Between 1770 and 1800, transformations in the relationship between metropolitan British society and its colonial holdings, and in the concept of the nation itself, left Britons with a new sense of themselves. Over the same period, the consolidation of the middle classes was accompanied by growing social constraints on sexuality and family life. Staging Governance locates the intersection of these two trends in the representation of British India on the London stage. Theatrical productions, especially those representing colonial life, pushed the limits of public discourse on sexuality and colonialism even as the government made efforts to shape and narrow them. At the same time, official discourse on colonial practices, such as the public trials of Clive and Hastings, became theatrical events themselves. Exploring this rapidly shifting world through a series of original readings of dramatic texts and important moments of oratory, Staging Governance demonstrates how the perceived crises of imperial and domestic Britain joined these spheres in the popular imagination. The economics of political and sexual exchange not only became entwined but functioned as mutual supports during a period of social, cultural, and political readjustment.

From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.

Cities are playing an ever more important role in the mitigation and adaption to climate change. This book examines the politics shaping whether, how and to what extent cities engage in global climate governance. By studying the C40 Cities Climate Leadership Group, and drawing on scholarship from international relations, social movements, global governance and field theory, the book introduces a theory of global urban governance fields. This theory links observed increases in city engagement and coordination to the convergence of C40 cities around particular ways of understanding and enforcing climate governance. The collective capacity of cities to produce effective and socially equitable global climate governance is also analysed. Highlighting the constraints facing city networks and the potential pitfalls associated with a city-driven global response, this assessment of the transformative potential of cities will be of great interest to researchers, graduate students and policymakers in global environmental politics and policy.

Inhaltsangabe:Einleitung: Junge innovative Unternehmen (JIU) sind von großer Bedeutung für die gesellschaftliche und wirtschaftliche Entwicklung eines Landes. Sie schaffen Arbeitsplätze, beschleunigen strukturelle Veränderungen und sind eine treibende Kraft für den Erhalt und den Ausbau internationaler Wettbewerbsfähigkeit. JIU entwickeln Innovationen und versuchen, diese am Markt zu etablieren. Sie stehen jedoch bei der Finanzierung ihrer Investitionsvorhaben vor speziellen Problemen. Die technische Umsetzbarkeit und die Vermarktungsaussichten der Innovationen sind unsicher und schwer zu beurteilen. Glaubwürdige Informationen über innovative Investitionsvorhaben sind kaum verfügbar und müssen kostenintensiv beschafft werden. Außerdem ist der Unternehmenserfolg stark von den Fähigkeiten der Führungskräfte des JIU abhängig, welche auf Grund der kurzen Unternehmenshistorie kaum beurteilt werden können. Darüber hinaus können JIU Kapitalgebern keine nennenswerten Sicherheiten in Form von greifbaren werthaltigen Aktiva bieten. All dies führt dazu, dass die Entwicklung und damit auch die Finanzierung der JIU mit hohen Risiken verbunden ist. Außerdem wird die Beziehung zwischen JIU und externen Kapitalgebern durch starke Informations- und Anreizprobleme belastet. So besteht bspw. die Gefahr, dass sich die Unternehmensführung der JIU auf Grund ihres Informationsvorsprungs und der eingeschränkten Beobachtungsmöglichkeiten der Kapitalgeber opportunistisch verhält. Venture Capital (VC) ist eine besondere Finanztechnologie, welche eine Finanzierung der JIU ermöglicht. Sie wird von Venture Capital-Gesellschaften (VCG) eingesetzt, die in der Finanzierungsbeziehung zwischen externen Kapitalgebern und JIU stehen. Zur Steuerung und Kontrolle der finanzierten JIU setzen VCG wirkungsvolle Corporate Governance-Instrumente ein. Die gestaffelte Bereitstellung des Kapitals, welche in dieser Arbeit in Anlehnung an die US-amerikanische Terminologie auch als Staging bezeichnet wird, ist eines der wichtigsten Governance-Instrumente für VCG. Dem JIU wird dabei die gesamte Investitionssumme nicht komplett zu einem Zeitpunkt (upfront), sondern in einzelnen Teilbeträgen, welche zur Verwirklichung angestrebter Zwischenziele erforderlich sind, bereitgestellt. Ziel dieser Arbeit ist es zu untersuchen, inwiefern es der VCG mit Hilfe des Governance-Instrumentes Staging möglich ist, Risiken zu kontrollieren und Informations- und Anreizprobleme abzumildern oder zu lösen, die [...]

This collection reveals the wide-ranging impact of the Stage Licensing Act of 1737 on literary and theatrical culture in Georgian Britain. Demonstrating the differing motivations of the state in censoring public performances of plays after the Stage Licensing Act of 1737 and until the Theatres Act 1843, chapters cover a wide variety of theatrical genres across a century and show how the mechanisms of formal censorship operated under the Lord Chamberlain's Examiner of Plays. They also explore the effects of informal censorship, whereby playwrights, audiences and managers internalized the censorship regime. As such, the volume moves beyond a narrow focus on erasures and emendations visible on manuscripts to elucidate censorship's wide-ranging significance across the long eighteenth century. Demonstrating theatre archives' potency as a resource for historical research, this volume is of exceptional value for researchers interested in the evolving complexities of Georgian society, its politics and mores.

The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 — a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms — not just tragedy and comedy, but the likes of melodrama and pantomime — as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, the Handbook shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.