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

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Published: 4 June 2021

Last updated: 3 March 2023

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1

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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2

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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5

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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8

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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9

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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10

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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11

DANIEL, DREW. "William Shakespeare's The Merchant of Venice." Film Quarterly 60, no. 1 (2006): 52–56. http://dx.doi.org/10.1525/fq.2006.60.1.52.

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ABSTRACT Lingering controversy about anti-Semitism has kept The Merchant of Venice off the screen. Michael Radford's 2004 film adaptation creates a critique of anti-Semitic violence revealingly at odds with the play's comic form. This review considers the challenge Shakespeare's art poses to the ethical imperatives of contemporary filmmaking.

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12

Kok, Su Mei. "The Merchant of Venice by William Shakespeare (review)." Theatre Journal 65, no. 1 (2013): 123–25. http://dx.doi.org/10.1353/tj.2013.0031.

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13

Muhi, Dr Maysoon Taher, Dr Maysam Bahaa Saleh, and Sufyan Awad Hasson. "The Character of Shylock as a Cultural Mark: Shakespeare's The Merchant of Venice and Bakathir's The New Shylock." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 3 (September 15, 2019): 69–90. http://dx.doi.org/10.36473/ujhss.v58i3.912.

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This study aims to depict the image of the Jew by two different authors of various periods of time. Undoubtedly, the Image of the Jew had been discussed and depicted in many plays of famous and prominent authors, especially during The Renaissance Era, such as Christopher Marlowe in his brilliant artistic work The Jew of Malta. In addition to, William Shakespeare’s glorious piece of art The Merchant of Venice which is described by Dr. Mahmoud Shetywi, in his article “The Merchant of Venice in Arabic” as the play that is considered till now as the most prominent Elizabethan comedy that has been studied, performed and adapted by many universal and Arab modern and contemporary authors ; who one of them is the Yemeni author and playwright Ali Ahmed Bakathir with his adaptation of The Merchant of Venice which is called The New Shylock , in which he relates the traditional Elizabethan image of the Jew to the issue of (The Arab – Israeli Conflict). So, this study endeavors to show the genius dramatic techniques, that are used by both authors and the effect of Shakespeare on Bakathier. The New Shylock can be considered an adaptation of The Merchant of Venice with modern modifications and new concepts that serve the purpose of Bakathir. Accordingly, the researchers will rely on the theory of adaptation in excavating the treasures of both texts. Moreover, there are various (psychological, political, social and anthropological) aspects of depth that they tried to convey within their creation of the character of Shylock and what does this character really imply of the essential issues, to criticize and relate them to their own societies and times.

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Nurmalasari, Muharrani, and Ruly Adha. "SUPERNATURALISM AND MYSTICISM IN WILLIAM SHAKESPEARE’S PLAY HAMLET." JL3T ( Journal of Linguistics Literature and Language Teaching) 2, no. 2 (January 25, 2017): 67–85. http://dx.doi.org/10.32505/jl3t.v2i2.15.

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William Shakespeare is the greatest dramatist in the world. He has produced a lot of literary works especially play or drama. Some of his plays still exist until now such as Julius Caesar, Hamlet, The Merchant of Venice, etc. Even, one of his plays Romeo and Juliet has been translated into several languages in the world. He produces two types of plays, namely comedy which usually talks about love and tragedy which talks about sadness. In tragedy plays, Shakespeare always puts supernatural and mystical elements such as in Julius Caesar, Macbeth, Hamlet, etc. The supernatural and mysticism elements are usually marked by the appearance of apparition, witch, fairy, etc, and the elements can determine the fate of main characters. This article tries to describe how Shakespeare puts supernatural and mystical elements in one of his tragedy plays Hamlet.

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Wagner-Egelhaaf, Von Martina. "Figuren des Hasses. : Prolegomena zu einer Literatur- und Kulturgeschichte1." Jahrbuch für Internationale Germanistik 52, no. 1 (January 1, 2020): 81–90. http://dx.doi.org/10.3726/ja521_81.

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In William Shakespeares um 1596/97 entstandener und wohl noch vor 1600 in London uraufgeführter Komödie The Merchant of Venice findet sich im 3. Auftritt des 1. Akts die folgende Äußerung des Juden Shylock in Bezug auf Antonio, den titelgebenden Kaufmann von Venedig:

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Nowak, Piotr. "Przekształcenia chrześcijańskiego ciała i duszy żydowskiej we wczesnym stadium kapitalizmu. Uwagi do Kupca weneckiego Williama Shakespeare’a." Civitas. Studia z Filozofii Polityki 17 (January 30, 2015): 221–35. http://dx.doi.org/10.35757/civ.2015.17.11.

