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Redefining Censorship

Lessons Learned from Teaching The Merchant of Venice in Israel

Esther B. Schupak

Because of its potential for fostering antisemitic stereotypes, The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States since the 1930s. 1 However, censorship is no longer fashionable

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Thomas Luk

Wesker’s play The Merchant (1976) is based loosely on Shakespeare’s The Merchant of Venice with a didactic purpose. While ‘Shakespeare plundered three stories to write one play, he was repeating the plunder to write another’. 1 As far as

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Wrestling with Shylock

Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice

Jeanette R. Malkin and Eckart Voigts

had expected. The three texts we discuss – Arnold Wesker’s 1976 The Merchant (retitled Shylock in 1990), Charles Marowitz’s 1977 Variations on the Merchant of Venice , and Julia Pascal’s 2008 The Shylock Play – engage in what we could call (in

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Shylock in Buchenwald

Hanan Snir’s Israeli-German Production (Weimar 1995)

Gad Kaynar-Kissinger

Shylock as a touchstone: The Merchant of Venice on the German stage From the Enlightenment to our own day, German-language productions of The Merchant of Venice have reflected the always problematic state of German-Jewish relations. All

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The Image of Jews as Constructed by Lexical Items

Translations of Shakespeare’s The Merchant of Venice as a Case in Point

Xiu Gao

Introduction Since the introduction of Shakespeare’s The Merchant of Venice 1 into China in the early nineteenth century, various Chinese translations have been published. The first translation, produced by Shu Lin and Yi Wei, ( Rou Quan

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Shylock and the Nazis

Continuation or Reinvention?

Alessandra Bassey

would finally be made to be the protagonist of the play again. 2 Focusing on this infamous 1943 production of The Merchant of Venice at the Burgtheater in Vienna, with Werner Krauss as Shylock, and Lothar Müthel as the director, as well as a 1921 and

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Özlem Özmen

British Jewish playwright Julia Pascal has written two adaptations of Shakespeare’s plays, The Shylock Play (2009, based on The Merchant of Venice) and The Yiddish Queen Lear (1999, based on King Lear) , in which she discusses Jewish

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Richard H. Weisberg

Abstract

As to the risks of what I call the ‘triangulation’ of both public power and private emotion, I extend my earlier treatment of ‘mediation’ in The Merchant of Venice to Measure for Measure, King Lear, Hamlet, and The Tempest, linking to them Shakespeare’s Sonnet 134. For Shakespeare, whether poet or playwright, a private triangulation of direct romantic obligation is as nettlesome as the public official’s similar behaviour – as when the Duke ‘outsources’ Viennese power to Angelo – and the results are quite as disastrous. The complex and highly legalistic sonnet concerns the triangulation of passion from the speaker to a friend. The beloved winds up ensnaring both through ‘the statute of [her] beauty’. The word ‘surety’ – used centrally in the poem and twice in Merchant – pinpoints, through the delegation to a third party of obligations otherwise charged directly to two committed parties, the underlying Shakespearean problematic

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James Walton

Part one of this article examines a species of 'figural' plot - single episodes that mirror a substantial part of the narrative that contains it. These include Portia's predicament in The Merchant of Venice as interpreted by Freud, together with comparable choices encountered by King Lear, Sir Thomas Bertram in Mansfield Park, Brontë's Rochester, and Richardson's Pamela. In each case the subject must break free of conventional authority in order to choose wisely. The beginning of Joyce's Portrait of the Artist as a Young Man directly confronts a patriarchal plot, establishing the artist's 'opposing' fiction against the received one. Part II considers the way in which Dickens situates himself in relation to external authority, bringing about the defeat of a series of spurious 'authors' in the struggle to determine Oliver Twist's identity before renouncing in a Prospero gesture his own claim to authority.

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Miles Groth

Shakespeare was keenly affected by the lives of the boys who played the parts of women in his plays. Evidence for his understanding and compassion is found in the speeches of those characters who cross-dress female to male. By a double negation of his gender, the boy actor is given an opportunity to speak for himself as well for the female character he is portraying. The examples are Julia as Sebastian in The Two Gentlemen of Verona, Portia as Balthazar and Nerissa as both the young lawyer’s clerk and Jessica in The Merchant of Venice, Viola as Cesario in Twelfth Night, Imogen as Fidele in Cymbeline, and especially Rosalind as Ganymede in As You Like It. I argue that what they were given to say by Shakespeare reveals the experience of being a boy, not only in early modern England or ancient Greece (where all parts were also played by males), but also in our time. I suggest the treatment of boys in the theatre is mirrored by the treatment of boys today. In those instances where doubled impersonation was written into Shakespeare’s plays, we have a unique opportunity to hear boys tell us about themselves. As with so much else that is timeless insight, the bard understood and articulated the experience of being a boy. Taken together, the utterances of his “boys” tell us how it is to be a boy.