Relevant bibliographies by topics / Merchant of Venice

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Merchant of Venice'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Merchant of Venice"

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Baldo, Jonathan. "Economic Nationalism in Haughton’s „Englishmen for My Money” and Shakespeare’s „The Merchant of Venice”." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 51–67. http://dx.doi.org/10.1515/mstap-2016-0005.

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Close to the time of Elizabeth’s expulsion of the Hanseatic merchants and the closing of the Steelyard (der Stahlhof) in the years 1597-98, two London plays engaged extensively with the business of trade, the merchant class, foreign merchants, and moneylending: early modern England’s first city comedy, William Haughton’s Englishmen for My Money, or A Woman Will Have Her Will (1598); and Shakespeare’s The Merchant of Venice (registered 22 July 1598). Whereas Haughton’s play uses foreignness, embodied in a foreign merchant, three half-English daughters, and three foreign suitors, as a means of promoting national consciousness and pride, Shakespeare indirectly uses the foreign not to unify but to reveal the divisions within England’s own economic values and culture.
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Knowles, Ronald, James C. Bulman, and Scott McMillin. "The Merchant of Venice." Yearbook of English Studies 23 (1993): 325. http://dx.doi.org/10.2307/3508002.

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Mehl, Dieter, and John Lyon. "The Merchant of Venice." Yearbook of English Studies 21 (1991): 350. http://dx.doi.org/10.2307/3508528.

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Desmet, Christy, and Nigel Wood. "The Merchant of Venice." Shakespeare Quarterly 49, no. 3 (1998): 325. http://dx.doi.org/10.2307/2902264.

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Asp, Carolyn, and William Shakespeare. "The Merchant of Venice." Theatre Journal 42, no. 3 (October 1990): 375. http://dx.doi.org/10.2307/3208089.

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Danson, Lawrence, and M. M. Mahood. "The Merchant of Venice." Shakespeare Quarterly 40, no. 2 (1989): 240. http://dx.doi.org/10.2307/2870835.

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Tanner, Tony. "The Merchant of Venice." Critical Quarterly 41, no. 2 (July 1999): 76–99. http://dx.doi.org/10.1111/1467-8705.00233.

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TURLEY, THOMAS A. "The Merchant of Venice." Nutrition Today 21, no. 6 (November 1986): 15–21. http://dx.doi.org/10.1097/00017285-198611000-00003.

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Ko, Yu Jin. "Merchant of Venice (review)." Shakespeare Bulletin 24, no. 3 (2006): 75–84. http://dx.doi.org/10.1353/shb.2006.0054.

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Dailey, Alice. "The Merchant of Venice." Shakespeare Bulletin 28, no. 4 (2010): 510–17. http://dx.doi.org/10.1353/shb.2010.0026.

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Dissertations / Theses on the topic "Merchant of Venice"

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Gambling, Stella. "Iconology in The Merchant of Venice." Thesis, University College London (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325295.

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Rotenberg, Nitzan. "Aristotle in Venice: reconsidering plot and character in Shakespeare's The Merchant of Venice." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97197.

