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Relevant bibliographies by topics / Merchant of Venice (Shakespeare, William)

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Academic literature on the topic 'Merchant of Venice (Shakespeare, William)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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Journal articles on the topic "Merchant of Venice (Shakespeare, William)"

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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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Tartory, Raeda, Ogareet Khoury, Anoud Tayyeb, Areen Al-Qudah, and Nuwar Al-Akash. "Critical Discourse Analysis of Verbal Violence in William Shakespeare's Merchant of Venice." Theory and Practice in Language Studies 12, no. 9 (September 1, 2022): 1900–1910. http://dx.doi.org/10.17507/tpls.1209.24.

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The combination of Critical Discourse Analysis and verbal violence is an entirely new field that needs to be widely explored and this study takes an in-depth dive into this using the literature, ‘Merchant of Venice' by one of the canons of literature, William Shakespeare. In doing this, this study identifies verbally abusive speeches from the text, categorizes and analyzes them to reveal the common patterns of violence in the speeches of abusers. This analysis aims to reveal the structure abusers use and the effect that verbal abuses have on their victims. Following the tradition of Critical Discourse, the study investigates, in an exegetical pattern, how violence in the form of verbal expression can cause harm. This is situated within the context William Shakespeare’s, ‘Merchant of Venice'—these investigations are done using the social and cultural realities/contexts within which Shakespeare wrote his story/narration. Seeing “Discourse” as a social critical theory that emphasizes the place of language in the making of ideas within society, Critical Discourse Analysis [especially as used within the current study] investigates language within Shakespeare’s ‘Merchant of Venice’ and insists that language plays a viable role in society’s communication patterns, and as such, should be taken seriously in the critique of verbal violence within Shakespeare’s corpus—as this critique is being appropriated within current times.

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Galery, Maria Clara Versiani. "Wonder, Ambivalence and Heterotopia: The City in Shakespeare’s The Merchant of Venice." Aletria: Revista de Estudos de Literatura 28, no. 3 (October 15, 2018): 29–45. http://dx.doi.org/10.17851/2317-2096.28.3.29-45.

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This essay proposes a discussion of the representation of Venice in William Shakespeare’s The Merchant of Venice, addressing the city as a site of ambivalence and cultural interrogation. It examines how Shakespeare drew on the “myth of Venice” to create a space into which Renaissance anxieties about justice, gender, religion and finances were projected. Michel Foucault’s concept of heterotopia is applied here to show how representations of Venice are used to mirror Elizabethan and Jacobean society. The essay also proposes an analysis of how the Italian city-state is rendered in Michael Radford’s filmic adaptation of Shakespeare’s play, with special attention to the images of the prostitutes in the film, and the ambivalent portrayal of the justice system during the courtroom scene.

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Galery, Maria Clara Versiani. "Na cidade historiada: justiça e outros conflitos em O Mercador de Veneza, de William Shakespeare." Diálogos 23, no. 2 (June 7, 2019): 19. http://dx.doi.org/10.4025/dialogos.v23i2.46170.

