scholarly journals The Representation of the Jews and Others in Marlowe’s The Jew of Malta and Shakespeare’s the Merchant of Venice on the Elizabethan Stage: Convention, Rhetoric , Sources and the Spirit of the Age

2020 ◽  
Author(s):  
Walid Ali Zaiter
Keyword(s):  
Merchant Of Venice ◽  
Revenge Tragedy ◽  
The Core ◽  
The Merchant Of Venice ◽  
The World ◽  
Core Issue ◽  
Almost All ◽  
Proper Context

Jews were represented on the Elizabethan stage as characters of evil deeds, motivated by money to control others and would project hatred towards those who inflict pain on them whether physical or psychological. Themes of money, hatred, love, assuming control over others are archetypal issues, which can be found in almost all dramas of the world. On these common grounds of the representations of characters in plays like those portrayed in Marlowe’s The Jew of Malta (1633) and Shakespeare’s the Merchant of Venice (1600), these topics permeate the old and ancient dramas, of the Greeks and Romans and up to the present times. Such everlasting- themes have always been tackled on the world’s stage. The core issue in drama is whether the audience, watching any play in its time or at any age, enjoy the performance of the play. Marlowe’s Barabas or Shakespeare’s Shylock, for example, these characters have inspired many critics who always converge and diverge about such characters. This article, however, argues that one should first read these plays from definite perspectives like convention, rhetoric, sources and the spirit of the age in order to understand the reality of some circumstances during that era, Elizabethan times. Another perspective, equally important, is the fact that the Jews, the Turks and Christians were represented on the Elizabethan stage as objects of entertainment and instruction. Finally, one should read closely the Elizabethan and the reception of the plays above mentioned to understand them in the proper context. Interestingly enough, Marlowe’s play is a revenge tragedy, while Shakespeare is a comedy.

scholarly journals قتل اور خودکشی ،اسلام اور بدھ مت :تقابلی مطالعہ

rahatulquloob ◽  
2020 ◽  
pp. 189-197
Author(s):  
Muhammad Sulaiman Nasir ◽  
Prof. Dr. Muhammad Abdullah
Keyword(s):  
At Risk ◽  
Comparative Study ◽  
Human Life ◽  
Human Beings ◽  
The Core ◽  
The World ◽  
Core Issue ◽  
The Right ◽  
Almost All ◽  
Present World

The sanctity of human life is the core issue in almost all religions of the world. In the present world scenario, human beings are suffering a lot. Human life is at risk. The most important and precious figure in society is human beings as it is the greatest creature of Almighty Allah. Buddhism and Islam both emphasize the sanctity of human life. The stress laid by the teaching of Islam on the sanctity and respect of human life can be understood by the fact that Islam does not allow the killing of people who are not physically involved in the war. Islam also against suicide. Similarly, the teaching of Buddha has emphasized the holiness and sanctity of human life. According to the philosophy of non-violence in Buddhism (Ahimsa), Killing of human beings is far from Buddhist’s creed even they are against the killing of insects. In Buddhism, “The nonviolence is one of the five precepts of Dhamma, which form the right action, right views and right-thinking on Eightfold Path. This article focuses on the teaching of Buddhism and Islam, a comparative study regarding killing and suicide as these topics are closely related to the sanctity of human life.

scholarly journals Meaning and Linguistic Sign in System Theory of Niklas Luhmann

2020 ◽  
Vol 38 (2) ◽  
pp. 34-51
Author(s):  
S. T. Zolyan
Keyword(s):  
System Theory ◽  
Stanford University ◽  
Niklas Luhmann ◽  
Cognitive Characteristics ◽  
Dynamic Operation ◽  
The Core ◽  
The World ◽  
Linguistic Sign ◽  
Almost All

The concept of meaning and communication is the core of the sociological conception of Niklas Luhmann. As he claims, “Meaning is co-present as a reference to the world in everything that is actualized... Society is a meaning constituting system” (Luhmann Niklas. Theory of Society. Stanford University Press, 2012, vol. 1). He considers the issue of a correlation of meaning with other concepts of his theory of social in almost all of his works. Obviously, on this occasion the linguistic issues also became matters of consideration. Language, however, is associated by Luhmann not so much with the production of meaning as with communication. The concept of a linguistic sign as some fixed connection between the signified and the signifier is transformed by Luhmann into a dynamic operation of juxtaposing communicative and cognitive characteristics, as a medium between cognition and communication.

scholarly journals Patient Consent in Dentistry: Are we Legally Safe?