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The Merchant of Venice's seemingly disconnected and interweaving plots contribute to the difficulty of assessing its characters and genre. The comic-tragic ambiguity of the character of Shylock only deepens this ambiguity. There is a precedent in the literature for looking to Aristotle and the Poetics to inform the study of the Shakespeare canon, but few have attempted to understand MV in terms of the taxonomy of ancient classical poetics. I attempt to do this, and find this approach very fruitful for addressing some of the problematic characteristics of the play, especially with regard to plot and character. Specifically, I find that the disunified plot simulates the 'fog' of indecision that surrounds making choices under the constraints of time and limited information, and that the structure of the play places the audience in the position of experiencing how the relatively fixed goals of the characters shift and become distorted as they encounter new and dissonant information.
Les intrigues entremelees et sans lien apparent du Marchant de Venise contribuent a rendre la caracterisation de la piece difficile, tant selon le genre que la structure. L'ambiguite du personnage de Shylock, entre comique et tragique, ne fait que renforcer cette incertitude. Certains se sont deja tournes vers Aristote et la Poetique pour construire leur etude litteraire du cannon shakesperien, mais jusqu'ici rares sont ceux qui ont tente de comprendre specifiquement Le MV en s'appuyant sur la taxinomie de la poetique classique ancienne. J'essaie de faire cela, et cette approche me semble enrichir la comprehension de certaines des caracteristiques problematiques de la piece, surtout en ce qui concerne le concept d'intrigue et celui de personnage. En particulier, l'intrigue multiple me semble simuler le "brouillard" d'indecision qui entoure les choix sous contraintes de temps et d'information limitee, et la structure de la piece me semble ainsi permettre a l'audience d'experimenter comment les buts relativement fixes des personnages se deplacent et se transforment, tandis qu'ils font face a des informations nouvelles et dissonantes, a travers une rapide succession de retournements de situation.
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Ward, Caroline B. "The Value of Commerce in The Merchant of Venice." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1278.

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This thesis explores the pervasive role of commerce in Shakespeare’s comedy The Merchant of Venice, with a particular focus on the characters of Antonio, Bassanio, Shylock, and Portia, and the dual locales of Venice and Belmont. The way in which various characters engage in commerce is a reflection of their individual motives and affiliations. At the same time, the rhetoric of commerce, worth, and value colors the speech of various characters, and influences seemingly extra-commercial considerations such as identity, friendship, religion, socioeconomic status, and love. Ultimately, a close analysis of commercial transaction and language in the play reveals the complex nature of the narrative’s social dynamics and conflicts, and challenges what it means for characters to receive justice and possess agency in the world.
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Ludwig, Carlos Roberto. "Mimesis of inwardeness in Shakespeare's drama : The Merchant of Venice." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/71936.

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Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia.
This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.
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Petherbridge, Steven. "Usury as a Human Problem in Shakespeare's Merchant of Venice." Thesis, North Dakota State University, 2017. https://hdl.handle.net/10365/28450.

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Shakespeare?s Shylock from the Merchant of Venice is a complex character who not only defies simple definition but also takes over a play in which he is not the titular character. How Shakespeare arrived at Shylock in the absence of a Jewish presence in early modern England, as well as what caused the playwright to humanize his villain when other playwrights had not is the subject of much debate. This thesis shows Shakespeare?s humanizing of Shylock as a blurring of the lines between Jews and Christians, and as such, a shift of usury from a uniquely Jewish problem to a human problem. This shift is then explicated in terms of a changing England in a time where economic necessity challenged religious authority and creating compassion for a Jew on the stage created compassion symbolically for Christian usurers as well.
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MONTANINO, FRANCESCA. "The Merchant of Venice sul palcoscenico della Storia. Interpretazioni regie riscritture." Doctoral thesis, Università di Siena, 2018. http://hdl.handle.net/11365/1051350.

