The Merchant of Venice
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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. -
The Canon and Shakespeare's Plays on the Contemporary East Asian Stage
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 6 Article 7 The Canon and Shakespeare's Plays on the Contemporary East Asian Stage I-Chun Wang Kaohsiung Medical University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun. -
PAPER VI UNIT I Non-Fictional Prose—General
PAPER VI UNIT I Non-fictional Prose—General Introduction, Joseph Addison’s The Spectator Papers: The Uses of the Spectator, The Spectator’s Account of Himself, Of the Spectator 1.1. Introduction: Eighteenth Century English Prose The eighteenth century was a great period for English prose, though not for English poetry. Matthew Arnold called it an "age of prose and reason," implying thereby that no good poetry was written in this century, and that, prose dominated the literary realm. Much of the poetry of the age is prosaic, if not altogether prose-rhymed prose. Verse was used by many poets of the age for purposes which could be realized, or realized better, through prose. Our view is that the eighteenth century was not altogether barren of real poetry. Even then, it is better known for the galaxy of brilliant prose writers that it threw up. In this century there was a remarkable proliferation of practical interests which could best be expressed in a new kind of prose-pliant and of a work a day kind capable of rising to every occasion. This prose was simple and modern, having nothing of the baroque or Ciceronian colour of the prose of the seventeenth-century writers like Milton and Sir Thomas Browne. Practicality and reason ruled supreme in prose and determined its style. It is really strange that in this period the language of prose was becoming simpler and more easily comprehensible, but, on the other hand, the language of poetry was being conventionalized into that artificial "poetic diction" which at the end of the century was so severely condemned by Wordsworth as "gaudy and inane phraseology." 1.2. -
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. -
By William Shakespeare
BEYOND THE POINT OF CHILDISHNESS (Volume II) THE ANNOTATED BIBLIOGRAPHY OF PROSE NARRATIVES ADAPTED FOR CHILDREN FROM SHAKESPEARE' S PLAYS 1807-1998 by (WINIFRED) WEI-FANG YIN A thesis submitted to the Faculty of Arts of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English School of Humanities The University of Birmingham June 1999 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. r\> ^ s to cO <i- cr 6 2. Guidelines for Using the Annotated Bibliography of Prose Narratives Adapted for Children from Shakespeare' s Plays 1807-1998 Scope of Bibliography: The Annotated Bibliography seeks to document different English versions of prose stories, retold from Shakespeare' s plays for the purpose of introducing children to Shakespeare, and published as children' s literature, including the nineteenth century chapbooks and penny-dreadful magazines. Anything that falls out of this category, i.e. text-books, theatre-guides and adult-books, will not be included. However, Lambs' tales were originally written for children. Although some editions of Lambs' tales were published as adults' books, they have been treated as children' s books, simply because they contain illustrations. -
1822 ESSAYS Charles Lamb
1822 ESSAYS Charles Lamb Lamb, Charles (1775-1834) - English essayist and critic well-known for the humorous and informal tone of his writing. His life was marked by tragedy and frustration; his sister Mary, whom he took lifelong care of, killed their parents in a fit of madness, and he himself spent time in a madhouse. Essays (1822) - A collection of essays written by Lamb under the pseudonym, “Elia,” including, among others, “On the Tragedies of Shakspeare,” “On the Genius and Character of Hogarth,” and “Recollections of Christ’s Hospital.” Table Of Contents CONTENTS . 3 RECOLLECTIONS OF CHRIST’S HOSPITAL . 4 ON THE TRAGEDIES OF SHAKSPEARE . 13 SPECIMENS FROM THE WRITINGS OF FULLER, THE CHURCH HISTORIAN . 25 ON THE GENIUS AND CHARACTER OF HOGARTH; WITH SOME REMARKS ON A PASSAGE IN THE WRITINGS OF THE LATE MR. BARRY . 31 ON THE POETICAL WORKS OF GEORGE WITHER 45 THE END OF THE ESSAYS OF CHARLES LAMB . 48 CONTENTS Recollections of Christ’s Hospital On the Tragedies of Shakspeare Specimens for the Writings of Fuller On the genius and Character of hogarth On the Poetical Works of George Wither RECOLLECTIONS OF CHRIST’S HOSPITAL To comfort the desponding parent with the thought that, without diminishing the stock which is imperiously demanded to furnish the more pressing and homely wants of our nature, he has disposed of one or more perhaps out of a numerous offspring, under the shelter of a care scarce less tender than the paternal, where not only their bodily cravings shall be supplied, but that mental pabulum is also dispensed, which HE hath declared to be no less necessary to our sustenance, who said, that, “not by bread alone man can live”: for this Christ’s Hospital unfolds her bounty. -
