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Journal articles on the topic 'Merchant of Venice'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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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

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Lukacs, Barbara Ann. "The Merchant of Venice." Shakespeare Bulletin 36, no. 1 (2018): 176–80. http://dx.doi.org/10.1353/shb.2018.0016.

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12

Krumm, Bernard Charles. "The Merchant of Venice." Shakespeare Bulletin 40, no. 3 (September 2022): 454–59. http://dx.doi.org/10.1353/shb.2022.0042.

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13

Willard, Thomas. "Richard Mackenney, Venice as the Polity of Mercy: Guilds, Confraternities, and the Social Order, c. 1250–c. 1650. Toronto Italian Studies. Toronto, Buffalo, and London: University of Toronto Press, 2019, xiii, 471." Mediaevistik 32, no. 1 (January 1, 2020): 551–52. http://dx.doi.org/10.3726/med.2019.01.167.

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Shakespeare is well known to have set two of his plays in and around Venice: The Merchant of Venice (1596) and The Tragedy of Othello, the Moor of Venice (1603). The first is often remembered for its famous speech about “the quality of mercy,” delivered by the female lead Portia in the disguise of a legal scholar from the university town of Padua. The speech helps to spare the life of her new husband’s friend and financial backer against the claims of the Jewish moneylender Shylock. The play has raised questions for Shakespearean scholars about the choice of Venice as an open city where merchants of all nations and faiths would meet on the Rialto while the city’s Senate, composed of leading merchants, worked hard to keep it open to all and especially profitable for its merchants. Those who would like to learn more about the city’s development as a center of trade can learn much from Richard Mackenney’s new book.

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14

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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15

Sokol, B. J. "The Merchant of Venice and the Law Merchant." Renaissance Studies 6, no. 1 (March 1992): 60–67. http://dx.doi.org/10.1111/j.1477-4658.1992.tb00257.x.

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16

Sokol, B. J. "The Merchant of Venice and The Law Merchant." Renaissance Studies 6, no. 1 (March 1992): 60–67. http://dx.doi.org/10.1111/1477-4658.t01-1-00113.

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17

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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18

Wooster, Roger. "Deproblematizing The Merchant of Venice." European Judaism 51, no. 2 (September 1, 2018): 52–58. http://dx.doi.org/10.3167/ej.2018.510209.

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Abstract The Merchant of Venice remains a ‘problem play’ for contemporary production. Whether the play is inherently antisemitic or not, it remains one of the most popular of the canon. I will consider how actors and their directors can, with the wisdom imparted by twentieth-century psychology and Stanislavskian-derived ideas of objectives, circumstances and subtext, seek to circumvent the challenges and infuse problematic text with more acceptable interpretations. Possible reinterpretations of Shylock are centrally considered, but the characters and motives of Jessica, Portia, Antonio and Bassanio are also scrutinized. Such re-evaluation of the underlying motivations seems a reasonable resolution for keeping the text intact while undermining any inherent negative stereotyping. However, once we admit of this subversion of a writer’s intentions, what might the consequences be if there are those who wish to use the same tools to create anti-humanitarian theatre?

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19

Wooster, Roger. "Deproblematizing The Merchant of Venice." European Judaism 51, no. 2 (September 1, 2018): 52–58. http://dx.doi.org/10.3167/ej.2017.510209.

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The Merchant of Venice remains a ‘problem play’ for contemporary production. Whether the play is inherently antisemitic or not, it remains one of the most popular of the canon. I will consider how actors and their directors can, with the wisdom imparted by twentieth-century psychology and Stanislavskian-derived ideas of objectives, circumstances and subtext, seek to circumvent the challenges and infuse problematic text with more acceptable interpretations. Possible reinterpretations of Shylock are centrally considered, but the characters and motives of Jessica, Portia, Antonio and Bassanio are also scrutinized. Such re-evaluation of the underlying motivations seems a reasonable resolution for keeping the text intact while undermining any inherent negative stereotyping. However, once we admit of this subversion of a writer’s intentions, what might the consequences be if there are those who wish to use the same tools to create anti-humanitarian theatre?

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20

Halperin, Mark. "Teaching The Merchant of Venice." English Journal 86, no. 5 (September 1997): 12. http://dx.doi.org/10.2307/820432.

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21

Magaldi, Karin. "The Merchant of Venice (review)." Theatre Journal 56, no. 3 (2004): 496–98. http://dx.doi.org/10.1353/tj.2004.0111.

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22

Edelman, Charles. "Shakespeare's the Merchant of Venice." Explicator 60, no. 3 (January 2002): 124–26. http://dx.doi.org/10.1080/00144940209597679.

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23

Major, Rafel. "Shakespeare's the Merchant of Venice." Explicator 61, no. 4 (January 2003): 198–200. http://dx.doi.org/10.1080/00144940309597809.

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24

Harris, Arthur John, and Frankie Rubinstein. "Shakespeare's the Merchant of Venice." Explicator 62, no. 2 (January 2004): 70–74. http://dx.doi.org/10.1080/00144940409597174.

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25

Popkin, Richard H. "A Jewish Merchant of Venice." Shakespeare Quarterly 40, no. 3 (1989): 329. http://dx.doi.org/10.2307/2870729.

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26

Schultz, Ray. "The Merchant of Venice (review)." Theatre Journal 59, no. 3 (2007): 502–4. http://dx.doi.org/10.1353/tj.2007.0165.

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27

de Beauregard, Raphaëlle Costa. "Interpreting the Merchant of Venice." Cahiers Élisabéthains: A Journal of English Renaissance Studies 39, no. 1 (April 1991): 1–16. http://dx.doi.org/10.1177/018476789103900105.

