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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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Theatre and Ideology

Staging The Merchant of Venice at the Hungarian National Theatre in 1940 and 1986

Zoltán Imre

Let’s admit, that is now the question: whether the play of The Merchant of Venice is antisemitic? Or it is possible to interpret it as antisemitic? Or is it possible not to interpret it as antisemitic? —Tamás Koltai, ‘A velencei

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Pity Silenced

Economies of Mercy in The Merchant of Venice

Alessandra Marzola

In a play so overtly steeped in economy, finance and credit as The Merchant of Venice , mercy and pity, the alleged virtues of the Christian merchants, have frequently been enlisted as beacons of spiritual hope. Whether they enlighten the

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The Merchant ON Venice [Boulevard, Los Angeles], Chicago, 2007

Universalizing Shakespeare’s Play after the Holocaust

Michael Shapiro

Rather than police the blurry boundaries between productions, adaptations and offshoots, or spinoffs of The Merchant of Venice since 1945, I want to focus on their employment of four strategies: (1) continuing the tradition of sympathetic

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The Word of the Lord to Shylock

Biblical Forms in the Translations of Shakespeare’s The Merchant of Venice to Hebrew

Atar Hadari

, not his lost ducats. Notes 1 New Penguin Shakespeare: The Merchant of Venice , ed. Moelwyn Merchant (London: Penguin, 1967), 111. 2 Francois Victor Hugo, Commentary on the Merchant of Venice , trans. Edward Hall (London: Chapman and Hall

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Arnold Wesker’s Rewriting of Shylock in The Merchant (1976) with a Purpose

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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Identity and Gender Politics in Contemporary Shakespearean Rewriting

Julia Pascal’s The Yiddish Queen Lear

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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Patriarchal Plots and the Plots against Oliver

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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Triangulation as a Problem in the Plays and Sonnets

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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Shakespeare's "Boys"

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.