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RESUMO: Na época em que Shakespeare escolheu Veneza para cenário de Otelo e O Mercador de Veneza, a cidade-república correspondia aos ideais renascentistas de liberdade e estabilidade. Descobertas no âmbito da geografia e da astronomia exigiam uma reavaliação do lugar ocupado por mulheres e homens na nova concepção do universo. Este ensaio pretende refletir sobre a Veneza mítica do imaginário shakespeariano, uma paisagem simbólica, menos física e concreta que ideológica. Nesse sentido, o trabalho recorre ao conceito foucauldiano de heterotopia para ilustrar como, na representação da cidade, se projetavam os anseios de uma época. Aqui, a jurisprudência é de importância central. PALAVRAS-CHAVE: Shakespeare, Mercador de Veneza, Renascimento, Veneza, heterotopia, jurisprudência In the storied city: justice and other conflicts of The Merchant of Venice ABSTRACT: When Shakespeare chose Venice as the location for Othello and The Merchant of Venice, the republic corresponded to Renaissance ideals of freedom and stability. Discoveries in the realm of geography and astronomy required a re-evaluation of the place occupied by women and men in the new conception of the universe. This essay intends to discuss the mythical Venice of Shakespeare’s imagination, a symbolic landscape, less physical and concrete than ideological. In this sense, this paper turns to Foucault’s concept of heterotopia to illustrate how the anxieties of an epoch were projected in the representation of the city. Here, jurisprudence is of central importance. KEYWORDS: Shakespeare, The Merchant of Venice, Renaissance, Venice, heterotopia, jurisprudence En la ciudad historiada: justicia y otros conflictos del Mercader de Venecia RESUMEN: En la época en que Shakespeare escogió Venecia como escenario de Otelo y El Mercader de Venecia, la ciudad-república correspondía a los ideales renacentistas de libertad y estabilidad. Los descubrimientos en el ámbito de la geografía y de la astronomía exigían una reevaluación del lugar ocupado por mujeres y hombres en la nueva concepción del universo. Este ensayo pretende reflexionar sobre la Venecia mítica del imaginario shakespeariano, un paisaje simbólico, menos físico y concreto que ideológico. En este sentido, el trabajo recurre al concepto foucauldiano de heterotopía para ilustrar cómo, en la representación de la ciudad, se proyectaban los anhelos de una época. Aquí, la jurisprudencia es de central importancia. PALABRAS CLAVE: Shakespeare, Mercader de Venecia, Renacimiento, Venecia, heterotopía, jurisprudencia

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Syofyan, Donny. "Perbandingan Film Romeo and Juliet dan The Merchant of Venice sebagai adaptasi karya William Shakespeare: Sebuah Pendekatan Production Analysis." Jurnal Ceteris Paribus 1, no. 2 (September 30, 2022): 23–32. http://dx.doi.org/10.25077/jcp.v1.i2.23-32.2022.

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Kajian ini mengambil topik “Perbandingan Film Romeo and Juliet dan The Merchant of Venice sebagai adaptasi karya William Shakespeare: Sebuah Pendekatan Production Analysis”. Permasalahan penelitian ini adalah Meskipun film Romeo and Juliet dan The Merchant of Venice sama-sama diadaptasi dari karya-karya Shakespeare dengan judul yang sama, namun ternyata terjadi perbedaan, baik dalam proses proses produksi yang dijalani maupun resepsi masyarakat atas kedua film adaptasi Shakespeare tersebut. Perbedaan ini menjadi penting untuk dicermati bukan saja untuk melihat tarik-menarik dalam proses produksi tapi juga kenapa terjadi perbedaan resepsi masyarakat, terutama para penonton film, yang akhirnya mempengaruhi distribusi film-film tersebut. Tulisan ini mencoba menggunakan teori ekranisasi dan hegemoni. Ada sejumlah kesimpulan yang bisa diambil dari tulisan sebelumnya. Pertama, adaptasi karya-karya Shakespeare menjadi film merupakan salah satu karya-karya sinematografis yan tak kunjung padam di Amerika. Kedua, popularitas film Romeo and Juliet terletak pada proses adaptasi yang luar biasa dan universalisme tema yang diusung, yakni percintaan. Ketiga, kehadiran film Romeo and Juliet dan The Merchant of Venice memberikan dampak yang besar terhadap masyarakat. Romeo and Juliet mendorong munculnya kembali minat intelektual dan akademis sekolah-sekolah, seperti Amerika Serikat dan Jepang, mempelajari Shakespeare. Kata kunci: Wlliam Shatespeare, produksi, resepsi, distribusi, universalisme

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Sun, Qi. "An Interpretation of Multiple Values in Shakespeare's The Merchant of Venice." Journal of Higher Education Research 3, no. 1 (February 17, 2022): 76. http://dx.doi.org/10.32629/jher.v3i1.643.

