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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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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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Edited by Graham Holderness and Bryan Loughrey

commerce (see, e.g., The Comedy of Errors, The Merchant of Venice, Coriolanus, Othello…) . It should therefore come as no surprise that economic themes and motifs rank high among the pressing cultural concerns to which Shakespeare gave shape in his works

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Book Reviews

Elizabeth Hoyt and Gašper Jakovac

surprisingly, several essays reflect on The Merchant of Venice , a focal point for ‘anxieties that Shakespeare might have been “a Jew-hater”’ (p. 35). Recent scholarship such as that of James Shapiro and Emma Smith has been labouring to revaluate English early

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Canonising Shakespeare in 1920s Japan

Tsubouchi Shōyō and the Translator's Choice

Daniel Gallimore

of the Meiji era in 1912, namely Hamlet , Julius Caesar , The Merchant of Venice , Othello and Romeo and Juliet . In a later volume, he does include his early version in classical theatrical style of Julius Caesar (1884) but not his modern

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Shakespeare and Tyranny: Regimes of Reading in Europe and Beyond

Safi Mahmoud Mahfouz

, Shakespeare’s play can be interpreted as commentary on the struggle for power in early to mid-seventeenth-century Britain. Bartha notes that under the Habsburg neo-absolutist regime, all promptbooks and adaptations of The Merchant of Venice in Pest (the

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Shakespeare’s Orientalism Revisited

A Postcolonial Study of the Appropriation of Arabic/Islamic Allusions and Matters in the Bard’s Oeuvre

Mahmoud F. Al-Shetawi

that the settings of The Merchant of Venice , Othello , The Tempest and Antony and Cleopatra should be approached. These plays share one thing in common: they have Oriental backgrounds in terms of place and culture. In The Merchant of Venice

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Almost Shakespeare – But Not Quite

Keith Jones

Baker has Holling read several plays – in an attempt, he believes, to bore him to death and get her Wednesday afternoons back. If that's her intent, it backfires. He's intrigued by The Merchant of Venice , though he says that it's not as good as

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‘As a Stranger Give it Welcome’

Foreignness and Wonder in Jacobean London

Lois Potter

the underground voice like a ‘stranger’, Hamlet places the Ghost itself in that category, which might be grotesque, pathetic or ‘wondrous’, depending on one's attitude. In The Merchant of Venice , Gratiano's words to his fiancée, ‘cheer yon stranger

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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