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The Merchant of Venice in the Hebrew Press

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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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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Shylock, the Devil and the Meaning of Deception in The Merchant of Venice

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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‘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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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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Redefining Censorship

Lessons Learned from Teaching The Merchant of Venice in Israel

Esther B. Schupak

Because of its potential for fostering antisemitic stereotypes, The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States since the 1930s. 1 However, censorship is no longer fashionable

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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 Image of Jews as Constructed by Lexical Items

Translations of Shakespeare’s The Merchant of Venice as a Case in Point

Xiu Gao

Introduction Since the introduction of Shakespeare’s The Merchant of Venice 1 into China in the early nineteenth century, various Chinese translations have been published. The first translation, produced by Shu Lin and Yi Wei, ( Rou Quan

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Wrestling with Shylock

Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice

Jeanette R. Malkin and Eckart Voigts

had expected. The three texts we discuss – Arnold Wesker’s 1976 The Merchant (retitled Shylock in 1990), Charles Marowitz’s 1977 Variations on the Merchant of Venice , and Julia Pascal’s 2008 The Shylock Play – engage in what we could call (in

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Shylock in Buchenwald

Hanan Snir’s Israeli-German Production (Weimar 1995)

Gad Kaynar-Kissinger

Shylock as a touchstone: The Merchant of Venice on the German stage From the Enlightenment to our own day, German-language productions of The Merchant of Venice have reflected the always problematic state of German-Jewish relations. All