soldiers’ trials in December 1770, Zabin brings revolutionary Boston to life. British troops and their families, she shows, were enmeshed in Boston’s local community. Residing for nearly four years “on a peninsula hardly bigger than a square mile” (xvi), military families lived in the same neighborhoods, shopped in the same markets, and attended the same churches as civilian inhabitants. In their spare time, soldiers worked in local businesses and forged relationships with their coworkers. They got drunk with their neighbors in Boston’s many taverns, alcohol occasionally inflaming partisan tensions and leading to brawls. Such conflicts were not limited to men; soldiers’ wives, whose domestic and caretaking labors were essential to the functioning of early modern armies, befriended local woman, often socializing—sometimes...

Print, poetry and posterity: Grinling Gibbons’s statue of Charles II for the Royal Exchange

Grinling Gibbons’s statue of Charles II for the courtyard of the Royal Exchange, London, was unveiled in 1684 and quickly celebrated as the leading public sculpture of its age. Within a century, however, the work was so damaged that it was replaced by John Spiller’s replica. Scholarly interest in Gibbons’s accomplishments in stone have always been overshadowed by attention to his limewood carvings, even though stone works constituted at least half of his professional output. This article reconstructs the design and importance of the Charles II statue through a series of early cultural responses to the work, including a detailed engraving by Peter Vanderbank and three published poems. These works allow us to appreciate the skill of this key sculptural output from the Gibbons workshop, viewing it through contemporary ideas of aesthetic and propagandistic value, in addition to perceiving the prominence it once held in London’s cityscape.

In Conversation on the Royal Exchange Theatre, Manchester

Sarah Frankcom worked at the Royal Exchange Theatre in Manchester between 2000 and 2019, and was the venue’s first sole Artistic Director from 2014. In this interview conducted in summer 2019, she discusses her time at the theatre and what she has learned from leading a major cultural organization and working with it. She reflects on a number of her own productions at this institution, including Hamlet, The Skriker, Our Town, and Death of a Salesman, and discusses the way the theatre world has changed since the beginning of her career as she looks forward to being the director of LAMDA. Rachel Clements lectures on theatre at the University of Manchester. She has published on playwrights Caryl Churchill and Martin Crimp, among others, and has edited Methuen student editions of Lucy Prebble’s Enron and Joe Penhall’s Blue/Orange. She is Book Reviews editor of NTQ.

Recapitalisation and the Financial Performance of Firms: Empirical Evidence from the Insurance Industry in Nigeria

Financial Performance sits at the core of a firm’s ability to meet the expectations of its stakeholders and create sustainable value. The history of insurance in Nigeria traces back to the pre-colonial era with the creation of the Royal Exchange Assurance Agency in 1918. The industry, however, is arguably one of the least performing sectors within the Nigerian economy and the financial service sector in particular. Recapitalization reforms have been acknowledged as one of the actions that improve the financial performance of firms, this study, therefore, gauged the impact of recapitalization on the financial performance of the insurance industry in Nigeria. The study adopted the Expected Bankruptcy Cost Hypothesis, Signalling Theory and Risk-Return Hypothesis to underpin the impact of Recapitalisation reforms on the performance of firms. Using Purposive Sampling technique, the study selected the top 12 (contributing 74% of total insurance industry revenue in 2018) insurance companies in Nigeria from 2009 to 2018 and used annual reports obtained from the company’s corporate website to select variables of interest. Using Shareholders Funds (SHF) as a proxy for recapitalization and Gross Written Premium (GWP), Profit before Tax (PBT), Total Assets (TA) and Capital Employed (CE) as proxies for financial performance, Least Square regression result show a positive and substantial relationship between recapitalization and the financial performances of firms. The study, therefore, recommends that the upcoming recapitalization reforms in the insurance sector be embraced by all stakeholders as evidence suggest that the industry would be in a better financial state and well-positioned to take on large/complex in-country risk thereby forestalling capital flight. Keywords: Recapitalisation, Financial, Performance, Insurance, premium DOI: 10.7176/EJBM/12-23-07 Publication date: August 31 st 2020

“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind

Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.

