This book asks what, if any, public role drama might play under Project Austerity – an intensification phase of contemporary liberal political economy. It investigates the erosion of public life in liberal democracies, and critiques the attention economy of deficit culture, by which austerity erodes life-in-common in favour of narcissistic performances of life-in-public. It argues for a social order committed to human flourishing and deliberative democracy, as a counterweight to the political economy of austerity. It demonstrates, using examples from England, Ireland, Italy, and the USA, that drama and the academy pursue shared humane concerns; the one, a critical art form, the other, a social enabler of critical thought and progressive ideas. A need for dialogue with emergent forms of collective consciousness, new democratic practices and institutions, shapes a manifesto for critical performance, which invites universities and cultural workers to join other social actors in imagining and enabling ethical lives-in-common.

In Austerity: The History of a Dangerous Idea, Mark Blyth, a renowned scholar of political economy, provides a powerful and trenchant account of the shift toward austerity policies by governments throughout the world since 2009. The issue is at the crux about how to emerge from the Great Recession, and will drive the debate for the foreseeable future.

Technology in Irish Literature and Culture shows how such significant technologies—typewriters, gramophones, print, radio, television, computers—have influenced Irish literary practices and cultural production, while also examining how technology has been embraced as a theme in Irish writing. Once a largely rural and agrarian society, contemporary Ireland has embraced the communicative, performative and consumptive habits of a culture utterly reliant on the digital. This text plumbs the origins of the present moment, examining the longer history of literature's interactions with the technological and exploring how the transformative capacity of modern technology has been mediated throughout a diverse national canon. Comprising essays from some of the major figures of Irish literary and cultural studies, this volume offers a wide-ranging, comprehensive account of how Irish literature and culture have interacted with technology.

The Media and Austerity examines the role of the news media in communicating and critiquing economic and social austerity measures in Europe since 2010. From an array of comparative, historical and interdisciplinary vantage points, this edited collection seeks to understand how and why austerity came to be perceived as the only legitimate policy response to the financial crisis for nearly a decade after it began. Drawing on an international range of contributors with backgrounds in journalism, politics, history and economics, the book presents chapters exploring differing media representations of austerity from UK, US and European perspectives. It also investigates practices in financial journalism and highlights the role of social media in reporting public responses to government austerity measures. They reveal that, without a credible and coherent alternative to austerity from the political opposition, what had been an initial response to the consequences of the financial crisis, became entrenched between 2010 and 2015 in political discourse. The Media and Austerity is a clear and concise introduction for students of journalism, media, politics and finance to the connections between the media, politics and society in relation to the public perception of austerity after the 2008 global financial crash.

Bryan M. Evans, Stephen McBride, and their contributors delve further into the more practical, ground-level side of the austerity equation in Austerity: The Lived Experience. Economically, austerity policies cannot be seen to work in the way elite interests claim that they do. Rather than soften the blow of the economic and financial crisis of 2008 for ordinary citizens, policies of austerity slow growth and lead to increased inequality. While political consent for such policies may have been achieved, it was reached amidst significant levels of disaffection and strong opposition to the extremes of austerity. The authors build their analysis in three sections, looking alternatively at theoretical and ideological dimensions of the lived experience of austerity; how austerity plays out in various public sector occupations and policy domains; and the class dimensions of austerity. The result is a ground-breaking contribution to the study of austerity politics and policies.

« Bryan M. Evans, Stephen McBride, and their contributors delve further into the more practical, ground-level side of the austerity equation in Austerity: The Lived Experience. Economically, austerity policies cannot be seen to work in the way elite interests claim that they do. Rather than soften the blow of the economic and financial crisis of 2008 for ordinary citizens, policies of austerity slow growth and lead to increased inequality. While political consent for such policies may have been achieved, it was reached amidst significant levels of disaffection and strong opposition to the extremes of austerity. The authors build their analysis in three sections, looking alternatively at theoretical and ideological dimensions of the lived experience of austerity; how austerity plays out in various public sector occupations and policy domains; and the class dimensions of austerity. The result is a ground-breaking contribution to the study of austerity politics and policies » --

Winner, 2017 American Theater and Drama Society John W. Frick Book Award Winner, 2017 ASTR Barnard Hewitt Award for Outstanding Research in Theater History Hillary Miller’s Drop Dead: Performance in Crisis, 1970s New York offers a fascinating and comprehensive exploration of how the city’s financial crisis shaped theater and performance practices in this turbulent decade and beyond. New York City’s performing arts community suffered greatly from a severe reduction in grants in the mid-1970s. A scholar and playwright, Miller skillfully synthesizes economics, urban planning, tourism, and immigration to create a map of the interconnected urban landscape and to contextualize the struggle for resources. She reviews how numerous theater professionals, including Ellen Stewart of La MaMa E.T.C. and Julie Bovasso, Vinnette Carroll, and Joseph Papp of The Public Theater, developed innovative responses to survive the crisis. Combining theater history and close readings of productions, each of Miller’s chapters is a case study focusing on a company, a production, or an element of New York’s theater infrastructure. Her expansive survey visits Broadway, Off-, Off-Off-, Coney Island, the Brooklyn Academy of Music, community theater, and other locations to bring into focus the large-scale changes wrought by the financial realignments of the day. Nuanced, multifaceted, and engaging, Miller’s lively account of the financial crisis and resulting transformation of the performing arts community offers an essential chronicle of the decade and demonstrates its importance in understanding our present moment.