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Cultural Aspects in Shakespeare's Merchant Of
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.3 Issue 4 An International Peer Reviewed Journal 2016 http://www.joell.in RESEARCH ARTICLE CULTURAL ASPECTS IN SHAKESPEARE’S MERCHANT OF VENICE Najma Begum (Lecturer in English, SRR & CVR Govt. Degree College, Vijayawada.) [email protected] ABSTRACT It is desirable to know the cultural context of any given text to understand it better. It is more so when the text is distanced in terms of space and time. Likewise to understand the famous Shakespearean comedy, Merchant of Venice, we need to understand the cultural background of society in which the play was created. So the present paper takes it as a task to explain the cultural aspects in Shakespeare’s Merchant of Venice Keywords: Culture, Society, Jews, Elizabethan times. Citation: APA Begum,N. (2016) Cultural Aspects in Shakespeare’s Merchant of Venice.Veda’s Journal of English Language and Literature- JOELL, 3(4), 100-102. MLA Begum, Najma. “Cultural Aspects in Shakespeare’s Merchant of Venice.” Veda’s Journal of English Language and Literature-JOELL 3.4(2016):100-102. © Copyright VEDA Publication LOVE husband. Similarly, Antonoio clearly loves Bassanio( Love is the key theme in the book. There are whether in a romantic manner or not) and he many loving relationships in this play and not all are ultimately must subordinate his love for Bassanio to the type that involved the love that a man has for a Portia’s more formal marriage with him. Love is woman, or vice-versa. Bassanio and Portia, Jessica regulated, sacrificed, betrayed, and generally built on and Lorenzo and Gratiano and Nerissa are all types of rocky foundations in the play. -
'Otherness' in Shakespeare's Othello and the Merchant Of
The Representation of ‘Otherness’ in Shakespeare’s Othello and The Merchant of Venice Othello and Shylock Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Gerda TISCHLER am Institut für Anglistik Begutachter: o. Univ.-Prof. Mag. Dr. Werner Wolf Graz, 2013 Acknowledgement First and foremost, I would like to express my gratitude to my supervisor Professor Werner Wolf, who has not only offered valuable guidance, assistance, and help in the composition of this thesis, but who has also been an inspiring and very encouraging mentor throughout the rest of my studies, supporting me in many ways. Additionally, I would like to thank my former teachers Waltraud Wagner and Liselotte Schedlbauer, who stirred up my enthusiasm for both the English language and literature. I also want to express my warmest and sincere thanks to my parents, who have always encouraged me in the actualisation of my dreams and who have been incredibly supportive in any respect throughout my entire life. Besides, I want to thank Christopher for showing so much sympathy and understanding, and for making me laugh wholeheartedly at least once a day. Lastly, I am indebted to my family, friends, and anyone without whom the completion of this thesis would not have been possible. Contents 1 Introduction ............................................................................................................... 5 2 The ‘Other’ – Attempts at an Explanation ............................................................ -
Understanding the Gender Complexities of Shakespeare Dr Peter D Matthews
Understanding the Gender Complexities of Shakespeare Dr Peter D Matthews Introduction The dramatists of Shakespeare are often characterized as being feminists because of the frankness of Cordelia in King Lear, the shrewdness or Portia in The Merchant of Venice, and the psychological manipulation of Volumnia in Coriolanus. For over four hundred years we have performed the incredible representations of men and women and their various roles and responsibilities in society during the latter Renaissance period, where male actors would have pretended to be the character of Viola in Twelfth Night, while pretending to be her brother Sebastian, as a male character. This seems to be quite a complex idea in the latter sixteenth century. Some scholars have suggested that feminism did not exist during this era. I will prove in this paper that these assertions are fatally flawed – feminism was alive and well during that era. However, the dramatists of Shakespeare were not feminists, per say, they were in fact Master Kabbalists teaching the gender complexities of the ancient Zohar and the Tree of Life, where one can allow ego to ruin one’s life, or shut down our reactive system and be transformed to the supernal (heavenly) realm of perfection beyond human perception and repair the world. Historical Background With the humanist movements in Europe, particularly Italy, during the 15th and 16th centuries many women rose to study philosophy of women and positions of power. One such document was the ‘Querelle des Femmes’ (The Woman Question) that began a movement circa 1500, followed by a lectured on the ‘Virtues of the Female Sex’ by the learned philosopher Heinrich Agrippa of Nettesheim in 1509. -
