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Introduction

Shakespeare and the Jews

Lily Kahn

components that has been explored in detail in James Shapiro’s seminal monograph Shakespeare and the Jews . 1 Jewish elements in the work of Shakespeare and his contemporaries extend far beyond the infamous figure of Shylock in The Merchant of Venice , and

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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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Katherine Weikert and Elena Woodacre

of Venice,’” Shakespeare Quarterly 58, no. 1 (2007): 2, footnote 6, in criticism of the work of Lisa Lampert; Elizabeth A. Hubble, “Lettering the Self in Medieval and Early Modern France by Katherine Kong,” Medieval Feminist Forum 47, no. 1 (2011

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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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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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Hope Chest

Demythologizing Girlhood in Kate Bernheimer’s Trilogy

Catriona McAra

sisters. Drawing on Shakespeare’s symbolism of the box in The Merchant of Venice (1605), Freud reminds us that the successful suitor must select the most virtuous of the three boxes in order to marry fair Portia: one box is made of gold (sun), one is of

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Introduction

Ugly Emotions and the Politics of Accusation

Geoffrey Hughes, Megnaa Mehtta, Chiara Bresciani, and Stuart Strange

characters embody such ugly feelings: the antisemitic caricature of greed represented by Shylock in Merchant of Venice (1596) or Iago's envy in Othello (1604). To some, Bertolt Brecht's operas written as critiques of capitalism come to mind, while others