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The Merchant of Venice is a satirical play by William Shakespeare, written during the Renaissance. The rise of humanism in this period gave rise to equality, freedom, tolerance and self-worth. However, the traditional thinking in the Medieval Ages and the reality of social development had fettered humanism and made the social values full of contradictions and conflicts. The Merchant of Venice is a true reflection of the society at that time under such historical background. The story involves rich and diversified social values. This paper tries to interpret the diversified values in The Merchant of Venice drama from several aspects such as love, friendship, money, gender and religion

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Rolnick-Wihtol, DeForest Ariyel. "Caliban Yisrael: Constructing Caliban as the Jewish Other in Shakespeare’s The Tempest." Oregon Undergraduate Research Journal 16, no. 1 (2020): 1–14. http://dx.doi.org/10.5399/uo/ourj/16.1.2.

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This paper seeks to introduce new data into the discussion of William Shakespeare’s portrayal of Jewish people through intertextual and close reading of Shakespeare’s The Tempest and The Merchant of Venice, sections from the Geneva Bible, and primary documents discussing Anglo-Jewish life in the Elizabethan era. Shakespeare’s relationship to and purported views of Jewish people have been scrutinized for centuries. However, almost all conclusions put forth by scholars about Shakespeare’s ties to Elizabethan Jewish communities and anti-Semitism have been drawn from one work, The Merchant of Venice. Merchant contains Shakespeare’s only explicitly Jewish characters, Shylock and his daughter, Jessica, although she happily converts to Christianity. In this paper, I propose that Shakespeare has an implicitly Jewish character lurking in The Tempest: Caliban, the play’s main antagonist, a native to the island on which the play is set, and Prospero and Miranda’s slave. I will support the interpretation of Caliban as a Jewish-coded figure through cross-reading The Tempest with The Merchant of Venice, sections of the Geneva Bible, and non-fiction testimonials from English residents during and before the Elizabethan era. Using both these plays alongside other scholarly and historical texts, I will bring cultural and historical context to these portrayals in order to explore a deeper understanding of the complicated and nuanced depictions of Jewish people in Shakespeare’s work.

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Ludwig, Carlos Roberto. "Is The Merchant of Venice a Comedy or a Tragicomedy?" Letras de Hoje 56, no. 1 (June 11, 2021): e36937. http://dx.doi.org/10.15448/1984-7726.2021.1.36937.

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This essay aims at discussing some issues in the play The Merchant of Venice, by William Shakespeare. Even though some may assume that the play is a comedy, the problem of its literary genre is a rather problematic issue today. Some critics debate its inclusion in the comedies, because it is not at all a funny play. The label ‘comedy’ did not suggest that it was a funny play in Shakespeare’s age. If some critics think that it is not a funny play, Shakespeare may have designed Shylock as a tragic character. In fact, the play’s effects of Shylock’s energy and tragic dimensions deeply influenced the audience in the moment when it was first staged. This essay first discusses the problem pathos and inwardness in Shylock’s speech. After that, it discusses the issue of literary genre and argues that it should be classified as a tragicomedy.

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Jaworska-Biskup, Katarzyna. "Problemy przekładu terminologii z zakresu prawa na podstawie wybranych polskich tłumaczeń sztuk Williama Szekspira." Przekładaniec, no. 40 (2020): 260–84. http://dx.doi.org/10.4467/16891864pc.20.012.13175.

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Problems of Translating Legal Language Based on William Shakespeare’s Selected Plays The paper discusses major problems and issues of translating law and legal language into Polish as illustrated by selected examples from William Shakespeare’s three plays: King Lear, The Merchant of Venice and Measure for Measure. The common feature of the plays is the context of the court and the trial. In King Lear, Shakespeare depicts a mock-trial of the main character’s two daughters, Regan and Goneril. The crux of The Merchant of Venice is the proceedings instigated by Shylock against his debtor, Antonio. Measure for Measure features a summary trial of two local rogues, Froth and Pompey, who are brought to justice by the constable Elbow. A comparison of the English original law-embedded scenes with their Polish counterparts shows that Polish translators approached Shakespeare’s legal lexicon differently. They frequently neutralised legal language or offered the equivalents that do not overlap with the source text. The different treatment of legal language by the translators results in various readings and interpretations of the original. The paper also provides a commentary on the basic concepts and institutions of English law in Shakespeare’s analysed plays.