The Merchant of Venice
논문투고일자 :2005. 11. 03 457 통상정보연구 제7 권 제 4 호 (2005 년 12 월 25 일 ) 게재확정일자 :2005. 12. 15 An Art of Arbitration: Dispute Resolutions in Shakespeare's The Merchant of Venice Jeom-Suk Yeon Professor, School of English, Kyung Hee University Contents Ⅰ. Introduction Ⅳ. Conclusion Ⅱ. Context of The Merchant of Venice Reference Ⅲ. The Trial in the Venetian Courtroom: Portia's Arbitration as a Abstract Doctor of Laws Abstract The main narrative of Shakespeare's The Merchant of Venice deals with a dispute over the matter of bond in regard to moneylending, and its consequences upon the eventual default. Only the clever interference of a lawyer or judge brings the crisis to an end. In solving his dispute over the bond between Antonio, the merchant of Venice, and Shylock, the money lender and a Jew, Shakespeare offers one of the most famous trial scenes in literature. This trial scene presents the art of arbitration by Portia who was disguised as a Doctor of Law and sheds light on the nature of law, justice, equity, and divine law. What one cannot overlook in this trial scene is the importance of reading ability. After all, interpretation is the next stage of reading. Drawing just verdicts and wise arbitration while at the same time deconstructing the implicit violence and incongruity in law is based on ceaseless effort of analytic and creative act of reading. Key Words: Shakespeare, Merchant, Jew. Moneylending, Arbitration, Mercy, 458 통상정보연구 제7 권 제 4 호 (2005 년 12 월 25 일 ) 1. Introduction In the midst of many concerns over the withering interest in humanity fields in the present hyper technology era, one might say that Shakespeare still exerts a considerable weight on the mind of modern men almost collectively. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Reading Female Agency in the Merchant of Venice1
Defrauding Daughters Turning Deviant Wives? Reading Female Agency in The Merchant of Venice 1 Nicoleta Cinpoe ş University of Worcester ABSTRACT Brabantio’s words “Look to her, Moor, if thou hast eyes to see:| She has deceived her father, and may thee” (Othello , 1.3.292–293) warn Othello about the changing nature of female loyalty and women’s potential for deviancy. Closely examining daughters caught in the conflict between anxious fathers and husbands-to- be, this article departs from such paranoid male fantasy and instead sets out to explore female deviancy in its legal and dramatic implications with reference to Shakespeare’s The Merchant of Venice . I will argue that Portia’s and Jessica’s struggle to evade male subsidiarity results in their conscious positioning themselves on the verge of illegality. Besides occasioning productive exploration of marriage, law and justice within what Morss (2007:183) terms “the dynamics of human desire and of social institutions,” I argue that female agency, seen as temporary deviancy and/or self-exclusion, reconfigures the male domain by affording the inclusion of previous outsiders (Antonio, Bassanio and Lorenzo) . KEYWORDS : The Merchant of Venice ; commodity/ commodification; subsidiarity; bonds/binding; marriage code versus friendship code; defrauding; deviancy; agency; conveyancing; (self)exclusion. 1 My reading of The Merchant of Venice with a view to agency that reconfigures the social structures is indebted to and informed by Margaret S. Archer’s work on structure and agency, especially -
The Jew As Dangerous Other in Early Italian Cinema, 1910-1914
The Jew as Dangerous Other in Early Italian Cinema, 1910-1914 Gerwyn Glyn Owen 2014 A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film Studies School of Creative Studies and Media Bangor University ii Abstract My thesis examines imagery of the Jew in four Italian silent films: Il mercante di Venezia (Gerolamo Lo Savio, 1910), L’Inferno (Francesco Bertolini, Adolfo Padovan, Giuseppe de Liguoro, 1911), Quo Vadis? (Enrico Guazzoni, 1913), and Cabiria (Giovanni Pastrone, 1914). The thesis deconstructs this filmic imagery and traces its history back to medieval and Renaissance representations of the Jew. This process reveals connections between traditional anti-Jewish ideologies and the moving images of early Italian cinema. In so doing, my thesis demonstrates that there is a powerful