Through an examination of plays, actors, reviews, and audience response of the period, this study traces the development of Broadway as a source of 'mature' American drama, and the simultaneous development of Professional-Managerial Class consciousness and habitus.

Examining twenty-five years of theatre history, this book covers the major plays that feature representations of the Industrial Workers of the World. American class movement and class divisions have long been reflected on the Broadway stage and here Michael Schwartz presents a fresh look at the conflict between labor and capital.

I think one requirement for conscious capitalism is that we understand the social process and dialectic of creativity and oppression. Some oppression is highly creative, and some forms of resistance are not all that creative. Much of the resistance is individual, thought in the postmodern turn, a wide variety of different social causes and movements are networking to put on large-scale carnivals of protest. This partly affirms social creativity, and partly rechannels individual expression in postmodern carnivals of resistance. The Society of the Spectacle, is a form of theatre that imposes constraints upon individual improvisation, deviances from some script, carry severe punishments. Yet, in the most oppressive, most McDonaldized scripting of our work and consumption lives, there is room from creative resistance and improvisation, one might call festive. I conclude that theatre is dangerous. We are addicted to spectacle theatre, there is not enough carnival to resist, and we do not know how to perform work and leisure in a more festive relationship to Nature or each other. We witness the contest of spectacle and carnival in the Battle for Seattle, and the subsequent off-Broadway performances in Canada, Switzerland, Italy, and in post-September 11, the war on terror. These are not festive theatrical performances, they are increasingly dangerous, and the blood is flowing.

Unions and class transformation : the case of the Broadway musicians -- The Broadway musicians : a case study -- Subjects of concern for Broadway musicians -- Class transformation -- Post class transformation : applications on Broadway and beyond.

Corporate capitalism was invented in nineteenth-century Britain; most of the market institutions that we take for granted today - limited companies, shares, stock markets, accountants, financial newspapers - were Victorian creations. So were the moral codes, the behavioural assumptions, the rules of thumb and the unspoken agreements that made this market structure work. This innovative study provides the first integrated analysis of the origin of these formative capitalist institutions, and reveals why they were conceived and how they were constructed. It explores the moral, economic and legal assumptions that supported this formal institutional structure, and which continue to shape the corporate economy of today. Tracing the institutional growth of the corporate economy in Victorian Britain and demonstrating that many of the perceived problems of modern capitalism - financial fraud, reckless speculation, excessive remuneration - have clear historical precedents, this is a major contribution to the economic history of modern Britain.

Departing from the perception that the rise of the large publicly traded corporation resulted from the need to expand in answer to expanding technology and market growth, sociologist William Roy focuses on political, social, and institutional processes governed by the dynamics of power. Roy covers the entire history of American corporation.

This volume explores the crucial role of art dealers in creating a transatlantic art market in the late nineteenth and early twentieth centuries. “There was money in the air, ever so much money,” wrote Henry James in 1907, reflecting on the American appetite for art acquisitions. Indeed, collectors such as Henry Clay Frick and Andrew W. Mellon are credited with bringing noteworthy European art to the United States, with their collections forming the backbone of major American museums today. But what of the dealers, who possessed the expertise in art and recognized the potential of developing a new market model on both sides of the Atlantic? Money in the Air investigates the often-overlooked role of these dealers in creating an international art world. Contributors examine the histories of wellknown international firms like Duveen Brothers, M. Knoedler & Co., and Goupil & Cie and their relationships with American clients, as well as accounts of other remarkable dealers active in the transatlantic art market. Drawing on dealer archives, scholars reveal compelling findings, including previously unknown partnerships and systems of cooperation. This volume offers new perspectives on the development of art collections that formed the core of American art museums, such as the National Gallery of Art, the Metropolitan Museum of Art, and the Frick Collection.