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The author analyses “The Merchant of Venice” by William Shakespeare, to highlight the transformation of the Christian body and the Jewish soul during the early stages of capitalism. He reveals that the Venice described by Shakespeare is a world without measure, in which money is the only value. People are objects of financial speculation and all of humanity is treated as a commodity, an exchange value. When Bassanio praises the advantages of Portia, he first mentions her ducats (dowry), and only after that does he allude to her beauty and virtues of mind. The capitalism that is being formed in the eyes of the viewers mocks significant cultural, ethnic and religious differences. It buries them in heaps of money and then blurs them, forcing a new concept of man, whose existence differs little from plants and animals growing freely. In such a world, a game is the only strategy that allows for survival. In Venice, everyone pretends, wears a mask and lives in hypocrisy. This behaviour is typical of the “carnival” atmosphere. Masks separate people from themselves, covering up their tracks and blurring identities. By wearing them, they can hide behind “someone else”.

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Sabatier, Armelle. "Les couleurs de la Méditerranée dans The Merchant of Venice de William Shakespeare." Caliban, no. 58 (December 1, 2017): 31–48. http://dx.doi.org/10.4000/caliban.4508.

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Noelí Fernández, Silvana. "'The Merchant of Venice': de guetos, espacios y ética y su tratamiento en el aula del nivel superior." Didáctica. Lengua y Literatura 32 (October 1, 2020): 107–11. http://dx.doi.org/10.5209/dida.71788.

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En tiempos de incertidumbre política en Europa y en el resto del mundo es nuestra intención en este trabajo recuperar la dimensión espacial y la singular espacialidad de The Merchant of Venice (1600) para el análisis de esta obra en el aula del nivel superior, es decir, el ámbito de formación de los futuros docentes. En este marco serán objeto de nuestras indagaciones y propuestas didácticas el texto dramático de William Shakespeare, la versión cinematográfica dirigida por Michael Radford (2004) y el documental Imagine … Shylock’s Ghost (2015). Nuestro objetivo es actualizar y reponer en el análisis del espacio veneciano de The Merchant of Venice algunos sentidos de lo que se ha dado en llamar una “ética del gueto”, entendiendo por ésta lo que Stephen Greenblatt y Shaul Bassi denomian “a lived cultural space, a lived religious space,”. En este sentido, aspiramos a, por un lado, problematizar el proceso referencial que lleva a los alumnos a identificar de manera unívoca e irreductible a la Venecia de la obra con un espacio hoy día mayoritariamente caracterizado por una mono cultura turística y, por otro, a direccionar sus trayectorias de lectura y prácticas pedagógicas hacia espacios de compromisos duraderos con la dignidad del Otro.

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Nozen, Seyyedeh Zahra, and Pegah Sheikhalipour. "Deconstruction of the Construction: Derridean Study of Selected Shakespeare’s Comedies." Khazar Journal of Humanities and Social Sciences 23, no. 4 (December 2020): 90–120. http://dx.doi.org/10.5782/2223-2621.2020.23.4.90.

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Since it was first introduced by Jacques Derrida in the late 1960s, deconstruction, as a method of reading, has been applied to literary texts by critics to reveal the hidden messages of texts and provide opportunities to rethink textual and cultural norms and conventions. While the western tradition has always prioritized tragedy over comedy due to its elegance and graveness, this research tends to focus on comedy as an entity in itself. Tragedy, especially in the Shakespearean sense of the word, has been considered by critics as a “construction” that is well-wrought and perfect in nature. Comedy, on the other hand, is notable for laughing at the laughable and mocking the unfit. Put differently, there has always been a latent, freewheeling “deconstruction” within comedy, especially the Shakespearean. There is, thus, an attempt here to prove, on the one hand, how comedy can be put forth not as an inferior genre but as a supplement to tragedy and, on the other, how comedy moves toward deconstruction and how it tends to subvert or deconstruct the constructions. Investigating a selection of Shakespeare’s comedies including As You Like It, The Merchant of Venice, and Twelfth Night, this study compares and contrasts Shakespearean comedy in light of some Derridean concepts. Along with it, Shakespearean ideas and concepts which are interconnected with those of Derrida are introduced and are buttressed through some meticulously chosen excerpts. Bearing in mind that Derrida is in a habit of deconstructing the so-called established creeds, Shakespeare’s texts are exposed to a deconstructive reading to examine how deceptively simple ideas are dealt with in his selected comedies. Also, as numerous enigmas have for years revolved around the personality of William Shakespeare, this study also aims to take up certain critical idioms of the Derridean canon, elaborate on them and then relate them to the selected plays from the Shakespearean oeuvre in order to disclose some personal aspects of Shakespeare’s personality as a historical figure.

