Titlebook: Shakespeare‘s Cultural Capital; His Economic Impact Dominic Shellard,Siobhan Keenan Book 2016 The Editor(s) (if applicable) and The Author

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书目名称Shakespeare‘s Cultural Capital影响因子(影响力)




书目名称Shakespeare‘s Cultural Capital影响因子(影响力)学科排名




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书目名称Shakespeare‘s Cultural Capital被引频次




书目名称Shakespeare‘s Cultural Capital被引频次学科排名




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书目名称Shakespeare‘s Cultural Capital读者反馈学科排名

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敲诈

,Shakespeare Is ‘GREAT’,hakespeare’s contemporary relevance globally as a cultural and soft power asset for the UK, it was inevitable that he would also become part of the GREAT campaign and, with the ongoing global celebrations of his key anniversaries, the bard from Stratford-upon-Avon is taking centre stage. His cultura

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Sponsoring Shakespeare,peare’s value is constructed and conferred in commercial settings’.. I am interested here in taking up the notion of value in practices of corporate sponsorship. In particular, I want to explore how value was assumed and attained by Shakespeare’s presence in the Cultural Olympiad attached to London

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‘s economy.Examines the cultural and economic impact of Shak.Shakespeare is a cultural phenomenon and arguably the most renownedplaywright in history. In this edited collection, Shellard and Keenan bringtogether a collection of essays from international scholars that examine the directand indirect e

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Book 2016of the Shakespeare industry 400 years after his death. .With a foreword from the celebratedcultural economist Bruno Frey and nine essays exploring the cultural andeconomic impact of Shakespeare in his own day and the present, .Shakespeare’s Cultural Capital .forms aunique offering to the study of cultural economics and Shakespeare..

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Introduction,lower to acknowledge the economic importance of Shakespeare’s works and name, despite the fact that the scholarly Shakespeare industry has itself been partly based on the ongoing marketability of England’s most famous playwright and his art.

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Shakespeare and the Market in His Own Day,in it is evidence not just of his artistic talent, but of the commercial ‘nous’ of himself and his fellow players in the company with whom he worked for most of his career: the Lord Chamberlain’s (later the King’s) players.

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