The Merchant of Venice – Interactive Study Guide
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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. -
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 ............................................................................................................................. -
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. -
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. -
Usury As a Human Problem in Shakespeare's Merchant of Venice
USURY AS A HUMAN PROBLEM IN SHAKESPEARE’S MERCHANT OF VENICE A Thesis Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Steven Petherbridge In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major Department: English Option: Literature March 2017 Fargo, North Dakota North Dakota State University Graduate School Title Usury as a Human Problem in Shakespeare’s Merchant of Venice By Steven Petherbridge The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of MASTER OF ARTS SUPERVISORY COMMITTEE: Verena Theile Chair Miriam Mara John Cox Approved: March 21, 2017 Elizabeth Birmingham Date Department Chair ABSTRACT Shakespeare’s Shylock from the Merchant of Venice is a complex character who not only defies simple definition but also takes over a play in which he is not the titular character. How Shakespeare arrived at Shylock in the absence of a Jewish presence in early modern England, as well as what caused the playwright to humanize his villain when other playwrights had not is the subject of much debate. This thesis shows Shakespeare’s humanizing of Shylock as a blurring of the lines between Jews and Christians, and as such, a shift of usury from a uniquely Jewish problem to a human problem. This shift is then explicated in terms of a changing England in a time where economic necessity challenged religious authority and creating compassion for a Jew on the stage symbolically created compassion for Christian usurers as well. -
The Merchant of Venice the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespearean Festival
Insights A Study Guide to the Utah Shakespearean Festival The Merchant of Venice The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespearean Festival. They are meant, instead, to bean educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespearean Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, publications manager and editor; Clare Campbell, graphic artist. Copyright © 2018, Utah Shakespearean Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespearean Festival. For more information about Festival education programs: Utah Shakespearean Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover Art by Cully Long. The Merchant of Venice Contents Information on William Shakespeare Shakespeare: Words, Words, Words 4 Not of an Age, but for All Mankind 6 Elizabeth’s England 8 History Is Written by the Victors 10 Mr. Shakespeare, I Presume 11 A Nest of Singing Birds 12 Actors in Shakespeare’s Day 14 Audience: A Very Motley Crowd 16 Shakespearean Snapshots 18 Ghosts, Witches, and Shakespeare 20 What They Wore 22 Information on the Play About The Merchant of Venice 23 Synopsis 24 Characters 25 Scholarly Articles on the Play A Thought-Provoking, Equivocal, Problematic Play 27 Neither Comedy, Tragedy, Nor Romance 30 A Romantic Comedy 32 The Enigmatic Shylock 33 A Tale of Outsiders 35 Family Relationships 37 The Sins of the Father . -
Teachers' Notes
6 – 20 march 2014 teachers’ Notes Writing the Merchant of Venice Antonio: Shakespeare and Queen Elizabeth I I hold the world but as the world, Gratiano, A stage where every man must play a part, Queen Elizabeth I (1533-1603, r. 1558-1603), the so-called And mine a sad one. ‘Virgin Queen’, had been on the throne almost 40 years. After The Merchant of Venice (1.1.77-78) the turmoil of the reign of her father Henry VIII, this ‘golden age’ was proving to be a time of considerable advancement Shakespeare: Actor, Playwright, Poet for England in both exploration and colonisation (the Americas), military power (the defeat of the Spanish Armada), The Merchant of Venice is thought to be written around 1596-7. science, literature and music. William Shakespeare was by then a leading member and chief playwright of acting troupe the Lord Chamberlain’s Men. The Shakespeare’s company enjoyed the patronage of the Queen. Lord Chamberlain’s Men and another company, the Lord He performed in two comedies before the Queen at the Royal Admiral’s Men, performed regularly at court during festive Palace, Greenwich, in December 1594; Love’s Labour’s Lost occasions. The Lord Chamberlain’s Men also performed at was performed for her on December 26, 1597. The Theatre in Shoreditch, built by James Burbage in 1576). It was with this company that Shakespeare was a shareholder It is no surprise that Shakespeare chose to have strong, and would later become a ‘house’ holder in the Globe central female characters in The Merchant of Venice, As You Theatre, built in Southwark in 1599 from the timbers of the Like It and Much Ado About Nothing. -
The Merchant of Venice Teacher Handbook Table of Contents Barbara Gaines Criss Henderson Artistic Director Executive Director Preface
