Sheffield Hallam University Journals
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Blended Finance as a Catalyst for Sustainability and Economic growth in Emerging Economies: The case of Morocco
Full text linkBlended finance has grown significantly over the last decade. It provides a means to de-risk investments in sectors and geographies that are perceived as high-risk by traditional investors and could play a significant role in addressing global challenges especially in less developed economies. By mobilizing private capital for sustainable development, it can contribute to the achievement of the Sustainable Development Goals, which include a wide range of social, economic, and environmental objectives. In the case of Morocco, there is no research that addresses the impact of Blended finance on economic growth and sustainability in the country. In this qualitative exploratory study, the goal was to understand the role of Blended finance in attracting private capital needed to finance the substantial investment to boost economic growth in Morocco. Findings showed that blended finance could play a crucial role in attracting investment, particularly in the agricultural sector, technology, and sustainable development projects, despite the challenges posed by bureaucracy and transparency that hinders the use of blended finance mechanisms
Gender Fluidity and Violence in Edward Herbert’s ‘Echo to a Rock’
Full text linkWhile the echo poems of Philip Sidney and of Barnabe Barnes have been studied in terms of gender fluidity, and Barnes’s in terms of violence, similar early seventeenth-century echo poems have been overlooked. Edward Herbert’s ‘Echo to a Rock’ continues the tradition of earlier echo poems in manipulating the feminine voice and shifting blame from the speaker to Echo so that Echo as the representative of womankind assumes responsibility for the speaker’s own actions. At the same time, not only is gender representation ambiguous in echo poems, with Echo serving as the poet’s alter ego, but also in ‘Echo to a Rock’ Echo’s gender is further undermined and confused by triangulating the conversation with the inclusion of an inanimate object, a rock which may or may not be identified with Echo, the beloved, and/or the speaker’s inmost thoughts
Holbein at the Royal Court, an exhibition at the Queen’s Gallery, Buckingham Palace, London, UK 10 November, 2023 to 14 April, 2024.
Full text linkCut is the Branch: Faustus's C-Text
Full text linkThis article, which will include some summary and explanation of textual differences between the 1631 and 1663 editions of Doctor Faustus, is primarily concerned with the paratextual differences between the editions, which help inform the play’s resurgence into print, as well as with the financial incentives behind its publication. The 1663 Restoration-era 'C-text,' which was conceived by a theatrical producer for stage production and procured by a stationer for publication, was a politico-religiously neutered version of the text which attempted to better connect with its audience by use of similarly revised paratextual materials; however, these para/textual revisions were not enough to return the play to success, either financially or socially, as the C-text was the last of the seventeenth century Faustus editions, and it has since been largely overlooked in being distinct from the B-text
Rewriting History for the Stage: The Theatricality of the St. Bartholomew’s Day Massacre in Christopher Marlowe’s The Massacre at Paris (1592)
Full text linkIn his 1592 play, The Massacre at Paris, Christopher Marlowe adapted his main source, François Hotman’s A true and plaine reporte of the furious outrages of France (1573), and undoubtedly gave his own version of the events of the Saint Bartholomew’s Day Massacre. While representing the failure of language to solve the conflict, the playwright paradoxically created a specific sound environment and specific images to reconstitute and represent the event. This essay focuses the link between the creation of a certain vision of history on stage and the use of stage devices. The play illustrates the power of theatre to shape the collective memory of an event. Even though the dramatist cut short most of the dialogues, they are still of prime importance in the play and their brevity is significant. The paper also looks at the cacophony that emerges from Marlowe’s play and which seems to complement language when alluding to certain religious controversies. Finally, it argues that Marlowe represents the massacre as a dance of life and death in which the dancers move to the rhythm of a very precise tune and that the choreography may have reminded the audience of a hunting party where the sound of the bells stands for the sound of the horn. This created a powerful image which is still to be found in contemporary works on the Saint Bartholomew’s Day Massacre
Unreliable Allies in an Uncertain World: Warnings from History in Marlowe’s The Massacre at Paris
Full text linkThe Massacre at Paris.
Marlowe brought the horrors of the St Bartholomew’s Day Massacre onto the London stage in 1593 at a time when England was facing a threat of invasion from the expansionist powers of Europe. The Massacre at Paris demonstrates vividly what was at stake if such an invasion were to be successful: Protestantism in England would face an existential crisis, just as it had done in France in 1572. While previous critics have focused on Guise’s representation in the play, this article examines the character of Navarre because in the early 1590s Henri IV was key to England’s defence, but he was a controversial figure who divided the international Protestant alliance. As a result, many of its members refused to provide the French King with the military and financial support he required to fight the Catholic League. To reflect his divisive nature, Marlowe portrays Navarre in an ambiguous light in The Massacre at Paris and thus raises questions about whether the historical Henri IV and the Huguenot nobility had the qualities necessary to defend England and the future of Protestantism. This article will investigate how Marlowe exploited contemporary anxieties about the Huguenot leadership by highlighting their failings during the St Bartholomew’s Day Massacre. By raising the spectre of the Massacre, Marlowe forced his audience to confront the terrifying question of whether England’s principal ally would be strong and trustworthy enough to keep the extremist Catholics from the English coast, or whether he would leave them to be slaughtered like the Huguenots in Paris.
 
The Passion of Lear
Full text linkIn King Lear, feelings—especially pity and anger—are morally significant because, by motivating human behavior, affecting individuals’ attitudes, and shaping people’s ability to judge situations, they can undermine the construction of order in a community and bring harm to its members. By considering gender, the consequences of characters’ feelings and actions, and the writings of various Greek and Roman authors, I formulate three interconnected arguments that address critics’ assessments of feelings in the play and foster original insights into the play’s characters and moral implications. One, Lear does not embrace pity, because he pursues justice and power. However, two, the play does not endorse Lear’s pursuit, because it is not driven by reason. Three, King Lear endorses Stoicism by illustrating both the moral and practical dangers that emanate from pity and the decisive role of reason in creating an ordered and just society