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Gvirtishvili, Valeria, Maria Koklemina, and Elizaveta Samoilova. "2019-2020 STUDIES ON SHAKESPEARE: RICHARD’S AGE, JESSICA'S SILENCE, AND LAURENCE'S CRIME." RZ-Literaturovedenie, no. 4 (2021): 167–77. http://dx.doi.org/10.31249/lit/2021.04.12.

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Recent researches on William Shakespeare’s dramatic heritage presented in this review provide room to modern theatre directors for new fresh interpretations of Shakespeare’s famous characters - Richard II in the self-titled chronicle play, Jessica in The Merchant of Venice, and Laurence in Romeo and Juliet.

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Dissertations / Theses on the topic "Merchant of Venice (Shakespeare, William)"

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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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Conte, Carolina Siqueira. "Bond; a theory of appropriation for Shakespeare's The merchant of Venice realized in film." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1113337877.

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Stehr, Claudia. "Shakespeare as transcultural narrative : Te tangata Whai rawa o Weniti = The Māori Merchant of Venice /." e-Book (PDF), 2006. http://www.library.auckland.ac.nz/eproducts/ebooks/Shakespeareastransculturalnarrative.pdf.

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Thesis (MA)--Technischen Universität Carolo-Wilhelmina zu Braunschweig, 2006.
Title from PDF cover (viewed on 5 October, 2007 ). "Magisterarbeit zur Erlangung des Magistergrades (M.A.) am Fachbereich für Geistes- und Erziehungswissenschaften".

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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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Van, Niekerk Marthinus Christoffel. "Shakespearian play deconstructive readings of The merchant of Venice, the tempest, Measure for measure and Hamlet /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11092004-115656/.

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Green, Bryony Rose Humphries. "A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1710/.

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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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Lindner, Jakob. "“When shall we laugh?”: Gratiano and the two faces of comedy in William Shakespeare’s The Merchant of Venice." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-170753.

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Comedy is an inherently pleasurable phenomenon with beneficial psychological functions, but its potential to bring on undesirable and socially destabilizing consequences is less intuitively obvious. In this essay, I argue that one of the hitherto under-recognized features of William Shakespeare’s The Merchant of Venice is its covert problematization of the phenomenon of comedy itself, and that the play invites its audience to become more aware of in what situations laughter is constructive and appropriate. I apply psychological and cultural-historical theories of humor— specifically, Freudian relief theory and Bakhtinian thought on laughter and festivity—as a framework for interpreting the play, with a particular emphasis on the secondary protagonist called Gratiano. I argue that Gratiano serves as a personification of comedy, whose function is to problematize it and demonstrate its positive as well as negative attributes in relation to seriousness and restraint. Gratiano’s laughter-inducing antics compel audience members to sympathize with him in the dialectic which Shakespeare sets up between him and other characters, but the play also portrays his jovial behavior as concomitant with less desirable traits which his comedy successfully obscures. While the character presents comedy as attractive and instinctively preferable to propriety and decorum, he also shows how the allure of laughter and comedy may be used by disingenuous actors to provide an attractive veneer for immoral or abhorrent behavior.

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Burtin, Tatiana. "Figures de l’avarice et de l’usure dans les comédies : The Merchant of Venice de Shakespeare, Volpone de Jonson et L’Avare de Molière." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100136/document.

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L’émergence d’un « ‘esprit’ capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l’usure et de l’intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l’époque, et plus particulièrement chez les grands dramaturges qui ont marqué l’imaginaire collectif en mettant en scène des personnages avares. À partir d’un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l’Occident chrétien, l’appréhension nouvelle de l’argent comme objet et comme signe permet de construire une véritable figure moderne de l’avarice. Shylock, Volpone et Harpagon sont suspendus entre un or quasi divin, et l’univers plus ou moins connu de l’argent, qu’ils pensent maîtriser grâce à leur trésor. S’ils s’intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » (Simmel) suscitée par l’économie de l’usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L’analyse finale de ces dénouements permet de comprendre le travail de chaque auteur sur la forme et la fonction du comique, à travers le texte, les genres, ou une esthétique de l’espace. Elle montre que chacun s’attache à valoriser l’apport de son art au public dans une période de crise socio-économique
The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis

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Major, Rafael M. "Wisdom and Law: Political Thought in Shakespeare's Comedies." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3277/.