2011 ◽  
Vol 5 (2) ◽  
pp. 68-72 ◽  
Author(s):  
Anil Sharma ◽  
Anuj Chhabra ◽  
C Bopiah
Keyword(s):  
Everyday Life ◽  
Western Countries ◽  
The Core ◽  
Patient Consent ◽  
Pros And Cons ◽  
Core Issue ◽  
Almost All ◽  
Dental Professionals

ABSTRACT As with other walks of life the profession of dentistry saw unprecedented change during the last century. Amongst other things, litigation, which is a part of everyday life, has evolved and spread its growing influence on dentistry. Though the litigation and claims are prevalent in almost all countries however, the western countries have been at the forefront of Dental negligence claims. In a way, it is a sign of an informed and mature society. Dentistry in India has been relatively immune to the effects of litigation against dental professionals for a multitude of reasons. But its will not be long before it envelops every aspect of dentistry in India. Dental legislation has its pros and cons; it serves to be a system, which protects patients as well as professionals, but as with other spheres of law, will be subjected to abuse. This article attempts to address the core issue of patient consent, which is where the majority of dental negligence claims arise.

scholarly journals Mitos dan Budaya

Humaniora ◽  
2015 ◽  
Vol 6 (2) ◽  
pp. 190 ◽  
Author(s):  
Mia Angeline
Keyword(s):  
Human Activity ◽  
Daily Activities ◽  
Modern Culture ◽  
The Core ◽  
The World ◽  
Almost All ◽  
The Relationship ◽  
Universal Themes ◽  
The Universe

This article describes the role of myth and some universal themes of myth, such as the creation of the world, a huge flood, death, and the end of the world. Almost all the world's myths concern this universal themes, as seen from the similarity of some of the myths followed by many cultures in the world. These myths have primary functions to human’s behavior and attitude because people keep telling almost the same myths to their predecessors. The goals for this research are (1) knowing the functions of myths with famous themes from various culture and (2) knowing the background and relationship between myths and modern culture. The result describes the relationship between the cultural myths, where the core of the story is the truth of humanity. In addition, myth acts as a template to organize their daily activities as well as human activity, but it also serves to introduce human to a greater power in the universe. The values in each story will be interpreted as rules and customs that must be met, and this has resulted in the emergence of a culture passed down from generation to generation. 

A View from Australia

2015 ◽  
Author(s):  
Robyn Archer
Keyword(s):  
National Identity ◽  
Science Teacher ◽  
South Australia ◽  
Merchant Of Venice ◽  
The Core ◽  
The Merchant Of Venice ◽  
Arts Festivals ◽  
Gradual Evolution ◽  
Post War ◽  
Different Cultures

Dragan Klaić’s faith in festivals as a uniting cultural force seems to have had much in common with the altruistic beginnings of the Edinburgh Festival. While it is true that post-war Edinburgh desperately needed new economic drivers, there is no reason to doubt the founders’ desires for a cultural framework that might help to pull Europe together again. Klaić’s desire was to deconstruct the silos of national identity and construct in their place platforms on which the differences in language and practice could be better understood and shared. While Melina Mercuri’s desires for better understanding between the different cultures of Europe resulted in many positive collaborations and much-needed sources of mobility for artists through the European Capital of Culture programme, the programme has also bred a kind of necessary civic bragging that I doubt Klaić would have found productive. This account of international arts festivals in Australia is less one of bragging (though that too has had its place) and more one of early ignorance, gradual evolution and a happy present. International arts festivals in Australia were first built entirely on the Edinburgh model. When first Perth in Western Australia, and then Adelaide in South Australia, cloned that model to their relatively isolated cities, the core desire was to bring ‘culture’ to those cities. Not that Perth and Adelaide lacked artists and performances, but those who had been to Edinburgh felt that Australian audiences were rarely exposed to the ‘best’ of culture. The significantly named Elizabethan Theatre Trust and entrepreneurs such as Ken Brodziak, already toured international shows and artists: I myself was taken by our science teacher, along with a few fellow students, to see Vivien Leigh play Portia in The Merchant of Venice, in 1962.

