scholarly journals Introduction

2018 ◽  
Vol 51 (2) ◽  
pp. 1-5
Author(s):  
Lily Kahn
Keyword(s):  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
History Of ◽  
And Performance ◽  
The Relationship ◽  
Cultural Components

The relationship between Shakespeare and the Jews is a multifaceted one with an extensive history dating back to the Elizabethan era. Attitudes to Jews in Shakespeare’s England comprise a complex topic with religious, racial and cultural components that has been explored in detail in James Shapiro’s seminal monograph Shakespeare and the Jews. Jewish elements in the work of Shakespeare and his contemporaries extend far beyond the infamous figure of Shylock in The Merchant of Venice, and the history of critical and interpretative approaches to such elements is extremely variegated, including shifting perceptions of Shylock on the page and stage over the centuries, different ways of addressing Jewish themes within the plays in writing and performance, and the representations of Jews and Judaism in translations of Shakespeare into other languages.

Redefining Censorship

2018 ◽  
Vol 51 (2) ◽  
pp. 134-142
Author(s):  
Esther B. Schupak
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Emotional Valence ◽  
The United States ◽  
Educational Choice ◽  
Merchant Of Venice ◽  
The Past ◽  
The Merchant Of Venice ◽  
Film Images ◽  
History Of

Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

Stage Props and Shakespeare’s Comedies

2018 ◽  
pp. 376-394
Author(s):  
Lina Perkins Wilder
Keyword(s):  
Human Subject ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
Human Object ◽  
Love's Labour's Lost ◽  
Stage Properties ◽  
The Relationship ◽  
Broad Continuum ◽  
Stage Props

While they might seem like ‘toys’ or ‘trifles’, stage properties in Shakespeare’s comedies subtly unsettle the relationship between human subject and non-human object. Even such seemingly innocuous comedic props as letters (in Two Gentlemen of Verona and Love’s Labour’s Lost) and rings (in The Merchant of Venice) can be given incommensurate weight by the comic plot. Drawing on both semiotic and phenomenological accounts of stage props as well as the synthesis of these approaches in the work of Erika Lin and Andrew Sofer, this essay explores the broad continuum between the comically disruptive misdirected letter and absent, irreplaceable objects like Shylock’s turquoise ring and demonstrates just how rigorously Shakespeare’s comic props test our investment in comedic narrative and the comic resolution.

scholarly journals Los vaivenes del canon Traducción y puesta en escena de la comedia áurea en Rusia

2020 ◽  
Author(s):  
Veronika Ryjik
Keyword(s):  
18Th Century ◽  
Special Focus ◽  
Performance History ◽  
The Past ◽  
History Of ◽  
And Performance ◽  
The Relationship ◽  
Golden Age Spanish Theatre ◽  
Early 18Th Century ◽  
Past 300 Years

This chapter surveys the history of Russian translations of Golden Age Spanish theatre from the early 18th century until now, with a special focus on the relationship between translation trends and performance history. Our main goal is not only to document all known Russian translations of Spanish classical plays completed in the past 300 years, but also to elucidate the processes by which translation took part in the development and transformation of a specifically Russian comedia canon.

Dramatic Geography

2017 ◽  
Author(s):  
Laurence Publicover
Keyword(s):  
Early Modern ◽  
Geographical Location ◽  
Theatre History ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
Close Proximity ◽  
Living Together ◽  
Different Cultures ◽  
The Relationship

Focusing on early modern plays that stage encounters between peoples of different cultures, this book asks how a sense of geographical location was created in early modern theatres that featured minimal scenery. While previous studies have stressed these plays’ connections to a historical Mediterranean in which England was increasingly involved, this book demonstrates how their dramatic geography was shaped through a literary and theatrical heritage. Reading canonical plays including The Merchant of Venice, The Jew of Malta, and The Tempest alongside lesser-known dramas such as Soliman and Perseda, Guy of Warwick, and The Travels of the Three English Brothers, Dramatic Geography illustrates, first, how early modern dramatists staging foreign worlds drew upon a romance tradition dating back to the medieval period, and second, how they responded to one another’s plays to create an ‘intertheatrical geography’. These strategies, the book argues, shape the plays’ wider meanings in important ways, and could only have operated within the theatrical environment peculiar to early modern London: one in which playwrights worked in close proximity, in one instance perhaps even living together while composing Mediterranean dramas, and one where they could expect audiences to respond to subtle generic and intertextual negotiations. In reassessing this group of plays, the book brings into conversation scholarship on theatre history, cultural encounter, and literary geography; it also contributes to current debates in early modern studies regarding the nature of dramatic authorship, the relationship between genre and history, and the continuities that run between the fourteenth and seventeenth centuries.

scholarly journals Teaching Jessica: race, religion, and gender in The Merchant of Venice

2016 ◽  
Vol 4 (3) ◽  
pp. 268-287
Author(s):  
Efraim Sicher
Keyword(s):  
Religious Identity ◽  
Early Modern Period ◽  
National Identities ◽  
Merchant Of Venice ◽  
Performance History ◽  
The Merchant Of Venice ◽  
History Of ◽  
And Gender ◽  
Race And Religion