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Jitendra Kumar Bharti. "Use of Folktales in the plays of Shakespeare." Creative Launcher 4, no. 6 (February 29, 2020): 65–70. http://dx.doi.org/10.53032/tcl.2020.4.6.11.

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The present paper aims at to discuss the use of folktales in some notable plays of William Shakespeare. World widely he is well accepted and acknowledge a great dramatist, but this fame of Shakespeare is relied on his use of folklores of various languages and cultures. He became master in using folklores in his plays with new flavour and glamour. As we know that folklores are the foundation of modern literary forms. They are deep rooted in cultures and languages. Folklores have a tradition that they are not available in any written form but they are moulded in order to suit best in new modern literary forms. Shakespeare was the master in doing so. Folklore is a very broader term includes everything about humans and their cultures. For most of his plays, Shakespeare borrowed the material from folklores. But it’s very unfortunate that many scholars of Shakespeare concentrated themselves only on literary forms instead foundation of his plays ignored or paid no attention. So here I am making a small effort to talk about those folklores that supplied rich materials for his plays The Merchant of Venice, King Lear, The Taming of The Shrew, The Comedy of Errors, Titus Andronicus, All’s Well That Ends Well, Cymbeline and The Tempest. Apart from this there are some well-known literary sources as Holinshed’s chronicles, Plutarch’s The Lives of Noble Greeks and Romans and Ovid’s Metamorphosis.

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Lee, Myungho. "Legal Justice and Monarchic Mercy: On William Shakespeare’s The Merchant of Venice." Criticism and Theory Society of Korea 27, no. 1 (February 28, 2022): 117–42. http://dx.doi.org/10.19116/theory.2022.27.1.117.

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Ștefan, Elena Ancuța. "Trails of Cultural Memory: Rediscovering Shylock as a Father Figure in the 21st Century." Metacritic Journal for Comparative Studies and Theory 7, no. 2 (December 17, 2021): 201–15. http://dx.doi.org/10.24193/mjcst.2021.12.13.

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Given that in the last few decades theories of adaptation have advanced enormously, with such names as Linda Hutcheon setting the theoretical premise of these ideas, it is essential to see how certain aspects present in canonical texts have been translated into present-day literature. In this paper, I discuss how the father-daughter relationship in The Merchant of Venice by William Shakespeare, has been (re)interpreted through the carrying of similar characters and situations in the novel Shylock Is My Name by Howard Jacobson. The novel does not only serve as a means of projecting old ideas as new, but it also provides the stage of resolution for such prominent characters as Shylock. In order to have a broader understanding of the (re)interpreted father-daughter relationship, this chapter will take into account the sociological symbolism of the contemporary text, with Erik Erikson’s descriptions of adolescence in the foreground.

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Maley, Willy. "John Milton: ‘Paradise Lost’ ed. by David Scott Kastan, and: William Shakespeare: ‘The Merchant of Venice’ by Warren Chernaik, and: William Shakespeare: ‘Othello’ by Emma Smith." Modern Language Review 102, no. 4 (2007): 1139–42. http://dx.doi.org/10.1353/mlr.2007.0415.

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Matei-Chesnoiu, Monica. "Epitomes of Dacia: Wallachia, Moldavia, and Transylvania in Early Modern English Travelogues." Multicultural Shakespeare: Translation, Appropriation and Performance 25, no. 40 (December 14, 2022): 151–63. http://dx.doi.org/10.18778/2083-8530.25.10.