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La mia ricerca analizza la storia scenica di The Merchant of Venice dal Settecento fino alla nostra contemporaneità. Nella schiera dei classici shakespeariani, il Merchant si colloca senza dubbio tra i più problematici: si tratta di certo di una delle commedie più rappresentate nel mondo, tuttavia il motivo principale della sua attrattività, e al tempo stesso la ragione delle sue complessità, non si ritrova negli elementi connotanti il genere a cui appartiene (trionfo dell’amore romantico sull’antagonista, equivoci, travestimenti e smascheramenti, ecc…), ma nelle ambiguità e contraddizioni che trascendono la struttura del plot. Per questo è stata molto spesso oggetto di operazioni di riscrittura, teatrale o di altro genere, a partire dal primo Settecento fino ai giorni nostri. Molto spesso, in queste pagine come nel destino del Merchant, il centro della riflessione finisce per coincidere con il personaggio di Shylock: l’ebreo shakespeariano - villain estremamente sui generis, per quella sua capacità di trascendere, con il suo dramma concreto e vibrante, il proprio ruolo di oppositore al lieto fine - sopravvive alla memoria dell’opera stessa, diventando una sorta di archetipo per un eterno dibattito sulla questione ebraica. Inevitabilmente molta della fama del play shakespeariano coincide con quella del suo personaggio: Shylock mette in crisi gli equilibri della commedia, e il racconto della sua disfatta diventa spesso il fulcro drammaturgico, a cui gli innamorati di Belmont fanno da pallido contraltare. Il dibattito sull’antisemitismo influenza fortemente la percezione del Merchant fin dall’epoca moderna, e tantissime riscritture sono motivate dalla volontà di redimere il personaggio dalla sua immagine stereotipata, o al contrario di condannarlo definitivamente. Anche quando le rielaborazioni contemporanee si riappropriano della pluralità di punti di vista, presentando il Merchant come un dramma corale, l’ebreo e la sua disfatta emergono sempre in primo piano. Del resto, puntualizza il critico del “New Yorker” Alan Dopkin, “a production of The Merchant of Venice that treats Shylock as anything other than the most interesting person in the play will always fail.” In un percorso che ha il suo centro nell’esperienza teatrale, ho tuttavia cercato quanto più possibile di allargare la visione ad altri linguaggi artistici (letteratura, cinema, poesia), sottolineando le peculiarità di ogni riscrittura alla luce degli scenari sociali e politici in cui si colloca. Gran parte del lavoro si è focalizzato quindi sul confronto tra il testo shakespeariano e le sue rielaborazioni, intese nel senso più ampio di ‘trasformazioni’ (copioni, libri di regia, testi drammaturgici o letterari autonomi, opere filmiche) con l’intento di mettere in evidenza i cambi di prospettiva, gli elementi di continuità e i punti di rottura, i cambiamenti sociali e culturali di cui ogni esperienza è in qualche modo espressione.
The Merchant of Venice is undoubtedly one of the most problematic of Shakespearean classics: one of the main reason of its attractiveness and complexity could be found in the ambiguities and contradictions that overwhelmed the structure of the plot. The attempt to investigate such a complex play is the driving force for its many rewritings from the early eighteenth century to nowadays. The research covers almost four centuries of stagings, adaptations and appropriations, identifying the aims that leaded actors, directors and writers to re-read the play through the lens of the present. Despite the research had been particularly focusing on some selected theatrical experiences, the discussion includes other artistic languages as well (literature, cinema, poetry), underlining the peculiarities of each work in relation to the social and political scenarios wherein it spread out. The research proceeds comparing the original Shakespeare’s text with many of its ‘transformations’ (scripts, acting versions, novels, films, etc…) in the attempt to highlight the elements of continuity as well as the breakpoints, the social and cultural changes which emerge from each of these adaptations.
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Rozmovits, Linda. "Private revenge, public punishment : the Merchant of Venice in England, 1870-1929." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283108.

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Van, Pelt Deborah. ""I stand for sovereignty" : reading Portia in Shakespeare's The merchant of Venice." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002860.

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Caretta, Jessica <1992&gt. "Shakespeare’s The Merchant of Venice: from the play to three graphic novel adaptations." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21591.

