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‘Those Twins of Learning’

Cognitive and Affective Learning in an Inclusive Shakespearean Curriculum

Sheila T. Cavanagh and Steve Rowland

, the Atlanta class convened several weeks before Monroe started. We began, therefore, with Emory student papers about The Merchant of Venice . Some of the prisoners were nearly stopped in their tracks by this experience of an alien, collegiate writing

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The Taming of the Tigress

Faṭima Rushdī and the First Performance of Shrew in Arabic

David C. Moberly

tragedy rather than comedy. 6 (An exception is recent scholarship on the Arab reception of The Merchant of Venice , led by Mark Bayer and Katherine Hennessey. 7 ) As nationalist assumptions in the region show their limits, it is time to broaden the frame

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A Danish Fool at Elsinore?

Some Thoughts on Hamlet's Lost Clown

Peter K. Andersson

the opening lines of some of Shakespeare's other clown roles. We might especially consider the first words of Launcelot Gobbo in The Merchant of Venice : Certainly my conscience will serve me to run from this Jew my master. The fiend is at mine

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Shakespeare and Derivatives

David Hawkes

characters like Falstaff, Dogberry and Mistress Quickly, in support of his economic theories. Above all, he repeatedly cited Shylock as the incarnation of capitalist psychology. In The Merchant of Venice’s courtroom scene, Shylock’s moral claim to equality

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‘Love Merchandized’

Money in Shakespeare’s Sonnets

Manfred Pfister

the dramatic negotiations of his plots: The Merchant of Venice is surely one of them, and Timon of Athens , not by chance Karl Marx’ favourite Shakespearean play, another. Marx in his Economic and Philosophic Manuscripts of 1844 uses it to analyse

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Introduction

Graham Holderness

into kabuki (such as the 1885 kabuki adaptation of The Merchant of Venice based on a Japanese novel, in turn a version of the Lambs’ Tales from Shakespeare ), dominant forces in Japanese theatre, like those in society in general, were

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Introduction

Joachim Frenk and Lena Steveker

and culture. She reads The Merchant of Venice (1596), Sir Thomas More (1600), King Lear (1605/06), Hamlet (c. 1600), The Tempest (1610/11) and other plays by Shakespeare alongside Dekker's and Jonson's entertainment performed on the occasion

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Gender and Status in the Medieval World

Katherine Weikert and Elena Woodacre

2015, https://bitchmedia.org/post/pushback-at-the-intersections-defining-and-critiquing-intersectionality . 17 For a limited number of examples, see M. Lindsay Kaplan, “Jessica’s Mother: Medieval Constructions of Jewish Race and Gender in ‘The Merchant

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‘Go out and learn’

Shakespeare, Bildung and the Jewish Youth Movement in Germany between Integration and Jewish Self-Identification

Rosa Reicher

regarded the Habima production of The Merchant of Venice . The Habima and its production contains ‘the European and German universal artistic standards of Bildung and Jewish and Hebrew nation values’. This mix of standards and values helped the Habima to

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What Doesn't Happen in Hamlet

Rory Loughnane

still somehow lacking. The longer texts, the letter and the mercer's book, both contain the same matter but in longer forms. The dumb show can gesture towards the fuller text but it cannot ‘deliver’ it in full. Similarly, in The Merchant of Venice