relationship between the socio-political and religious discourses that were in circulation before the First World War in Italy and the presence of anti-Semitic stereotyping in these films. It also argues that the image of the Jew in all of these filmic case studies functions as a representation of the radical dangerous Other that threatens the unity of the citizenry of the nation- state of the Kingdom of Italy and the cohesion of Liberal Italian society at a key time of new nation- building. iii Contents Abstract ................................................................................................................................................ ii Acknowledgements ............................................................................................................................. -
English 202 in Italy Text 2: [Official Course Title: English 280-1] Shakespeare, the Merchant of World Literature I Dr
Text 2: English 202 in Italy [Official course title: English 280-1] Shakespeare, The Merchant of World Literature I Venice Dr. Gavin Richardson EDITION: Any; the Folger Shakespeare is recommended. READING JOURNAL: In a separate document, write 3-5 thoughtful sentences in response to each of these reading journal prompts: 1. Act 1 scene 3 features the crucial loan scene. At this point, do you think Shylock is serious about the pound of flesh he demands as collateral for Antonio’s loan for Bassanio? Why or why not? 2. In 2.3. Jessica leaves her (Jewish) father for her (Christian) husband. Does her desertion create sympathy for Shylock? Or do we cheer her action? Is her “conversion” an uplifting one? 3. Shylock’s speech in 3.1.58–73 may be the most famous of the entire play. After reading this speech, review Ann Barton’s comments on the performing of Shylock and write a paragraph on what you think Shylock means to Shakespeare: “Shylock is a closely observed human being, not a bogeyman to frighten children in the nursery. In the theatre, the part has always attracted actors, and it has been played in a variety of ways. Shylock has sometimes been presented as the devil incarnate, sometimes as a comic villain gabbling absurdly about ducats and daughters. He has also been sentimentalized as a wronged and suffering father nobler by far than the people who triumph over him. Roughly the same range of interpretation can be found in criticism on the play. Shakespeare’s text suggests a truth more complex than any of these extremes.” 4. -
Revisiting Shakespeare's Problem Plays: the Merchant of Venice
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature REVISITING SHAKESPEARE’S PROBLEM PLAYS: THE MERCHANT OF VENICE, HAMLET AND MEASURE FOR MEASURE Emine Seda ÇAĞLAYAN MAZANOĞLU Ph.D. Dissertation Ankara, 2017 REVISITING SHAKESPEARE’S PROBLEM PLAYS: THE MERCHANT OF VENICE, HAMLET AND MEASURE FOR MEASURE Emine Seda ÇAĞLAYAN MAZANOĞLU Hacettepe University Graduate School of Social Sciences Department of English Language and Literature Ph.D. Dissertation Ankara, 2017 v For Hayriye Gülden, Sertaç Süleyman and Talat Serhat ÇAĞLAYAN and Emre MAZANOĞLU vi ACKNOWLEDGEMENTS First and foremost, I would like to express my endless gratitude to my supervisor, Prof. Dr. A. Deniz BOZER for her great support, everlasting patience and invaluable guidance. Through her extensive knowledge and experience, she has been a model for me. She has been a source of inspiration for my future academic career and made it possible for me to recognise the things that I can achieve. I am extremely grateful to Prof. Dr. Himmet UMUNÇ, Prof. Dr. Burçin EROL, Asst. Prof. Dr. Şebnem KAYA and Asst. Prof. Dr. Evrim DOĞAN ADANUR for their scholarly support and invaluable suggestions. I would also like to thank Dr. Suganthi John and Michelle Devereux who supported me by their constant motivation at CARE at the University of Birmingham. They were the two angels whom I feel myself very lucky to meet and work with. I also would like to thank Prof. Dr. Michael Dobson, the director of the Shakespeare Institute and all the members of the Institute who opened up new academic horizons to me. I would like to thank Dr. -
Merchant of Venice
