Stefano Adamo
I am an Associate Professor of Italian history and culture at the University of Banja Luka in Bosnia and Herzegovina, where I have also chaired the Italian department and led the team that founded the Romance Studies department. My academic interests lie at the intersection between culture and economics, which I address by studying how economic ideas are interpreted and disseminated in cultural productions such as narratives, films, and plays. My work on different historical periods such as Elizabethan England and contemporary Italy has been supported by various scholarly societies and research institutions, including the Mont Pelerin Society (USA), the Institute for Humane Studies (USA), the International Centre for Economic Research (Italy), and the Institut de Recherches Économiques et Fiscales (France). I have published in English, Italian, and French in refereed journals of intellectual history, economic history, and literary studies. I am presently working on an introductory book on Italian culture after 1945 for the general public, and on an academic book on the response of Italian writers to the global financial crisis (2008-2013).
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Papers by Stefano Adamo
Il presente saggio passa in rassegna una serie di commedie, drammi e satire composte in Inghilterra nel tardo periodo elisabettiano con lo scopo di mostrare come l’affermazione di temi economici sulle scene dei teatri londinesi abbia incoraggiato negli autori un progressivo allontanamento dalle forme di rappresentazione allegoriche per fare posto a forme più realistiche. Per la prima volta nella storia del teatro moderno, dinamiche commerciali e prettamente urbane finiscono al centro di una pièce di teatro imperniando il motore dell’azione scenica su elementi economici, come il credito, il lavoro, la mobilità sociale, le imprese commerciali. Il saggio mostra inoltre come il teatro tardo-elisabettiano si sia avvicinato a svolgere la funzione di forum di idee, dove i problemi della vita quotidiana dei londinesi potevano essere discussi e offerti al giudizio del pubblico. Dopo una ricostruzione sommaria del contesto culturale dell’epoca, il saggio si sofferma sulle money plays, le city comedies, la figura dell’usuraio elisabettiano, e la retorica del “dio denaro”.
English
This essay reviews a series of plays, comedies and satires from the late Elizabethan period. Its purpose is to show that the gradual appearance of economic themes in the dramatic literature of the time coincided with a shift away from allegorical forms and the rise of more realistic modes of representation. For the first time in the history of modern theater, trade and other typically urban dynamics took center stage in a show, making economic subjects such as credit, labor, social mobility, and commercial enterprises the driving force of the dramatic action. The essay also brings support to the widespread belief that late-Elizabethan theater came close to operating as a forum of ideas, a place where issues of daily life could be presented in the form of a show and left to the judgment of the audience. After a brief sketch of the cultural context of the time, the essay dwells on the topics of the money plays, the city comedies, the Elizabethan usurer, and the rhetoric of money as a “visible god”.
Il presente saggio passa in rassegna una serie di commedie, drammi e satire composte in Inghilterra nel tardo periodo elisabettiano con lo scopo di mostrare come l’affermazione di temi economici sulle scene dei teatri londinesi abbia incoraggiato negli autori un progressivo allontanamento dalle forme di rappresentazione allegoriche per fare posto a forme più realistiche. Per la prima volta nella storia del teatro moderno, dinamiche commerciali e prettamente urbane finiscono al centro di una pièce di teatro imperniando il motore dell’azione scenica su elementi economici, come il credito, il lavoro, la mobilità sociale, le imprese commerciali. Il saggio mostra inoltre come il teatro tardo-elisabettiano si sia avvicinato a svolgere la funzione di forum di idee, dove i problemi della vita quotidiana dei londinesi potevano essere discussi e offerti al giudizio del pubblico. Dopo una ricostruzione sommaria del contesto culturale dell’epoca, il saggio si sofferma sulle money plays, le city comedies, la figura dell’usuraio elisabettiano, e la retorica del “dio denaro”.
English
This essay reviews a series of plays, comedies and satires from the late Elizabethan period. Its purpose is to show that the gradual appearance of economic themes in the dramatic literature of the time coincided with a shift away from allegorical forms and the rise of more realistic modes of representation. For the first time in the history of modern theater, trade and other typically urban dynamics took center stage in a show, making economic subjects such as credit, labor, social mobility, and commercial enterprises the driving force of the dramatic action. The essay also brings support to the widespread belief that late-Elizabethan theater came close to operating as a forum of ideas, a place where issues of daily life could be presented in the form of a show and left to the judgment of the audience. After a brief sketch of the cultural context of the time, the essay dwells on the topics of the money plays, the city comedies, the Elizabethan usurer, and the rhetoric of money as a “visible god”.