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28

Phillips, S. J. "Review: The Merchant of Venice." Notes and Queries 51, no. 2 (June 1, 2004): 198–200. http://dx.doi.org/10.1093/nq/51.2.198-b.

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29

Phillips, Stephen J. "Review: The Merchant of Venice." Notes and Queries 51, no. 2 (June 1, 2004): 198–200. http://dx.doi.org/10.1093/nq/510198b.

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30

Halio, Jay L. "The Merchant of Venice (review)." Shakespeare Bulletin 24, no. 2 (2006): 63–68. http://dx.doi.org/10.1353/shb.2006.0026.

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31

Botelho, Keith M. "The Merchant of Venice (review)." Shakespeare Bulletin 25, no. 2 (2007): 65–70. http://dx.doi.org/10.1353/shb.2007.0022.

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32

Kole, Robert. "The Merchant of Venice (review)." Shakespeare Bulletin 25, no. 2 (2007): 70–73. http://dx.doi.org/10.1353/shb.2007.0032.

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33

Scheil, Katherine West. "The Merchant of Venice (review)." Shakespeare Bulletin 25, no. 3 (2007): 116–19. http://dx.doi.org/10.1353/shb.2007.0055.

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34

Fike, Matthew A. "Disappointment inThe Merchant of Venice." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 7, no. 1 (January 1994): 13–18. http://dx.doi.org/10.1080/0895769x.1994.10543098.

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35

IORDANOU, IOANNA. "The Professionalization of Cryptology in Sixteenth-Century Venice." Enterprise & Society 19, no. 4 (September 24, 2018): 979–1013. http://dx.doi.org/10.1017/eso.2018.10.

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This article examines the evolution of cryptology as a business trait and a distinct state-controlled and -regulated profession in sixteenth-century Venice. It begins by briefly discussing the systematic development of cryptology in the Renaissance. Following an examination of the amateur use of codes and ciphers by members of the Venetian merchant and ruling classes, and subsequently by members of all layers of Venetian society, the article moves on to discuss the professionalization of cryptology in sixteenth-century Venice. This was premised on specialist skills formation, a shared professional identity, and an emerging professional ethos. The article explores a potential link between the amateur use of cryptology, especially as it had been instigated by merchants in the form of merchant-style codes, and its professional use by the Venetian authorities. It also adds the profession of the cifrista—the professional cipher secretary—to the list of more “conventional” early modern professions.

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36

Rosenshield, Gary. "Deconstructing the Christian Merchant: Antonio and The Merchant of Venice." Shofar: An Interdisciplinary Journal of Jewish Studies 20, no. 2 (2001): 28–51. http://dx.doi.org/10.1353/sho.2001.0158.

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37

임도현. "The Merchant of Venice: Antonio's Melancholy." Shakespeare Review 47, no. 1 (March 2011): 115–35. http://dx.doi.org/10.17009/shakes.2011.47.1.006.

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38

Fienberg, Nona. "Circumcision in The Merchant of Venice." PMLA/Publications of the Modern Language Association of America 113, no. 3 (May 1998): 452. http://dx.doi.org/10.2307/463353.

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39

Loehlin, James Norris. "Performance Review: The Merchant of Venice." Theatre Journal 48, no. 1 (1996): 94–96. http://dx.doi.org/10.1353/tj.1996.0016.

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40

Danson, Lawrence, and Thomas Wheeler. "The Merchant of Venice: Critical Essays." Shakespeare Quarterly 46, no. 3 (1995): 362. http://dx.doi.org/10.2307/2871126.

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41

Goldberg, Jonathan. "Carnival in The Merchant of Venice." postmedieval: a journal of medieval cultural studies 4, no. 4 (December 2013): 427–38. http://dx.doi.org/10.1057/pmed.2013.32.

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42

Al‐Shetawi, Mahmoud. "The Merchant of Venice in Arabic." Journal of Intercultural Studies 15, no. 1 (January 1994): 15–28. http://dx.doi.org/10.1080/07256868.1994.9963409.

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43

Boquet, Guy. "Review: Play: The Merchant of Venice." Cahiers Élisabéthains: A Journal of English Renaissance Studies 47, no. 1 (April 1995): 115–16. http://dx.doi.org/10.1177/018476789504700123.

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44

Smith, Peter J. "Review: Play: The Merchant of Venice." Cahiers Élisabéthains: A Journal of English Renaissance Studies 54, no. 1 (October 1998): 119–20. http://dx.doi.org/10.1177/018476789805400113.

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45

Astington, John H. "Pastoral imagery inThe Merchant of Venice." Word & Image 31, no. 1 (January 2, 2015): 43–53. http://dx.doi.org/10.1080/02666286.2015.1020741.

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46

Hutcheon, Elizabeth. "Medea and The Merchant of Venice." SEL Studies in English Literature 1500-1900 60, no. 2 (2020): 323–45. http://dx.doi.org/10.1353/sel.2020.0014.

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47

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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48

Smith, Peter J. "Reviews Plays: The Merchant of Venice." Cahiers Élisabéthains: A Journal of English Renaissance Studies 61, no. 1 (May 2002): 104–6. http://dx.doi.org/10.1177/018476780206100117.

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49

Stavreva, Kirilka, and Boika Sokolova. "Play review: The Merchant in Venice." Cahiers Élisabéthains: A Journal of English Renaissance Studies 91, no. 1 (November 2016): 96–101. http://dx.doi.org/10.1177/0184767816669040.

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50

Schutte, Valerie. "Inheritance Rights inThe Merchant of Venice." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 26, no. 4 (October 2013): 226–27. http://dx.doi.org/10.1080/0895769x.2013.845080.

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