is the principal sponsor of Team Shakespeare. the merchant of venice teacher handbook Table of Contents Barbara Gaines Criss Henderson Artistic Director Executive Director Preface . .1 Art That Lives . .2 Bard’s Bio . .2 The First Folio . .3 Shakespeare’s England . .4 The Renaissance Theater . .5 Chicago Shakespeare Theater is Chicago's professional theater Courtyard-style Theater . .6 dedicated to the works of William Shakespeare. Founded as Timelines . .8 Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three levels wrap around a deep William Shakespeare’s thrust stage—with only nine rows separating the farthest seat The Merchant of Venice from the stage. Chicago Shakespeare also features a flexible 180- seat black box studio theater, a Teacher Resource Center, and a Dramatis Personae . .10 Shakespeare specialty bookstall. The Story . .10 Act-by-Act Synopsis . .11 In its first 18 seasons, the Theater has produced nearly the entire Shakespeare canon: All’s Well That Ends Well, Antony and Shakespeare’s England/Shakespeare’s Venice . .14 Cleopatra, As You Like It, The Comedy of Errors, Cymbeline, The Tale of Dr. Lopez . .15 Hamlet, Henry IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and Shakespeare’s Sources . .17 3, Julius Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, A Scholar’s Perspective: Stuart Sherman . .19 Measure for Measure, The Merchant of Venice, The Merry Wives A Scholar’s Perspective: David Bevington . .20 of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, Richard II, Richard III, Romeo and The History of Jews in England . -
William Shakespeare
William Shakespeare By John Masefield WILLIAM SHAKESPEARE CHAPTER I THE LIFE OF SHAKESPEARE Stratford-on-Avon is cleaner, better paved, and perhaps more populous than it was in Shakespeare's time. Several streets of mean red-brick houses have been built during the last half century. Hotels, tea rooms, refreshment rooms, and the shops where the tripper may buy things to remind him that he has been where greatness lived, give the place an air at once prosperous and parasitic. The town contains a few comely old buildings. The Shakespeare house, a detached double dwelling, once the home of the poet's father, stands on the north side of Henley Street. A room on the first floor, at the western end, is shown to visitors as the room in which the poet was born. There is not the slightest evidence to show that he was born there. One scanty scrap of fact exists to suggest that he was born at the eastern end. The two dwellings have now been converted into one, which serves as a museum. New Place, the house where Shakespeare died, was pulled down in the middle of the eighteenth century. For one museum the less let us be duly thankful. The church in which Shakespeare, his wife, and little son are buried stands near the river. It is a beautiful building of a type common in the Cotswold country. It is rather larger and rather more profusely carved than most. Damp, or some mildness in the stone, has given much of the ornament a weathered look. -
Combating Legal Power from Italian Shores to London Streets A
Tales of Resistance: Combating Legal Power from Italian Shores to London Streets A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Jessica Apolloni IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advised by John Watkins April 2016 © {Jessica Apolloni} {2016} i Acknowledgements I am very grateful for everyone who has made this project possible. I extend my deepest thanks to my adviser, John Watkins, who has been a supportive mentor, constructive critic, and enthusiastic coach throughout my time at the University of Minnesota. I also thank Shirley Nelson Garner, for believing in my abilities from the moment I stepped into her classroom as an undergraduate interested in Shakespeare. John and Shirley have both nurtured my love of literature and guided me to this rewarding career, for which I cannot adequately express my gratitude. I wish to thank my committee members, Nabil Matar and Susan Noakes, for their guidance, critical attention to my work, and adamant support. The intellectual framework of this project owes a huge debt to my Fulbright cohort as well as my fellows in the Mellon Academy for Advanced Study in the Renaissance. In our discussions, events, and workshops, Edward Muir and Regina Schwartz greatly influenced my critical approach to Renaissance studies, and more specifically, law and literature. I wish to extend heartfelt thanks to University of Minnesota faculty members, including Giancarlo Casale, Rebecca Krug, and Katherine Scheil, who all had crucial roles in my development as a scholar. I also express my gratitude to the University of Minnesota English Department, Center for Early Modern History, and Graduate School for their generous support in travel and research grants, including a 2015-16 Doctoral Dissertation Fellowship. -
Shylock's Conversion
Shylock’s Conversion Gorman Beauchamp University of Michigan The thesis of this essay is simply stated: The Merchant of Venice is a Christian play and a comedy that ends well for all. I argue A Christian for this reading not because I am a Christian—I’m not—but play that ends because Shakespeare was, his audience was, and the play well for all. is. The great majority of critics who interpret Shakespeare’s plays from an ideological stance strive to make him accord with them and it: Catholics will have a Catholic Shakespeare, Marxists discover a proto-Marxist Shakespeare, Queer Theo- rists have outed a queerish Shakespeare (vide Shakesqueer: The Queer Companion to the Complete Works of Shakespeare, 2010). Unlike such critics I am not proselytizing for any credo I hold, seeking rather to provide a disinterested analysis of this highly contested play. Or as they say down home, I got no dog in this theomachia. Nevertheless my thesis, put simply, is that Anto- nio’s stipulation that Shylock convert to Christianity stands as the greatest act of kindness and mercy that he could have possibly rendered his tormentor. Antonio saves Shylock from eternal damnation. At least in the Globe, in the 1590s. Some years ago, in John Gross’s Shylock, an exemplary study of the four hundred year long career of this vexing character, I encountered this claim by a French critic, Pierre Spriet: “It is unthinkable to imagine that today’s audiences could adopt, even for the brief moment of a performance, the Christian version of a world which prevailed in medieval and GORMAN BEAUCHAMP is Associate Professor Emeritus of English at the University of Michigan.