Coining at Troynovant:
public prices for subjective values,
quantifying value into commodity;
powering precious rounds of trade & theft,
minting true coin, false coin,
enterprise & economics;
listed by Title.
  

As well as exposition, we include some novels, stories and films with notable economic content beyond their narration of workaday lives and worlds. As elsewhere, we seek leavening for the heavy bread of theory, lest fresh air and uplifting coinages are devalued under presumed gravity.
  

Better a debtor.— "Better a debtor than pay with a coin that does not bear our image!" says our sovereignty.

Friedrich Nietzsche
The Gay Science, #252  (1887)
translated by Walter Kaufmann
  

[He] reached into his pocket and dropped two small coins into the palm of her hand. They were miniature disks of shining gold, smaller than pennies, the kind that had not been in circulation since the days of Nat Taggart; they bore the head of the Statue of Liberty on one side, the words "United States of America — One Dollar" on the other, but the dates stamped upon them were of the past two years.

"That's the money we use here," he said. ...

"But ... on whose authority?"

"That's stated on the coin — on both sides of it."

Ayn Rand
"Atlantis"
Atlas Shrugged  (1957)

  
[Denmark; the castle. The Queen's private chamber.]

Hamlet:

Why, look you there. Look how it steals away.
My father, in his habit as he lived.
Look where he goes even now out at the portal.

                            [Exit Ghost]

Queen Gertrude:

This is the very coinage of your brain.
This bodiless creation ecstasy
Is very cunning in.

William Shakespeare
Hamlet, 3.4.125-130

  
Mervyn LeRoy was assigned to direct Warner's next musical extravaganza, Gold Diggers of 1933. He chose me to play the role of Fay Fortune, a fortune-hunting chorine. ... The picture opened with a line of choristers covered in huge silver coins singing "We're in the Money." Harry Warren and Al Dubin of 42nd Street were responsible for the music and lyrics. And Busby Berkeley was again the inventive dance director.

One day on the set, I was handed the opening song and told to learn it by that evening. The scene was to be shot the next day and we had to be up on the number. I pleaded with Malcolm Beelby, the pianist, to forsake his lunch hour to help me learn my lyrics. ... We went into a corner of the sound stage and started to rehearse. After about three hours, I started getting a little slap-happy, so instead of singing the lyrics as they were written, I translated them into pig latin:

Er'way in-hay the oney-may, ...

In the middle of this nonsense, ... Out of the corner of my eye, I could see a man standing at the left of the stage, wearing a porkpie hat, with a big cigar in his mouth. It was Darryl F. Zanuck, Warner's production chief. Immediately, I stopped singing.

"What are you doing?" asked the observer. ...

I knew that I was going to get fired for fooling around on company time, but I did as he asked. I sang the song as it was written, and then lapsed into my pig-latin version.

After I finished, Darryl paused, thinking. Finally, he said, "You tell Mervyn I want you to sing it just like that tomorrow." He walked out with the measured deliberation of a producer.

I repeated the story to Mervyn and he said, "Darryl's right. It's a great way to start the movie." The next day, Mervyn brought in a big crane and started filming from the back of the set. As I sang "We're in the Money," the camera came in slowly for a close-up and the screen was filled with my lips singing the song ... in pig latin! It was a sensational opening.

Ginger Rogers
Ginger
My Story  (1991)