https://dutchcourtesan2019.library.utoronto.ca/files/original/c093d3742b9ff5d961880a35ce9d9ce9.pdf cd274421ee417d51d14dc3c855fb0728 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data PDF Text Any textual data included in the document ‘Seductive Performance and Cosmopolitan Desire in The Dutch Courtesan’ (Panel 3: Sexual World’s of Marston’s Theatre – 11:15AM-1:00PM, 23 March 2019) Liz Fox (University of Massachusetts, Amherst) As targeted ads and phishing scams exploit our desires in the information age, The Dutch Courtesan offers twenty-first century audiences, as it did seventeenth-century audiences, a reflection on the uses of seduction and desire in commercial culture. Although some early modern economists narrowly viewed the global marketplace in binary terms of native and foreign markets, The Dutch Courtesan offers a more nuanced encounter with the expanding web of demands, performances, goods, services, and values that defined the early modern world as London transformed into a centre of mercantilism. First and foremost, Marston’s play displays a range of cosmopolitan types and performances: the eponymous courtesan, Franceschina, circulates among a variety of foreign clientele, performing suggestively on her lute; the native conman, Cockledemoy, obscures his national identity with a range of foreign accents and costumes, accumulating wealth through his tricks. Their hybrid appeal to a diverse set of consumers shows us the dangers of excessive desire as the fashion for foreign commodities intensified in the period. But at the same time, the play is itself a commodity in London’s emerging marketplace. First on stage and then in print, Marston and his collaborators capitalize on similar fascinations of their audience members. Franceschina’s and Cockledemoy’s explicitly theatrical performances, then, invite us to consider the ways in which salesmanship – seduction and trickery – preys on consumer interests to fuel industry in a global market. The play thus both displays and satirizes the precise desires that structure the cultural marketplace in which it first emerged. Liz Fox earned her PhD in English from the University of Massachusetts, Amherst in 2019, specializing in early modern drama and culture. Her current research project, Theater of Exchange: The Cosmopolitan Stage of Jacobean London, examines how theatre shaped and reflected London’s global interactions. Organized around popular goods, including coins, art objects, and plays themselves, as well as commercial services such as the sex trade, this project argues that Jacobean drama engaged its audiences in processes of re-evaluation across economic and cultural networks in ways that promoted cosmopolitan attitudes. Liz’s essay, “‘These Very Pictures Will Surmount My Wealth’: Aesthetic and Economic Competitions in Thomas Heywood’s If You Know Not Me, II” is forthcoming in Medieval and Renaissance Drama in England. She currently serves as the Editorial Assistant for English Literary Renaissance. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abstract: 'Seductive Performance and Cosmopolitan Desire in The Dutch Courtesan' (Fox) Subject The topic of the resource The Dutch Courtesan, "Marston, John", Dutch Courtesan 2019, Toronto Dutch Courtesan, conference abstract, early modern drama, non-Shakespearean drama, mercantilism, commodity, consumerism Description An account of the resource Abstract for Elizabeth Fox's 'Seductive Performance and Cosmopolitan Desire in The Dutch Courtesan'. Includes biography for Fox. Creator An entity primarily responsible for making the resource "Fox, Elizabeth" Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-22, 1605, 17th century Contributor An entity responsible for making contributions to the resource Dutch Courtesan 2019 project team Relation A related resource The Dutch Courtesan Format The file format, physical medium, or dimensions of the resource .pdf (116KB) Language A language of the resource en-CA Type The nature or genre of the resource Text Object Identifier An unambiguous reference to the resource within a given context DC2019-0006 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Toronto (CA), London (UK), 2019-03-22-23, 1605, 17th century Date Available Date (often a range) that the resource became or will become available. 2019-06-30 Date Created Date of creation of the resource. 2019-03 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. The Dutch Courtesan Extent The size or duration of the resource. 116KB Medium The material or physical carrier of the resource. Digital PDF Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Fox, Elizabeth. 'Seductive Performance and Cosmopolitan Desire in The Dutch Courtesan'. Abstract. 'Strangers and Aliens in London and Toronto: Sex, Religion, and Xenophobia in John Marston's The Dutch Courtesan'. DC2019-0006. Dutch Courtesan 2019. Toronto, March 2019. https://dutchcourtesan2019.library.utoronto.ca/items/show/29 Spatial Coverage Spatial characteristics of the resource. Toronto (CA), London (UK) Temporal Coverage Temporal characteristics of the resource. 2019-03-22, 1605, 17th century Accrual Method The method by which items are added to a collection. Materials solicited by the Dutch Courtesan project team. Accrual Periodicity The frequency with which items are added to a collection. Infrequently updated after 2019. Audience A class of entity for whom the resource is intended or useful. researchers, researchers of early modern drama, university instructors, undergraduate students, graduate students Audience Education Level A class of entity, defined in terms of progression through an educational or training context, for which the described resource is intended. Post-Secondary, Graduate, Post-Graduate Instructional Method A process, used to engender knowledge, attitudes and skills, that the described resource is designed to support. Instructional Method will typically include ways of presenting instructional materials or conducting instructional activities, patterns of learner-to-learner and learner-to-instructor interactions, and mechanisms by which group and individual levels of learning are measured. Instructional methods include all aspects of the instruction and learning processes from planning and implementation through evaluation and feedback. large-group instruction, small-group instruction, independent research "Marston commodity conference abstract consumerism Dutch Courtesan 2019 early modern drama John" mercantilism non-Shakespearean drama The Dutch Courtesan Toronto Dutch Courtesan