The Promise and Peril of Credit: What a Forgotten Legend about Jews and Finance Tells Us about the Making of European Commercial Society

Representatives of all nations gather for the utility of mankind; there, the Jew, the Mohammedan, and the Christian behave towards each other as if they were of the same religion, and reserve the word “infidel” for those who go bankrupt.—Voltaire, letter VI, Lettres Philosophiques (1734)Voltaire's words about the London Royal Exchange, quoted by Francesca Trivellato in her important new book The Promise and Peril of Credit, represent pars pro toto a view of finance and trade—as peaceful, tolerant, antagonistic to the old segregations and brutalities of religion, and ultimately emancipatory—that entered the philosophical mainstream in the eighteenth century, that seems to at least partly form the foundations of liberal modernity, and that continues to shape the way we think about business and capitalism today (p. 139). Yet Voltaire himself was an anti-Semite who obsessed about the Jews and trafficked in old clichés about cunning Jewish merchants precisely in order to make his case for commerce as a vehicle of toleration. This and similar ironies or contradictions lie at the heart of Promise and Peril, which traces from the mid-seventeenth to the mid-twentieth century what Trivellato calls a “legend,” because it is both patently false (we now know), and was once widespread, that Jews in the Middle Ages or Renaissance invented the bill of exchange (and sometimes also marine insurance).

Beckett, Happy Days, Royal Exchange Theatre, Manchester

Beckett, <i>Happy Days</i>, Royal Exchange Theatre, Manchester

Queen Margaret by the Royal Exchange Theatre

Queen Margaret by the Royal Exchange Theatre

Shakespeare in the Marketplace of Words. Jonathan P. Lamb. Cambridge: Cambridge University Press, 2017. Pp. v+243.

<i>Shakespeare in the Marketplace of Words</i>. Jonathan P. Lamb. Cambridge: Cambridge University Press, 2017. Pp. v+243.

《역대 왕들의 조각상》: 왕정복고기 런던 왕립거래소의 조각프로그램

본 논문은 왕정복고기 런던 왕립거래소에 세워진 《역대 왕들의 조각상》에 대한 연구이다. 공식적으로 1571년 개장한 왕립거래소는 런던 상인뿐만 아니라 국제 무역 상인들의 집결지로 상거래 정보네트워크가 모이고 확산하는 철저히 세속적인 공간이었다. 이렇게 경제활동을 목적으로 세워진 공간에 들어선 역대 영국 군주의 조각상은 건물 내 중정 벽면을 따라 마치 띠를 두르듯 길게 늘여 세워져《역대 왕들의 조각상》이라는 이름으로 불렸다. 《역대 왕들의 조각상》은 같은 유형의 조각프로그램이 교회와 왕실에 집중되었던 중세의 전통에서 벗어나는 첫 번째 사례에 해당한다.BR 거래소의 설립자였던 토마스 그레샴의 계획에 따라 건립되기 시작한 《역대 왕들의 조각상》은 왕립거래소가 영국 왕실의 보호와 지원 아래 놓여 있다는 공간적 배경을 상징적으로 강조하는 역할을 하였다. 군주의 조각상을 건립하는 일은 왕실에 대한 충성과 존경을 드러내 보임으로써 설립자의 권위와 사회적 기여도를 웅변할 수 있는 가장 효과적인 방법이었고, 이를 구현하기 위해 당대 최고의 조각가들이 제작에 참여하였다. 그러나 실질적으로 《역대 왕들의 조각상》이 설립되는 과정은 표면적으로 보이는 것과 달랐다. 첫 번째 《역대 왕들의 조각상》은 런던 길드 조합원들이 조합원으로서의 직무를 방기했을 경우 부과되는 과징금을 대신하는 방안으로 만들어졌으며, 1666년 런던 대화재 이후 재건된 《역대 왕들의 조각상》은 찰스 2세 정권 말기 런던시와 왕실 간의 갈등이 최고조에 달했던 시기에 리버리 회사들이 왕실의 지지를 되돌리기 위해 활용한 타협의 첫걸음이었다.

