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Deproblematizing The Merchant of Venice

Text, and Pretexts for Changing Subtext

Roger Wooster

Thacker asserts that we do not have the right to change the substance of the play: ‘If you think that The Merchant of Venice is an antisemitic play, the answer is not to change it, but not to do it at all’. 1 This article considers whether

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Gideon Kouts

Hebrew culture, including the press and theatre criticism, has always maintained a tangled and delicate relationship with Shakespeare’s The Merchant of Venice , for understandable reasons. This article investigates the first criticism of this

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Jonathan Elukin

Christian intolerance. The Merchant of Venice offers contemporary audiences a choice of which Shylock they can or want to see. But it is difficult to understand how these two Shylocks co-exist. If Shylock is supposed to embody Jewish evil, why does

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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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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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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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Shylock in the Cinema

Michael Radford’s The Merchant of Venice

Maria-Clara Versiani Galery

To Irene Hirsch (1954–2010), in memoriam The well-known American journalist Roger Ebert, when reviewing Michael Radford’s 2004 film of Shakespeare’s The Merchant of Venice , starring Al Pacino, observed that the production was

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‘Which is the merchant here, and which the Jew?’

Alterity, Sameness and Irony in Venice

Anna Carleton Forrester

Antonio’s confession of sadness opening Shakespeare’s The Merchant of Venice has long intrigued students, scholars, readers, performers and spectators of Shakespeare: In sooth, I know not why I am so sad. It wearies me; you say it

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A Hebrew Take on Shylock on the New York Stage

Shylock ‘47 at the Pargod Theatre (1947)

Edna Nahshon

enterprise that interrogated the moral dilemmas raised by producing Shakespeare’s The Merchant of Venice in the immediate aftermath of the Holocaust. Shylock ‘47 was propelled into being by disparate cultural drives: Jewish post-Holocaust soul

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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