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This Thesis examines three graphic novel adaptations of Shakespeare’s The Merchant of Venice to demonstrate their value as literary products and their possible use in class as effective pedagogical tools. Graphic novels encourage a more active and dynamic relationship between the author, the work, and the reader, proving to be a productive medium to visually adapt the Bard’s plays. The first Chapter serves a theoretical background, providing a definition of adaptation and of graphic novel, an overview of the latter’s main features, and of its respectable cultural and literary status. The developing role of the illustration is then traced in a brief outline of the evolution from Shakespeare’s illustrated plays to children books and, finally, to comic-books and graphic novels. The following Chapter analyses The Merchant of Venice in the adapted versions of Manga Shakespeare, Campfire Classics, and Gareth Hinds from a broader perspective, considering textual adaptation choices, word-image relationship, and general elements such as colour scheme, layout, character design, and setting. The third Chapter compares and contrasts the rendition of specific scenes in the three different adaptations and studies in detail cuts, additions, and other adaptational strategies underlining their effect on the overall reading experience. The final Chapter observes how the use of graphic novels in class can support learning and enhance students’ interest, thanks to the medium’s ability to make the experience more familiar and appealing, often mediating the text’s greatest complexities thanks to graphic representation. Graphic novel literary adaptations are not aimed at making a text easier nor are they stepping stones to the ‘real’ text; rather, they are works with a value in their own, bringing new life to Shakespeare’s plays by bridging the gap through classic literature and the modern-day tendency to privilege visual over textual storytelling.
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Wambach, Amie Elisabeth. "Disabled Epistemologies: Failures of Knowledge and Care in Shakespeares's Merchant of Venice and Othello." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/8969.

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The presence of disabled characters like blind Gobbo in The Merchant of Venice and epileptic Othello are handy physical metaphors for the failures of epistemology that occur in both plays. Disability is often construed as a sort of saboteur of knowledge—disability of all kinds inhibiting the ability to perceive the world as an abled person would. But disability also produces a new, necessary sort of knowledge in order to survive and thrive in an unaccommodating world. A disabled epistemology suggests that knowing is contingent on individual, specific experience of the world. Tied to this issue of disabled epistemology is the issue of care—the field's emphasis on issues of relationality and reciprocity gels with disability's concerns about autonomy, self-determination, and accommodation. The ways in which care succeeds or fails informs us of the ways that disability intersects with class, race, and embodied knowledge. Gobbo is operating within a system that cares about him. Disabled beggars are subject to suspicion but expected to receive charity, and the embodied knowledge required to perform disability to an audience grants him access to that charity. On the other hand, because epilepsy and Otherness are compounded in Othello's society, to embrace embodied knowledge of his epilepsy is to become too foreign. To openly acknowledge and work with his disability would make him more socially vulnerable than he already is, but in ignoring it, Othello makes himself physically vulnerable. The dominant ideology cannot allow Othello to understand himself as disabled.
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Books on the topic "Merchant of Venice"

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Shakespeare, William. Merchant of Venice. New York, NY: Barnes & Noble Books, 2008.

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Shakespeare, William. Merchant of Venice : Merchant of Venice: No Fear Shakespeare, the Merchant of Venice. Independently Published, 2021.

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Shakespeare, William. Merchant of Venice. Independently Published, 2020.

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Shakespeare, William. Merchant of Venice. Independently Published, 2018.

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Shakespeare, William. Merchant of Venice. Independently Published, 2018.

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Shakespeare, William. Merchant of Venice. Independently Published, 2018.

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Shakespeare, William. Merchant of Venice. Independently Published, 2021.

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Shakespeare, William. Merchant of Venice. Independently Published, 2018.

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Shakespeare, William. Merchant of Venice. Lulu Press, Inc., 2020.

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Shakespeare, William. Merchant of Venice. Independently Published, 2019.

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Book chapters on the topic "Merchant of Venice"

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Shakespeare, William, and M. Lindsay Kaplan. "Venice." In The Merchant of Venice, 123–86. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-07784-4_3.

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Overton, Bill. "Venice and Belmont." In The Merchant of Venice, 14–19. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08174-5_2.

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Dolan, Jill. "The Merchant of Venice." In The Feminist Spectator in Action, 99–104. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-03291-1_17.

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Goodland, Katharine, and John O’Connor. "The Merchant of Venice." In A Directory of Shakespeare in Performance Since 1991, 161–71. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_19.

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Goodland, Katharine, and John O’Connor. "The Merchant of Venice." In A Directory of Shakespeare in Performance Since 1991, 1170–223. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_58.

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Goodland, Katharine, and John O’Connor. "The Merchant of Venice." In A Directory of Shakespeare in Performance, 1970–1990, 152–64. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_19.