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This essay examines the kaleidoscopic and abridged perspectives on three early modern principalities (Wallachia, Moldavia, and Transylvania), whose lands are now part of modern-day Romania. I examine travelogues and geography texts describing these Eastern European territories written by Marco Polo (1579), Abraham Ortelius (1601; 1608), Nicolas de Nicolay (1585), Johannes Boemus (1611), Pierre d’Avity (1615), Francisco Guicciardini (1595), George Abbot (1599), Uberto Foglietta (1600), William Biddulph (1609), Richard Hakluyt (1599-1600), Fynes Moryson (1617), and Sir Henry Blount (1636), published in England in the period 1579-1636. The essay also offers brief incursions into the representations of these geographic spaces in a number of Shakespearean plays, such as The Merchant of Venice and Othello, as well as in Pericles, Prince of Tyre by Shakespeare and Wilkins. I argue that these Eastern European locations configure an erratic spatiality that conflates ancient place names with early modern ones, as they reconstruct a space-time continuum that is neither real nor totally imaginary. These territories represent real-and-fictional locations, shaping an ever-changing world of spatial networks reconstructed out of fragments of cultural geographic and ethnographic data. The travel and geographic narratives are marked by a particular kind of literariness, suggesting dissension, confusion, and political uncertainty to the early modern English imagination.

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Cossio, Andoni, and Martin Simonson. "Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 85–97. http://dx.doi.org/10.18778/2083-8530.21.06.

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This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world.

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Cossio, Andoni, and Martin Simonson. "Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 85–97. http://dx.doi.org/10.18778/2083-8530.21.06.

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This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world.

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Sládeček, Ján. "Shakespearean Drama in Miloš Pietor›S Work: Between Prologue and Epilogue." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 23–40. http://dx.doi.org/10.2478/sd-2018-0002.

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Abstract William Shakespeare’s work has a very specific place in Miloš Pietor’s professional biography: it starts at the beginning of the artist’s creative period and then again at the end of his professional life. The study is devoted to this part of the director’s work. It analyzes the plays Merry Wives of Windsor (P. Jilemnický Theatre, 1963), Hamlet (Nová scéna Theatre 1974), comedy Love’s Labour’s Lost) (Nová scéna Theatre 1976) and presents the directorial and dramaturgical concept of Pietor’s first production after November 1989, The Merchant of Venice (1991). His planned premiere at the Slovak National Theatre (Slovenské národné divadlo) did not take place; the work was cancelled due to the director’s tragic death.

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Na-pombejra, Dangkamon. "Confronting Otherness through Theatre: On Directing The Merchant of Venice for Thai Audiences." Manusya: Journal of Humanities 23, no. 3 (December 23, 2020): 335–51. http://dx.doi.org/10.1163/26659077-02303004.

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Abstract This article analyzes on a new directorial approach to Venice Vanija (เวนิสวาณิช), a Thai version of William Shakespeare’s The Merchant of Venice (written 1596–99) and translated by King Rama vi (r. 1910–1925). It aimed to create a new space and new rules that would encourage Thai audiences to embrace new perspectives by watching the performance. The production was directed by the author in 2018 in the Department of Dramatic Arts in the Faculty of Arts at Chulalongkorn University. The directing approach focused on the play’s famous line “all that glitters is not gold;” (Act ii, scene vii, line 65), and stressed how struggles between majorities and “the Other” are connected to identity conflicts that contrast with tensions with other people and conflicts within the whole community. The above focus was elaborated by using alienation effects, including a grotesque modern fairytale-like look, a nearly all-female cast, a distinctive traverse stage and set design, effeminate costumes for male characters portrayed by actresses, and mixed acting techniques. The director achieved his goals by concentrating on the message and the main conflicts in the play, transforming “aliens into the allies” through using good surprises and friendly attacks, and respecting every party.

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Paris, Jamie. "“Mislike Me Not for My Complexion”: On Anti-Black Racism and Performative Whiteness in William Shakespeare’s The Merchant of Venice." Journal for Early Modern Cultural Studies 20, no. 4 (2020): 34–61. http://dx.doi.org/10.1353/jem.2020.0029.

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Wicher, Andrzej. "The anti-Jewish Prejudice in Christopher Marlowe’s Jew of Malta, William Shakespeare’s Merchant of Venice and Geoffrey Chaucer’s Prioress’s Tale." Iudaica Russica, no. 1(4) (June 22, 2020): 102–15. http://dx.doi.org/10.31261/ir.2020.04.07.

