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This paper investigates the extent to which unemployment and temporary work – two forms of labour market insecurity – affect different aspects of subjective well-being (i.e. life satisfaction, psychological well-being and satisfaction with partnership) among legally married and cohabiting couples in the United Kingdom. Drawing on matched data for couples from the British Household Panel Study, the paper shows that both forms of labour market insecurity, when experienced by the male partner, lower significantly the psychological well-being and life satisfaction of the female partner; women’s temporary work also slightly lowers men’s psychological well-being. The impact of spousal labour market insecurity depends, however, on the employment status of the individual: after controlling for financial strain, psychological well-being and life-satisfaction of both partners in a couple are hampered the most when men are economically dependent on their female partners. In the case of partnership satisfaction, results differ from the other two subjective well-being outcomes: while unemployment of the female partner is associated with higher satisfaction for men, partnership satisfaction is particularly low when both partners experience either form of labour market insecurity. These effects are robust after controlling for fixed individual characteristics that can influence both employment status and well-being outcomes.

Employment --- Economics --- United Kingdom

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Polemology --- Gubbins, Colin --- United Kingdom

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The Masters of the Revels and Elizabeth I's Court Theatre places the Revels Office and Elizabeth I's court theatre in a pre-modern, patronage and gift-exchange driven-world of centralized power in which hospitality, liberality, and conspicuous display were fundamental aspects of social life. W.R. Streitberger reconsiders the relationship between the biographies of the Masters and the conduct of their duties, rethinking the organization and development of the Office, re-examining its productions, and exploring its impact on the development of the commercial theatre. The nascent capitalist economy that developed alongside and interpenetrated the gift-driven system that was in place during Elizabeth's reign became the vehicle through which the Revels Office along with the commercial theatre was transformed. Beginning in the early 1570s and stretching over a period of twenty years, this change was brought about by a small group of influential Privy Councillors. When this project began in the early 1570s the Queen's revels were principally in-house productions, devised by the Master of the Revels and funded by the Crown. When the project was completed in the late 1590s, the Revels Office had been made responsible for plays only and put on a budget so small that it was incapable of producing them. That job was left to the companies performing at court. Between 1594 and 1600, the revels consisted almost entirely of plays brought in by professional companies in the commercial theatres in London. These companies were patronized by the queen's relatives and friends and their theatres were protected by the Privy Council. Between 1594 and 1600, for example, all the plays in the revels were supplied by the Admiral's and Chamberlain's Players which included writers such as Shakespeare, and legendary actors such as Edward Alleyn, Richard Burbage, and Will Kempe. The Queen's revels essentially became a commercial enterprise, paid for by the ordinary Londoners who came to see these companies perform in selected London theatres which were protected by the Council.

Directing --- Drama --- anno 1500-1599 --- United Kingdom

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Social stratification --- Age group sociology --- United Kingdom

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Conservation. Restoration --- architectural conservation --- United Kingdom