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Bisexuality in William Shakespeare's Crossdressing Plays
“Betrothed Both to a Maid and Man”: Bisexuality in William Shakespeare’s Crossdressing Plays The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945131 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Betrothed Both to a Maid and Man”: Bisexuality in William Shakespeare’s Crossdressing Plays Danielle Warchol A Thesis in the Field of English for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2018 Copyright 2018 Danielle Warchol Abstract This thesis examines the existence of bisexuality in William Shakespeare’s three major crossdressing plays: The Merchant of Venice, As You Like It, and Twelfth Night. The past few decades have seen several homoerotic interpretations of Shakespeare's crossdressing plays, but many of these readings argue that same-sex desire is transitional and that because the plays end in opposite-sex marriage, same-sex desire can never be consummated. While a case can be made for these arguments, readings that rely on the heterosexual-homosexual binary overlook the possibility of bisexual identities and desire within the plays. Historical accounts illustrate that same-sex relationships and bisexual identities did exist during the Elizabethan era. However, I will be examining bisexuality from a modern perspective and, as such, will not discuss the existence, or lack thereof, of bisexual terminology within early modern culture or as it relates to Shakespeare’s own sexual identity. -
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. -
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. -
The Merchant of Venice Theme: Exploring Shylock
Discovering Literature www.bl.uk/shakespeare Teachers’ Notes Curriculum subject: English Literature Key Stage: 4 and 5 Author / Text: William Shakespeare, The Merchant of Venice Theme: Exploring Shylock Rationale Shylock is one of Shakespeare’s most complex and troubling characters. He is marked from his very first appearance as an outsider in Venetian society, scorned and spat on by Christians and stripped of his wealth and religion. Nevertheless, he is also fuelled by vengeance. How are we to interpret Shylock as a character? Is he a stereotypical villain, or the victim of prejudice and racial hatred? These activities encourage students to explore the character of Shylock, setting him against the backdrop of myths and fears about Jews that existed in Shakespeare’s England. Students will examine some of the ways in which Shylock has been depicted on stage and will relate these different interpretations to changing cultural sensitivities. Content Literary and historical sources: Description of the Jewish Ghetto and the courtesans of Venice in Coryate's Crudities (1611) Doctor Lopez is accused of poisoning Elizabeth I (1627) The first illustrated works of Shakespeare edited by Nicholas Rowe (1709) Marlowe’s The Jew of Malta (1633) Henry Irving as Shylock and Ellen Terry as Portia (1906–10) Photographs of Yiddish production of The Merchant of Venice (1946) Recommended reading (short articles): How were the Jews regarded in 16th-century England?: James Shapiro A Jewish reading of The Merchant of Venice: Aviva Dautch External links: -
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 -
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. -
A Žižekian Reading of the Jewish Question in the Merchant of Venice
CLEaR , 2016, 3(2), ISSN 2453 - 7128 DOI: 10.1515/clear - 2016 - 0011 “Which is the Merchant and which is the Jew?” a Žižekian Reading of the Jewish Question in The Merchant of Venice Shih - pei Kuo National Chengchi University , Taiwan [email protected] Abstract This essay borrows Zižek ’ s interpretation of racism which combines the Marxist and psychoanalytic perspectives to read Shakespeare ’ s The Merchant of Venice . I argue that Shylock , the Jewish usurer , embodies both the structural contradiction of capitalism and the social contradiction which characterizes the Venetian setting torn by capitalism and Christianity. As Shylock exposes these contradictions which the Christian Venetians refuse to confront, h e is destined to be a scapegoat. From the Marxist point of view, the survival of capitalism relies on incessant production, which also means incessant investment of capital. Therefore, an active financial system is requisite to sustain the prosperity of ca pitalism. Paradoxically, this necessary condition of capitalism which facilitates the maximum use of cash is also its inherent vulnerability: once the circulation of cash is disrupted, it can lead to the crisis of the overall domino - effect collapse. The us ury represented by Shylock indeed reflects such inherent contradiction of capitalism. Also, usury, which excludes any human factor and only engages the direct monetary exchange, also contradicts the Christian orthodox belief of generosity and unrequited de votion. These central Christian values a re certainly questioned as Bassa nio ’ s courtship of Portia, based on his disguised wealth, is indistinguishable from a profitable enterprise. From the psychoanalytic point of view, Shylock ’ s fas cination with money and revenge also mirrors the Christians ’ clandestine longing for these two forbidden enjoyments. -
Twelfth Night," and "Othello"
UNLV Retrospective Theses & Dissertations 1-1-2008 The male homoerotics of Shakespearean drama: A study of "The Merchant of Venice," "Twelfth Night," and "Othello" Anthony Guy Patricia University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Patricia, Anthony Guy, "The male homoerotics of Shakespearean drama: A study of "The Merchant of Venice," "Twelfth Night," and "Othello"" (2008). UNLV Retrospective Theses & Dissertations. 2314. http://dx.doi.org/10.25669/mxfv-82oj This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE MALE HOMOEROTICS OF SHAKESPEAREAN DRAMA: A STUDY OF THE MERCHANT OF VENICE, TWELFTH NIGHT, AND OTHELLO by Anthony Guy Patricia Bachelor of Arts University of Nevada, Las Vegas 2004 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree in English Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas May 2008 UMI Number: 1456363 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
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.