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Autor stawia sobie za cel porównanie trzech utworów wyjętych z angielskiej literatury późno-średniowiecznej i renesansowej, których wspólnym mianownikiem jest skrajnie negatywne przedstawienie społeczności żydowskiej lub indywidualnych jej przedstawicieli. Utwory te świadczą o silnych uprzedzeniach anty-żydowskich w okresie, kiedy to, w zasadzie byśmy się takich uprzedzeń nie spodziewali, gdyż nie było wówczas, poczynając od wygnania Żydów w 1290, żadnej gminy żydowskiej na terenie Anglii. O ile u Chaucera Żydzi występują jedynie jako niezróżnicowany barbarzyński żywioł, zdolny do instynktownych anty-chrześcijańskich ataków, to podejście Marlowe’a, a szczególnie Szekspira, świadczy już o chęci zrozumienia psychologicznego mechanizmu żydowskiego myślenia i bierze pod uwagę zjawisko anty-żydowskich uprzedzeń, a nawet prześladowań. Zresztą nawet w przypadku Chaucera istnieje, omówiona w niniejszym artykule, możliwość, że autor dystansował się do nazbyt jedno-wymiarowego przedstawienia problemu żydowskiego, który zawarł w opowieści przypisanej dość dwuznacznej postaci, jaką jest Przeorysza. Dla punktu widzenia Marlowe’a istotny jest problem tzw. makiawelizmu, który wiąże on, w sposób arbitralny, z mentalnością żydowską, podczas gdy Szekspir widzi swojego żydowskiego bohatera, czy raczej antybohatera, głównie w kontekście zjawiska lichwy.

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Nusen, Rachod, and Kamron Gunatilaka. "Translated Plays as a Force for Social Justice." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 86–115. http://dx.doi.org/10.1163/26659077-02301005.

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During the current political crisis in Thailand, people hold various political standpoints. Despite these different stances, the goal for many of these differences remains the same, namely, a just society. The research Translated Plays as a Force for Social Justice is an attempt to advocate the role of literature in creating social justice. The purpose of the research is to study issues of social justice in translated plays and to suggest ways in which the Thai academic community and Thai society can use plays to advocate social justice. This research studies translations of William Shakespeare’s The Merchant of Venice, Bertolt Brecht’s Der gute Mensch von Sezuan, Jean Anouilh’s Antigone and Arthur Miller’s The Crucible. The study finds that these plays pose challenging questions which help raise an awareness of the importance of social justice. Critics and theatre practitioners in the West have created a number of works on these plays that help advance social justice. Nonetheless, the issues of social justice in these plays are often ignored by Thai critics and theater practitioners and, because of this, some of them unintentionally offer an interpretation or a production, which is not in line with the concept of social justice.

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Allen, Adeline A. "Sperm and Eggs in Consideration of Money: A Pound of Flesh for Three Thousand Ducats?" Indiana Health Law Review 19, no. 2 (July 8, 2022): 275–314. http://dx.doi.org/10.18060/26406.

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Donor conception is a practice in which a donor sperm or egg (or both) is used to conceive a child. Usually, the donor sperm or egg is procured in a financial transaction: gametes exchanging hands for money. The “donor” in donor conception is a bit of an oxymoron, for a donation it is not when money—and sometimes big money—is a feature of the practice, not a bug. This Article will show that donor conception is not proper to who human beings are given their nature as embodied beings, with particular attention to the children of donor conception and to the donors. The bargained-for exchange of sperm and eggs for money also does not satisfy the requirement of commutative justice, historically understood to be of paramount importance in the doctrine of consideration in contract law. Further, the aspects of both the embodied nature of the person and the impropriety of trading on the body present in donor conception are considered in light of William Shakespeare’s play The Merchant of Venice. This Article concludes that donor conception, being unjust and not oriented to human flourishing, ought not to be done. A re-orientation of the law toward aproper respect for each person’s embodied nature and toward fostering a posture of gratitude in receiving each child as a gift would be welcome.

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Smith, Peter J., Clare Smout, Kath Bradley, Peter Kirwan, Peter J. Smith, Kelly N. O'Connor, Lynne Hapgood, et al. "Play Reviews: Dido, Queen of Carthage, Love's Labour's Lost, a Midsummer Night's Dream, Romeo and Juliet, the Tempest, Richard II, Othello, as You like it, Twelfth Night after William Shakespeare, the Merchant of Venice, the Duchess of Malfi, Edward II, Macbeth, Love is My Sin. Sonnets de William Shakespeare, Richard III, Le Roi Lear [King Lear], Hamlet." Cahiers Élisabéthains: A Journal of English Renaissance Studies 75, no. 1 (April 1, 2009): 67–101. http://dx.doi.org/10.7227/ce.75.1.10.