Exhibition Catalog
William Shakespeare (1564-1616) Mr VVilliam Shakespeares Comedies, Histories, & Tragedies: Published According to the True Originall Copies. London: Printed by Isaac Jaggard, and Ed. Blount, 1623 Call Number: STC 22273 Folio 1, no.72 After William Shakespeare died in 1616, two friends from his acting company put together the history-making book that's best known as the "First Folio" of Shakespeare. Published in 1623, seven years after his death, it contains 36 of Shakespeare’s plays---almost all of them. Eighteen of the plays, including Macbeth and Twelfth Night, had never been published before and may have been lost without the creation of the First Folio. Largely because of this book we know them all. A “folio” was a large, expensive book, usually reserved for Bibles or important works of history, law, and science--- not plays. Shakespeare was one of the first English playwrights to have his plays collected in a folio. The Folger owns 82 copies of this first printed edition of Shakespeare’s works. This copy once belonged to Rachell Paule, a woman living in 17th-century London. Robert Anning Bell (1863-1933) Trio of illustrations from Bell’s edition of The Tempest [1900] Call Numbers: ART Box B433 no.7, no.10, and no.20 (size S) Although many of Shakespeare’s plays feature magic and the supernatural, The Tempest is the only one to deal so directly with characters who are human practitioners of magic. These original pen and ink illustrations were made by Bell for his edition of the play, published in 1901. We never meet the witch Sycorax in the real time of the play, but she casts a long shadow—the dead mother of the monstrous Caliban, her wickedness and depravity in her use of magic make her the perfect foil for the supposedly beneficent sorcerer Prospero. -
Tales from Shakespeare Charles and Mary Lamb
Tales from Shakespeare Charles and Mary Lamb Illustrated by Arthur Rackham ALMA CLASSICS AlmA ClAssiCs an imprint of AlmA books ltd 3 Castle Yard Richmond Surrey TW10 6TF United Kingdom www.almaclassics.com Tales from Shakespeare first published in 1807 This edition first published by Alma Classics Ltd in 2017 Extra Material © Alma Books Ltd Printed in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY isbn: 978-1-84749-677-5 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Tales From Shakespeare 1 Preface 3 The Tempest 7 A Midsummer Night’s Dream 19 The Winter’s Tale 32 Much Ado About Nothing 44 As You Like It 57 The Two Gentlemen of Verona 74 The Merchant of Venice 87 Cymbeline 102 King Lear 115 Macbeth 131 All’s Well that Ends Well 143 The Taming of the Shrew 156 The Comedy of Errors 169 Measure for Measure 183 Twelfth Night, -
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. -
Samuel Taylor Coleridge John Spalding Gatton University of Kentucky
The Kentucky Review Volume 4 Number 1 This issue is devoted to a catalog of an Article 6 exhibition from the W. Hugh Peal Collection in the University of Kentucky Libraries. 1982 Catalog of the Peal Exhibition: Samuel Taylor Coleridge John Spalding Gatton University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the English Language and Literature Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Gatton, John Spalding (1982) "Catalog of the Peal Exhibition: Samuel Taylor Coleridge," The Kentucky Review: Vol. 4 : No. 1 , Article 6. Available at: https://uknowledge.uky.edu/kentucky-review/vol4/iss1/6 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. Samuel Taylor Coleridge Gc car un1 To brc de~ In Wordsworth's judgment, Samuel Taylor Coleridge (1772-1834) was "the most wonderful man" he ever met. Endowed with one of So1 the most brilliant and complex minds of his day, he would, like bUJ Chaucer's parson, "gladly .. learn, and gladly teach." If he an< squandered a wealth of thought in correspondence and wh conversation, and left unfinished or merely projected major poems, Rh lectures, and systematic expositions of his philosophical tenets, his pre critical theories, and his theology, he nevertheless produced a vast So1 and impressive array of poetry, prose, and criticism. -
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.