The Fair Maid of the Exchange

Reviewed by: The Fair Maid of the Exchange James S. Lambert The Fair Maid of the ExchangePresented by the American Shakespeare Center at Blackfriars Playhouse, Staunton, Virginia, USA. 03 22- 04 3, 2017. Directed by Rene Thornton, Jr. Costume Liaison by Jenny McNee. Stage Management by Sarah Dale Lewis. With Ginna Hoben (Phyllis Flower), Benjamin Reed (Cripple), Grant Davis (Frank Goulding), David Anthony Lewis (Master Flower), Allison Glenzer (Mistress Flower), Lauren Ballard (Moll Berry), Josh Innerst (Humphrey Bowdler), and others. When the advertisement for a show claims that it has not been performed in over 400 years, one must go, I suppose. As part of its Renaissance season, the American Shakespeare Center (ASC) at Blackfriars Playhouse in Staunton, Virginia, threw together a performance of 1607's The Fair Maid of the Exchange, probably written by Thomas Heywood. I say "threw together" out of sheer admiration for the actors involved in the ASC "Renaissance Season," which consists of putting on five plays over the season (running simultaneously) within the limitations of thirty hours' rehearsal for each play. The idea, of course, is to recreate as much as possible the rehearsal conditions of the early modern period. The result is an actor-driven season that sparkles with energy rather than polish, prefers spontaneity over plan, and emphasizes discovery over theme. The actors often forget their lines and cues (during the Renaissance season, they use only cue scripts anyway, which makes listening the primary technical skill here), but they often react with delight when they do so. All these variables perhaps make a light city comedy the fittest genre to perform. Besides, in the case of Fair Maid of the Exchange, the only performance [End Page 183]precedent is now 400 years old, so avoiding a director-driven theme and maximizing the play's elementary energy seems to be the only viable approach. The company used an as-yet unpublished edited text provided by Genevieve Love, who is working on an eagerly awaited new edition of the play for Routledge. The play opens with uneasy farce, as two bumbling bandits attempt to "pillage" two middle class women shopping at the Royal Exchange in London. "Cripple" (he is unnamed throughout) hears the commotion and saves the women's lives, using his crutches as weapons. Cripple's triumph is short lived when the bandits notice his physical disability and commit a second attempt at theft and rape, and this time Cripple is fooled, harangued, and then subsequently saved by Frank Goulding, one of three brothers lovesick for Phyllis Flower (who is, as it happens, one of the victims and the titular character). Between the threat of rape, the exploitation of disability, and the piratical farce of the bandits, the opening is off-putting on the page. The ASC dealt with this tonal discomfort by emphasizing the incompetence of the bandits and giving some agency to the "fair maids," Phyllis and Ursula, who verbally resisted the attempted theft and rape. As played here, Phyllis and Ursula, although physically overpowered, seemed amused by the whole ordeal. The light parodic touch of the scene also introduced Cripple into the action: the almost ironic cry of "Help! Help! He'll ravish me!" was met with Cripple's exclamation of "Methinks I hear the sound of ravishment." The parodic call and response established a comic affinity between Cripple and the women, whose physical disadvantages in the attack were read as indicating thematic and romantic compatibility. In this production, Benjamin Reed as Cripple and Ginna Hoben as Phyllis countered the physical attacks of the stronger bandits through improvised craft: Phyllis struck with her verbal invective and Cripple literally struck with his crutches. After the attacks at the end of the scene, both were left prostrate on the stage, amused at how their mutual experience of being physically overpowered had irrevocably bonded them; in a couplet, Phyllis laughed, "No more now; for God's sake, let us hence!" to which Cripple responded, "If I do live, your love I'll recompense." The affinity was established, and perhaps the most confusing element of the play—Phyllis's enduring love for Cripple—emerged from a moment in which both characters exploited a physical...