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34

Tatspaugh, Patricia E., James C. Bulman, Scott McMillin, Barbara Hodgdon, Bernice W. Kliman, and Miriam Gilbert. "Shakespeare in Performance: The Merchant of Venice." Shakespeare Quarterly 46, no. 4 (1995): 488. http://dx.doi.org/10.2307/2870993.

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35

Shen, Fan. "Shakespeare in China: The Merchant of Venice." Asian Theatre Journal 5, no. 1 (1988): 23. http://dx.doi.org/10.2307/1124020.

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36

Hartwig, David W. "The Merchant of Venice by Utah Shakespeare Festival." Shakespeare Bulletin 37, no. 2 (2019): 280–84. http://dx.doi.org/10.1353/shb.2019.0022.

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37

Henderson, Diana E. "The Merchant in Venice: Shylock’s „Unheimlich” Return." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 161–76. http://dx.doi.org/10.1515/mstap-2017-0012.

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The first decades of the new millennium have seen an odd return to origins in Shakespeare studies. The Merchant in Venice, a site-specific theatrical production realized during the 500th anniversary year of the “original” Jewish Ghetto, was not only a highlight among the many special events commemorating the 400th anniversary of Shakespeare’s death in 2016, but also a more creative and complex response to historicism. With her nontraditional casting of five Shylocks (developed through collaborations with scholars and students as well as her international, multilingual company), director Karin Coonrod made visible the acts of cultural projection and fracturing that Shakespeare’s play both epitomizes and has subsequently prompted. This article, written by a participant-observer commissioned to capture on video the making and performance of Compagnia de’ Colombari’s six-night run in the Campo del Ghetto Nuovo, explores the way this place is—and indeed, the category of place itself is always - a dynamic temporal construct, defying more complacent attempts at simple return (to home, to the text, to the past). Such a recognition allows nuanced, hybrid forms of multicultural theater and Shakespeare scholarship to emerge, and to collaborate more fruitfully.

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Usher, Brett. "The Jew that Shakespeare Drew." Studies in Church History 29 (1992): 279–98. http://dx.doi.org/10.1017/s0424208400011359.

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How far is it legitimate for a director to correct Shakespeare’s antisemitism in The Merchant of Venice?SO, begging a question or two, wrote the theatre critic Benedict Nightingale in a review of a recent London production of the play in which the Christians were portrayed as rabid Nazis. Almost fifty years after the Holocaust, it appears, it is still difficult for directors and critics alike to approach The Merchant without a feeling of unease. Current wisdom—or lingering guilt—insists that the play is, in a real and unacceptable sense, racist.

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Goldstein, David B. "Failures of Eating in The Merchant of Venice." Actes des congrès de la Société française Shakespeare, no. 29 (March 3, 2012): 31–46. http://dx.doi.org/10.4000/shakespeare.1702.

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Szendy, Peter. "Derivative Shakespeare: The Merchant of Venice and Dividual Capitalism." Diacritics 47, no. 1 (2019): 62–79. http://dx.doi.org/10.1353/dia.2019.0011.

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41

Wainer, Howard. ""A Harmless Necessary CAT" Shakespeare, The Merchant of Venice." Contemporary Psychology: A Journal of Reviews 37, no. 2 (February 1992): 149–50. http://dx.doi.org/10.1037/031899.

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Rogers, Jami. "The Merchant of Venice performed by Royal Shakespeare Company." Shakespeare Bulletin 31, no. 4 (2013): 733–37. http://dx.doi.org/10.1353/shb.2013.0067.

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Shahwan, Saed. "Gender Roles in The Merchant of Venice and Othello." Theory and Practice in Language Studies 12, no. 1 (January 2, 2022): 158–64. http://dx.doi.org/10.17507/tpls.1201.19.

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Literature enables authors to express various societal matters. Shakespeare provides a wide range of information from the Elizabethan era through his works. An important issue that is evident in his work is gender roles. The roles of characters, as described by Shakespeare, show social norms that define female and male genders. Female characters in Shakespeare's Merchant of Venice and Othello are underestimated because of the stereotypical gender roles. The roles involving female characters revolve around the homestead, unless where a female character is from a wealthy family, a queen or a princess. Male dominance in society implies that the Shakespearean era advocated for women discrimination.