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Goodland, Katharine, and John O’Connor. "The Merchant of Venice." In A Directory of Shakespeare in Performance, 1970–1990, 1033–70. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_59.

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Shakespeare, William, and M. Lindsay Kaplan. "The Merchant of Venice." In The Merchant of Venice, 25–120. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-07784-4_2.

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Margolies, David. "The Merchant of Venice." In Shakespeare’s Irrational Endings, 86–111. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137031044_5.

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Gill, Richard. "The Merchant of Venice." In Mastering Shakespeare, 123–31. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_8.

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Conference papers on the topic "Merchant of Venice"

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Zhang, Hongxia. "Dramatic Conflicts Presentation of The Merchant of Venice in Discourse Structure." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.174.

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Rall, Hannes, and Emma Harper. "Spatial Considerations: Hybridizing Production Modes for an Immersive Adaptation of Shakespeare's The Merchant of Venice." In 2023 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2023. http://dx.doi.org/10.1109/vrw58643.2023.00010.

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Wiggins, Andrew. "The Merchant of Venice and The Tempest: Moral Dilemmas Concerning Religious Authority in the English Reformation." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31288.

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Chainikova, Natalia Yurievna. ""Antonio" concept representation in William Shakespeare's discourse (based on the materials of "The Merchant of Venice")." In XI International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-117100.

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Gutwirth, Uwe. "The development of two online business games “Fish Market” and “The Merchant of Venice”." In 2012 International Conference on Interactive Mobile and Computer Aided Learning (IMCL). IEEE, 2012. http://dx.doi.org/10.1109/imcl.2012.6396458.

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Georgieva, Teodora. "THE HISTORY OF THE DUBROVNIK AND BRASOV TRADING ON BULGARIAN LANDS, ACCORDING TO THE CYRILLIC SOURCES (13TH–14TH C.)." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.20.

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Abstract:
From the end of 12th c. and the first half of 13th century, the Dubrovnik merchants steadily directed their economic interests to the inland of the Balkan Peninsula and purposefully developed overland trade. With the Dubrovnik charter (1230), the agricultural relations between the Bulgarian State and Ragusa were officially granted regulation. The relationship between Bulgarian and Dubrovnik had grown even in the 352 50s of the 13th century, under the reign of Michael II Asen. Trade-Economical and political contacts found their way into the newly written official document on the 15th of June 1253. This act established the release of paying kommerkion, which income to the fisc would be considered high. This way rights of the Bulgarian representatives were regulated, realizing trading on the land of Ragusa. Shown bilateral relations between Bulgaria and Dubrovnik reflect political and economic processes occurring in the Balkans during the first half of the 13th century. The amplified participation of foreign merchants, firstly the people from Dubrovnik then continued with people from Venice and Genoa, allowed the Bulgarian country to join in on the international trade. The said liveliness in the trade gave decent economic growth for the country and generated said financial resources. The relationship between the two countries continued for a hundred more years, especially with the Vidin kingdom of Joan Stratsimir. Vidin acted as a bridge linking Ragusa with Wallachia, which enabled them to participate in international trade. Mentioning the Vidin kingdom and the activity of the trading, this inevitably points to the Brasov charter, issued by Joan Stratsimir. This document represents a reporting message to the notables of Brasov city (Kronstadt), informing the citizens to roam and trade freely in the lands ruled by Joan Stratsimir. The review of these Cyrillic sources, like the Dobrovnik charter, the contract from 1253 and the document in favour of the citizens of Brasov, indicates that the Bulgarian lands actively participated in the trading. The more foreign representatives there were, it required regulations on the exchange. From the available documents, we know that legal relations were realized with the people from Dubrovnik, Venice and Genoa and citizens of Brasov. Considering the documents, they serve as facts of the entry of the exchange in the legal frameworks of the Bulgarian country, also the relations with foreign countries and the economic development during the 13th–14th c. period.
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