What Say the Reeds at Runnymede? Magna Carta in Supreme Court History

What Say the Reeds at Runnymede? Magna Carta in Supreme Court History DEREK A. WEBB At Runnymede, at Runnymede, What say the reeds at Runnymede? The lissom reeds that give and take, That bend so far, but never break, They keep the sleepy Thames awake With tales of John at Runnymede.1 Introduction: An 800th Anniversary to Remember On June 15, 2015, lawyers on both sides of the Atlantic Ocean commemorated the 800th anniversary of the moment when King John affixed his seal to Magna Carta in Runnymede. In Runnymede that day, Queen Elizabeth, Prince William, and Prime Minister David Cameron appeared before a throng of thousands of British and American lawyers and politicians to commemorate the occasion. The keepers of the four remaining “exemplifications” of the 1215 Magna Carta, The Deans of Lincoln Cathedral and Salisbury Cathedral and the archivists of the British Library, the keepers of the four remaining “exemplifications" of the 1215 Magna Carta, were all on hand. U.S. Attorney General Loretta Lynch spoke on behalfofthe United States. The American Bar Association rededicated its small memorial it had first placed in Runnymede in 1965 for the 750th anniversary celebration. The weekend before the big day, churches throughout the country rang their bells, archers vied against each other in skills competitions, a medieval fair replete with traditional jousting was thrown, and, in a colorful river pageant, a flotilla of boats of all shapes and sizes floated down the Thames River towards Runnymede. And the day before the anniversary itself, a fullscale reenactment of the conflict between King John and the barons was staged in the Runnymede Pleasure Grounds. And in Washington, D.C., that day, the Supreme Court commemorated Magna Carta in the way it often does best: Justices Antonin MAGNA CARTA IN SUPREME COURT HISTORY 211 Scalia and Stephen Breyer argued about its implications for a case in dueling citations to the Great Charter. In Kerry v. Din, the two Justices disagreed about whether a decision by the State Department not to grant a visa to the husband of a U.S. citizen deprived that U.S. citizen of “due process.” And both looked back to Magna Carta to help them understand the contours of what the Fifth Amendment’s Due Process Clause required in that situation. It was a fitting tribute to Magna Carta that year, as the Justices cited Magna Carta more often in October Term 2014 than in any other single previous term in Supreme Court history.2 A joke that perco­ lated around the Court that year summed it up nicely: “Write Smarta’—Cite the Carta!” The contrast between the commemora­ tions in Runnymede and Washington, D.C., that day illustrates a unique quality of Magna Carta. Magna Carta is impossibly old. The Supreme Court first opened its doors and met for business on February 2,1790, in the Royal Exchange building in New York City. Five hundred seventy-five years before that, King John met with the barons in Runnymede. The time between those two meetings, more than twice the length of time in which the United States itself has existed, reminds us of the sheer, staggering, nearly prehistoric antiquity of Magna Carta, and the relative youth of our own constitutional system. And yet, across nearly a millennium of history, we continue to look back to Magna Carta as the earliest and most totemic symbol of constitutionalism and the rule of law in world history. Despite its antiquity, Magna Carta has managed to reach out from the vast deep ofthe past to exert a modest but ongoing influence on the deliberations of the Court. Indeed, Magna Carta has served as something of a leitmotif throughout Supreme Court history. Whenever a Justice has reached for a foundational legal text to undergird a claim about the fundamental liberties of individuals and the appropriate limits of government, Magna Carta has been available. As early as 1819, Justice William Johnson observed the easy availability and applicability of Magna Carta for judicial decisions when he wrote, “As to the words from Magna Charta ... after volumes spoken and written with a view to their exposition, the good sense of mankind has at length settled down to this...

Parliament Square

Parliament Square is an uncertain play for uncertain times. It was first staged at the Royal Exchange Theatre in Manchester in October 2017 amidst unstable and divided years for the United Kingdom, with two general elections and the Brexit referendum. The play centers on Kat, a young woman who gets up one morning, leaves her husband and young daughter behind and travels to London to commit an extreme act of political protest. The scene excerpted here comes at the end of the first act, as Kat arrives in Parliament Square. Her dueling consciousness flits between resolve and uncertainty about the action she's about to take.

‘To the great public’: The Architectural Image in the Early Illustrated London News

The Illustrated London News, launched in May 1842 as the first illustrated newspaper and quickly copied across Europe, North America and beyond, was full of architectural images. New buildings, ancient ruins, construction sites, royal visits, wars, theatre performances, exotic expeditions, historical essays and innumerable other subjects gave occasion to feature the built, whether for its own sake or as background setting. Images and texts were produced and consumed with an urge and at a speed never seen before. The building, through the illustrated press, left the static confines of the book and the framed print and became peopled by the purposeful bourgeoisie. Through a close analysis of a range of articles on the new Royal Exchange, the refurbished London Colosseum as well as the Queen’s Scotland tour, this essay explores the role of the architectural image in the illustrated press by focusing on its relationship to the accompanying text. Untangling the mechanics of representation and perception, it identifies modes of intellectual, affective, and kinetic vision through which architecture was represented to the remote reading public. By externalising and stabilising vision, the Illustrated London News thus created a virtual public sphere in which the dramatic technological and material changes occurring in the period could be absorbed and normalized.