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Moghari, Shaghayegh. "Racism, Ethnic Discrimination, and Otherness in Shakespeare’s Othello and The Merchant of Venice." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 25–41. http://dx.doi.org/10.47631/ijecls.v2i4.252.

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This study aims to present a comparative examination of the traces of racism and discrimination in two plays of Shakespeare, Othello and The Merchant of Venice, written in 1603 and around 1598, respectively in the Elizabethan Period. The attempt in this paper is to explore the construction of racism and the evidences of discrimination as depicted in Othello and the Merchant of Venice by use of the deconstruction of marriage. For this purpose, it deconstructs the marriage by focusing on Othello in Othello, and The Prince of Morocco in The Merchant of Venice; and, depicts racism and discrimination by comparing the characterizations of Othello in Othello and Shylock in The Merchant of Venice. Both sections critique the cruel issues these people experienced as other. The notion of ‘otherness’ and its application in the characterizations of Othello and Shylock, Othello vs. Shylock, the application of deconstruction of marriage to Othello and The Prince of Morocco, and racism in Othello and The Merchant of Venice are among the major items on which this article elaborates following by a conclusion describing the role of human conscience in racial and religious discrimination.

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Georgopoulou, Xenia, Coen Heijes, and Eleonora Oggiano. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 9, no. 24 (December 28, 2012): 91–105. http://dx.doi.org/10.2478/v10224-011-0018-1.

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Macbeth. Dir. Thomas Moschopoulos. Onassis Cultural Centre, Main Stage, Athens, Greece. The Merchant of Venice. Dir. Rupert Goold. The Royal Shakespeare Company, The Royal Shakespeare Theatre, Stratford-upon-Avon. La Tempesta. Pre-testi. Dir. Yana Balkan and Isabella Caserta, Teatro Scientifico Company, Camploy Theatre, Verona.

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Anténe, Petr. "“The most famous Jew outside the Old Testament”: Recontextualizing Shakespeare in Clive Sinclair’s Shylock Must Die." Iudaica Russica, no. 1(8) (June 21, 2022): 1–13. http://dx.doi.org/10.31261/ir.2022.08.09.

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The posthumously published short story collection Shylock Must Die (2018) by the British Jewish writer Clive Sinclair works with Shakespeare’s play The Merchant of Venice in a variety of creative ways. The short stories borrow from The Merchant of Venice especially the theme of antisemitism and Shylock as the main Jewish character but are usually set in the 20th or 21st century rather than in the Renaissance. Some stories react to notable productions of the play across the globe, e.g. in Stockholm in 1944, London in 2012 or in Venice in 2016, the year of the quincentennial commemorations of the foundation of the Venetian ghetto. The stories also include tragicomic elements as typical features of Jewish literature.

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Armion, Clifford. "Performing the Merchant of Venice Outdoors: Shakespeare by the Sea." Cahiers Élisabéthains: A Journal of English Renaissance Studies 68, no. 1 (November 2005): 33–37. http://dx.doi.org/10.7227/ce.68.1.6.

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Lambeth, Kerry. "Shitfaced Shakespeare: The Merchant of Venice by Magnificent Bastard Productions." Shakespeare Bulletin 37, no. 1 (2019): 127–30. http://dx.doi.org/10.1353/shb.2019.0009.

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Nicolaescu, Madalina. "Introducing Shakespeare to the fringes of Europe: The first Romanian performance of The Merchant of Venice." Sederi, no. 27 (2017): 129–48. http://dx.doi.org/10.34136/sederi.2017.6.

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Shakespeare was introduced into the Romanian Principalities between 1830 and 1855, beginning with a production of The Merchant of Venice, translated from a French adaptation of the play. This essay considers the dearth of critical attention paid to the influence of French melodrama in Southeastern Europe, and in Romania in particular; examines the circulation of Shakespearean productions in this area; and investigates the various processes of de-and re-contextualization involved in the melodramatic adaptation of The Merchant of Venice in France in the 1830s and in its translation/performance in the Romanian Principalities in the 1850s.

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Burtin, Tatiana. "La mémoire théâtrale de l’avarice dans The Merchant of Venice." Actes des congrès de la Société française Shakespeare, no. 30 (April 1, 2013): 107–26. http://dx.doi.org/10.4000/shakespeare.1926.

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