Present In A SONY PICTURES CLASSICS RELEASE MOVISION ENTERTAINMENT and ARCLIGHT FILMS Association withUK FILM COUNCIL FILM FUND LUXEMBOURG, DELUX PRODUCTIONS S.A. IMMAGINE E CINEMA/DANIA FILM ISTITUTO LUCE A CARY BROKAW/AVENUE PICTURES NAVIDI-WILDE PRODUCTIONS JASON PIETTE – MICHAEL COWAN/SPICE FACTORY Production A MICHAEL RADFORD Film AL PACINO JEREMY IRONS JOSEPH FIENNES LYNN COLLINS WILLIAM SHAKESPEARE’S "THE MERCHANT OF VENICE" Supervising Make Up and ZULEIKHA ROBINSON KRIS MARSHALL CHARLIE COX HEATHER GOLDENHERSH MACKENZIE CROOK Art DirectorJON BUNKERHair Designer ANN BUCHANAN Costume Casting Music Film Production Director of DesignerSAMMY SHELDON DirectorSHARON HOWARD-FIELD byJOCELYN POOK EditorLUCIA ZUCCHETTI DesignerBRUNO RUBEO PhotographyBENOIT DELHOMME AFC Associate Co-Executive Co- Producer CLIVE WALDRON Producers GARY HAMILTON PETE MAGGI JULIA VERDIN Producers JIMMY DE BRABANT EDWIGE FENECH LUCIANO MARTINO ISTITUTO LUCE Co-Produced Executive by NIGEL GOLDSACK Producers MANFRED WILDE MICHAEL HAMMER PETER JAMES JAMES SIMPSON ALEX MARSHALL ROBERT JONES Produced Screenplay Directed Co- byCARY BROKAW BARRY NAVIDI JASON PIETTE MICHAEL LIONELLO COWAN byMICHAEL RADFORD byMICHAEL RADFORD A UK – LUXEMBOURG - ITALYProduction SOUNDTRACK AVAILABLE ON www.sonyclassics.com FOR SOME NUDITY. © 2004 SHYLOCK TRADING LIMITED, UK FILM COUNCIL, DELUX PRODUCTIONS S.A. AND IMMAGINE CINEMA S.R.L. Official Teacher’s Guide On DVD Spring 2005 Available on www.SonyStyle.com Check out “www.sonypictures.com/merchantofvenice” for more details TEACHER’S GUIDE By Mary E. Cregan, Ph.D Department of English, Barnard College NOTE TO TEACHERS The production of a major feature film of one of Shakespeare’s most controversial plays, The Merchant of Venice, provides literature teachers with an exciting opportunity to get students talking about some of the most difficult issues of our day—the tension between people of different cultures and religions—tensions that are as explosive today as they were in Shakespeare’s time. -
92. Judaism and Jews B R E T T D
book identifi es Easter Term as starting the eighteenth day such an overt liturgical allusion as Shakespeare provides aft er Easter and ending the Monday aft er the Ascension. in the title Twelft h Night was certainly not a reference to Trinity Term began the Friday aft er Trinity Sunday and the religious nature of the feast, or even to a performance ended June 28. Michaelmas Term began October 9 or 10 date, but to the atmosphere of frivolous chaos that had and ended November 28 or 29. Hillary Term began January developed over the years. It is far more likely that the 23 or 24 and ended February 12 or 13. During term time, timing of these performances was based on ecclesiasti- the court did not sit on Sundays or on the feasts of the cal rules regarding secular entertainment during certain Ascension, John the Baptist, All Saints, or the Purifi cation seasons of the year. Th e penitential seasons of Advent of Mary. and Lent, for example, were inappropriate for theatrical amusements. Dramatic performances S o u r c e c i t e d and the liturgical year G a r d i n e r , S a m u e l . Th e Cognizance of a True Christian, or the Dramatic performances were oft en scheduled to coin- outward markes whereby he may be the better knowne , etc. cide with certain church seasons or feasts. Th is practice London : Th omas Creede , 1597 . was not new to the English Renaissance, however. Th e medieval mystery plays serve as a prime example of the F u r t h e r r e a d i n g long-standing connection between theater, religion, and B r y a n t , J a m e s C . -
The Merchant of Venice (C
The Merchant of Venice (c. 1596) Contextual information Quotes from The Merchant of Venice Giovanni’s collection of stories, Il Pecorone (1558), was a key source for The Merchant of Venice. In one tale, a Venetian merchant borrows money to give his godson, but the Jewish moneylender demands a pound of flesh if the bond is not repaid on time. The young man uses the money to woo a Lady of Belmont – a ruthless widow who cheats her lovers by drugging them. Shakespeare introduces the love test involving a choice of caskets Explore Il Pecorone, an Italian as part of Bassanio’s suit to Portia. source for The Merchant of Venice Shakespeare took his wooing scene from the ancient tale of ‘Three Caskets’ which tells of a young girl who must prove her love for the emperor’s son by choosing from three vessels made of gold, silver and lead. Shakespeare gives the choice to three View a golden casket from men rather than a woman. Venice Christopher Marlowe’s play, The Jew of Malta (c. 1592), is a tale of violent conflict between Christians, Jews and Turks which seems to have influenced Shakespeare. The hero-villain, Barabas a wealthy Jew, has a cruel but intoxicating desire for money and revenge. When Barabas’ daughter Abigail elopes with a Christian, he shouts ‘O my girle, / My gold, my fortune, my felicity’. Ultimately, The Jew of he destroys himself in his own trap as the Explore Marlowe's Malta Christians deny him mercy. Queen Elizabeth I’s Jewish physician, Doctor Lopez was tried and executed for allegedly plotting to kill the Queen in 1594.