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In this study of A Midsummer Night's Dream, The Merchant of Venice, and Measure for Measure I argue that the surface plots of these comedies point us to a philosophic understanding seldom discussed in either contemporary public discourse or in Shakespearean scholarship. The comedies usually involve questions arising from the conflict between the enforcement of law (whether just or not) and the private longings (whether noble or base) of citizens whose yearnings for happiness tend to be sub- or even supra-political. No regime, it appears, is able to respond to the whole variety of circumstances that it may be called upon to judge. Even the best written laws meet with occasional exceptions and these ulterior instances must be judged by something other than a legal code. When these extra-legal instances do arise, political communities become aware of their reliance on a kind of political judgment that is usually unnoticed in the day-to-day affairs of public life. Further, it is evident that the characters who are able to exercise this political judgment, are the very characters whose presence averts a potentially tragic situation and makes a comedy possible. By presenting examples of how moral and political problems are dealt with by the prudent use of wisdom, Shakespeare is pointing the reader to a standard of judgment that transcends any particular (or actual) political arrangement. Once we see the importance of the prudent use of such a standard, we are in a position to judge what this philosophic wisdom consists of and where it is to be acquired. It is just such an education with which Shakespeare intends to aid his readers.

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Books on the topic "Merchant of Venice (Shakespeare, William)"

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The merchant of Venice: William Shakespeare. Harlow: Longman, 1997.

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Martin, Coyle, ed. The merchant of Venice, William Shakespeare. New York: St. Martin's Press, 1998.

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Chernaik, Warren L. William Shakespeare: The Merchant of Venice. Tavistock, U.K: Northcote House [in association with] British Council, 2005.

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William Shakespeare, The merchant of Venice. London: Penguin Books, 1993.

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The merchant of Venice. New York: Marshall Cavendish Benchmark, 2009.

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The Merchant of Venice. Boston, USA: Twayne, 1988.

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Shakespeare's The merchant of Venice. London: Greenwich Exchange, 2007.

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Kinghorn, A. M. The merchant of Venice by William Shakespeare. Basingstoke: Macmillan Education, 1988.

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Company, Royal Shakespeare. The merchant of Venice by William Shakespeare. [Stratford-upon-Avon]: Royal Shakespeare Company, 1997.

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Kinghorn, A. M. The Merchant of Venice by William Shakespeare. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6.

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Book chapters on the topic "Merchant of Venice (Shakespeare, William)"

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Döring, Tobias. "Shakespeare, William: The Merchant of Venice." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17037-1.

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Kinghorn, A. M. "Shakespeare’s Life." In The Merchant of Venice by William Shakespeare, 1–4. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_1.

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Kinghorn, A. M. "The Historical Background of the Play." In The Merchant of Venice by William Shakespeare, 5–8. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_2.

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Kinghorn, A. M. "Summaries and Critical Commentaries." In The Merchant of Venice by William Shakespeare, 9–40. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_3.

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Kinghorn, A. M. "Themes and Issues." In The Merchant of Venice by William Shakespeare, 41–49. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_4.

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Kinghorn, A. M. "Technical Features." In The Merchant of Venice by William Shakespeare, 50–72. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_5.

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Kinghorn, A. M. "Specimen Critical Analysis." In The Merchant of Venice by William Shakespeare, 73–77. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_6.

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Kinghorn, A. M. "Critical Reception." In The Merchant of Venice by William Shakespeare, 78–80. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_7.

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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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Dawson, Anthony B. "The Merchant of Venice." In Watching Shakespeare, 26–38. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19362-2_3.

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Conference papers on the topic "Merchant of Venice (Shakespeare, William)"

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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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