scholarly journals Menafsir Dekonstruksi Derida dalam Sosok Paus Fransiskus

Humaniora ◽  
2014 ◽  
Vol 5 (2) ◽  
pp. 1246
Author(s):  
Frederikus Fios
Keyword(s):  
Catholic Church ◽  
Spiritual Leadership ◽  
Binary Opposition ◽  
Pope Francis ◽  
The Core ◽  
Immoral Behavior ◽  
The World ◽  
Open Horizon ◽  
Almost All ◽  
The Church

Jacques Derida is a phenomenal philosopher through his philosophy of deconstruction theory. Derida showed systematically the death of structuralism. His speech shocked the world of academics in France and almost all of America and Europe. Deconstruction is a new way of reading the text, by shifting the core of a text to the side, and put the idea on the edge (the unnoticed, hidden ideas) to the center or importance. Derida rejected dichotomous, binary opposition, bipolarity, thinking model or ways of thinking that one is privileging and marginalizing other ideas. Derida thought the model that would proclaim democratic, open, and dynamic diversity that would make room for multiple interpretations of meaning or open horizon that tolerate differences in interpretation of a text. What was conceptualized by Derida is found legitimacy in practical adequacy in the figure of Pope Francis, the Catholic Church's highest leader. Francis shows a deconstructive way to lead contemporary Catholic Church. Francis has opened a new, broader, and other meaning in looking the praxis of the Church. He does not prioritize elitist lifestyle, yet puts a simple and frugal lifestyle. He changes conservative theology into progressive-liberal theology. He realized Church needs not theology but a living testimony of a good, caring, generous, compassion life that does not use religion for immoral behavior, dehumanization, and corruption. Derida did philosophical deconstruction, Francis did spiritual-leadership deconstruction. What unites both of them is a word called "deconstruction".  

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

2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Merchant Of Venice ◽  
Religious Identities ◽  
Men And Women ◽  
The Merchant Of Venice ◽  
The World ◽  
The Devil ◽  
Fallen World

Abstract The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.

scholarly journals The Merchant in Venice: Shakespeare in the Ghetto

2021 ◽  
Author(s):  
Shaul Bassi ◽  
Carol Chillington Rutter
Keyword(s):  
Cultural Exchange ◽  
Merchant Of Venice ◽  
Opportunity To Respond ◽  
The Merchant Of Venice ◽  
The World

This book records the landmark performance of The Merchant of Venice in the Venetian Ghetto in 2016, the 400th anniversary of Shakespeare’s death and the 500th anniversary of the Jewish quarter that gave the world the word ‘ghetto’. Practitioners and critics discuss how this multi-ethnic production and its radical choice to cast five actors as Shylock provided the opportunity to respond creatively to Europe’s legacy of antisemitism, racism and difference. They observe how the place and play stand as ambivalent documents of civilization: instruments of intolerance but also sites of cultural exchange.

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

2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Merchant Of Venice ◽  
Religious Identities ◽  
Men And Women ◽  
The Merchant Of Venice ◽  
The World ◽  
The Devil ◽  
Fallen World

The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.

Introduction: Is Shylock Jewish?

2017 ◽  
Author(s):  
Sara Coodin
Keyword(s):  
Moral Agency ◽  
Merchant Of Venice ◽  
Historical Legacy ◽  
The Merchant Of Venice ◽  
Point Of Entry ◽  
The World ◽  
Central Argument

The introductory chapter of the book begins by acknowledging the long, painful historical legacy associated with Shakespeare’s Shylock, and his character’s deep imbrication with persistent and invidious anti-Semitic stereotypes. Rather than attempting to bypass that legacy, the introduction outlines how the book will delve even deeper into the primary designation the play assigns to Shylock and Jessica -- “Jew,” asking whether Shakespeare endows his Jewish characters with a source of ethical deliberation and moral agency that is more than a mere amalgam of historical anti-Semitisms. If Shylock and Jessica are Jewish in a way that transcends invidious stereotypes, what is it that makes them recognizably so? The introductory chapter outlines the central argument of the book: Merchant’s Jewish characters are constituted via distinctively Jewish ways of reading and interpreting foundational stories, epitomized in the play through Shylock’s citation of the parable of the parti-coloured lambs as he explicates his lending practices to Antonio. The Merchant of Venice deploys Judeo-Christian biblical inter-texts in ways that deliberately call attention to their divergent interpretive traditions, producing a nuanced and challenging point of entry for audiences, who must decide whether and to what degree they are willing to interpret Shylock’s utterances through the lens of his distinctive way of seeing and evaluating the world rather than evaluating him through the eyes of his persecutors.

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