1666년 런던 대화재 이후 재건된 영국 왕립거래소의 건축적 정체성

영국 왕립거래소는 1569년 당시 엘리자베스 여왕의 재정고문이었던 토마스 그레샴이 런던시 정중앙에 설립한 영국 최초의 거래소이다. 왕립거래소는 본래 그레샴의 의도에 따라 유럽 최초의 거래소인 앤드워프 거래소를 그대로 본떠 만들어진 탓에 영국 고유의 건축적 정체성을 찾아보기 어려운 디자인이었다. 그러나 1666년 런던 대화재를 겪으며 런던 출신으로 시가 주관하는 주요 의전행사 디자인으로 이름을 알린 에드워드 저먼에 의해 새로운 디자인으로 거듭나는 계기를 마련할 수 있게 된다. 저먼이 디자인한 거래소는 해당 건물을 넘어서 런던시와 영국 전체를 대변하는 상징적인 이미지로 널리 활용되었다. 17세기 후반부터 1838년 다시 화재를 겪으며 소실되기 전까지 저먼의 거래소는 “대영제국의 영광” 또는 “런던의 눈”이라는 이름으로 불리며 국가발전의 핵심동력으로 이해되었다. 그런데 지금까지 영국 건축사에서 저먼이 디자인한 거래소는 이니고 존스와 크리스토퍼 렌과 같은 왕실 전속 감독관들이 사용한 고전주의 건축언어를 어설프게 모방한 조악한 숙련공의 솜씨로 평가절하 되어왔다. 본고는 영국 건축사를 지배하는 고전주의 중심의 역사서술을 재고하며 저먼의 왕립거래소 디자인을 17세기, 특히 대화재 이후, 런던의 건축적 특징을 이해하는 새로운 관점으로 제시하고자 한다. 이를 위해 당시 영국 사회가 공간을 사유하는 방식인 테아트룸 문디 개념을 근거로 거래소의 건축적 정체성을 당대의 시선에서 재해석하였고, 저먼이 사용한 건축언어의 원근을 추적하는 것이 아니라 왕립거래소가 재현된 방식에서 연극성이라는 개념을 도출하고 이와 함께 왕립거래소의 공간특수성이 구축되어가는 과정을 분석하였다.

“Responding to the thing that it is”: a study of new play development in English theatres

This paper outlines a study of play development practices in key state-subsidised English theatres in 2014 and 2015. Literary managers, dramaturgs and directors were interviewed about their approach to play development in the nine theatres in which they worked: West Yorkshire Playhouse, Plymouth Drum, The Birmingham Repertory Theatre, The Mercury Theatre, The Liverpool Everyman, The Manchester Royal Exchange, The Royal Shakespeare Company, The Royal Court Theatre and The National Theatre. This paper outlines the context of this study, including an examination of existing theoretical and empirical research on contemporary, English play development. It outlines the methodology used for the data collection, presents the interview responses and concludes with a short summary of some key findings.

Relations and Reflections to the Eye and Understanding: Architectural Models and the Rebuilding of the Royal Exchange, 1839–44

ABSTRACTHistorians have overlooked the ways in which architects perceived and used models during the nineteenth century. Drawing on a wide range of documentary sources, as well as drawings, prints and a surviving model, this essay examines how architectural models were deployed in the competition for the Royal Exchange and its design and construction (1839–44). Many figures saw models as important arbiters in choosing designs and, after the initial competition process, C.R. Cockerell and William Tite demonstrated the use of models as poetic and rhetoric tools in architectural practice. Drawing especially on the example of Tite's model of the Royal Exchange portico, which survives at the Victoria &amp; Albert Museum, the essay discusses how architectural models played an important role in the social activities surrounding the profession including ceremonial events,conversazioniand international exhibitions.