AbstractThe Jew’s “fair daughter” in Shakespeare’s playThe Merchant of Veniceconverts and marries a Christian, Lorenzo. Recent attention, however, to changing ideas of race and identity in the early modern period has brought into question the divisions of Christian/Jew/Moor. Can Jessica convert and no longer be considered the Jew’s daughter? As “gentle” and “fair” is she to be considered gentile and in no way dark (spiritually or racially)? Jessica’s conversion has apparently little religious meaning, but rather she is saved from the Jew her father by marriage to Lorenzo, who becomes Shylock’s heir. Is Jessica’s conversion to be considered a matter of convenience that might, as Launcelot quips, raise the price of hogs, or is it also to be counted as an ideological and racial conversion that reveals underlying anxieties about gender, sexuality, and religious identity? This essay attempts to argue against the grain of the performance history ofThe Merchant History, which often downplays the role of Jessica or revises the text of the play, and returns to the text in order to contextualize the conversion of Jessica in contemporary discourses of gender, race, and religion in England’s expansionist colonialism and proto-capitalist commerce. The conversion of Jessica can be seen in that context as an exchange of monetary and ethical value, in which women’s sexuality also had a price-tag. These questions have implications for the teaching of the play and for the understanding of its concerns with unstable sexual, religious, and national identities.

The Accommodated Jew

2017 ◽  
Author(s):  
Kathy Lavezzo
Keyword(s):  
Middle Ages ◽  
Charles Dickens ◽  
John Milton ◽  
English Literature ◽  
Merchant Of Venice ◽  
Victorian England ◽  
The Merchant Of Venice ◽  
Blood Libel ◽  
The Relationship ◽  
English Culture

England during the Middle Ages was at the forefront of European antisemitism. It was in medieval Norwich that the notorious “blood libel” was first introduced when a resident accused the city's Jewish leaders of abducting and ritually murdering a local boy. This book rethinks the complex and contradictory relation between England's rejection of “the Jew” and the centrality of Jews to classic English literature. Drawing on literary, historical, and cartographic texts, the book charts an entangled Jewish imaginative presence in English culture. It tracks how English writers from Bede to John Milton imagine Jews via buildings—tombs, latrines and especially houses—that support fantasies of exile. Epitomizing this trope is the blood libel and its implication that Jews cannot be accommodated in England because of the anti-Christian violence they allegedly perform in their homes. In the Croxton Play of the Sacrament, Marlowe's The Jew of Malta, and Shakespeare's The Merchant of Venice, the Jewish house not only serves as a lethal trap but also as the site of an emerging bourgeoisie incompatible with Christian pieties. In the book's epilogue, the chapters advance the inquiry into Victorian England and the relationship between Charles Dickens (whose Fagin is the second most infamous Jew in English literature after Shylock) and the Jewish couple that purchased his London home, Tavistock House, showing how far relations between gentiles and Jews in England had (and had not) evolved.

scholarly journals A relação entre o desempenho da Marinha Mercante Brasileira e o Balanço de Pagamentos 1985-2010

2012 ◽  
Vol 38 (2) ◽  
Author(s):  
Alcides Goularti Filho
Keyword(s):  
Trade Openness ◽  
Balance Of Payments ◽  
Merchant Marine ◽  
History Of ◽  
And Performance ◽  
The Relationship

O objetivo deste artigo é discutir a trajetória da relação entre o desempenho da Marinha Mercante Brasileira e a conta dos transportes (fretes) do Balanço de Pagamentos entre 1985 e 2010 que envolve o período de forte ajuste fiscal Estado e a retomada o desenvolvimentismo. As mudanças nas políticas destinadas à Marinha Mercante no Brasil, sobretudo pós-1990, alteraram o resultado da conta dos transportes, aumentando as suas despesas. O artigo está dividido em cinco tópicos. Inicialmente, traz uma breve trajetória da Marinha Mercante e da construção naval brasileira, destacando sua expansão e seu desmonte parcial. No segundo momento, será apresentada a atual retomada das atividades do setor brasileiro de navegação, com destaque para as metas definidas no Programa de Aceleração de Crescimento 2006-2010. Em seguida, traçaremos um panorama geral da relação entre abertura a comercial e a frota mercante nacional. No quarto tópico será analisada especificamente a conta dos transportes e o desempenho da Marinha Mercante pós-1985. E, por último, uma breve reflexão.Abstract: The aim of this paper is to discuss the trajectory of the relationship between the performance of the Brazilian merchant marine and the account of the “freight” Balance of Payments between 1985 and 2010. The changes in policies for the merchant navy in Brazil, especially after 1990, profoundly altered the outcome of the account of the “freight”, increasing their costs. The article is divided into five topics. Initially behind a brief history of the merchant marine and shipbuilding Brazilian highlighting its expansion and partially disassemble, the second time, you will see the actual resumption of activities of the navigation industry in Brazil, with emphasis on the goals set in the Programa de Aceleração do Crescimento 2006 -2010. Then, overview of the relationship between trade openness and the nationalmerchant fleet. In the fourth topic will be examined specifically the account of the “freight” and performance of the merchant navy after 1985. Finally, a brief final reflection.

New Materialism and the New History of Emotions

2017 ◽  
Vol 1 (1) ◽  
pp. 161-183
Author(s):  
Katie Barclay
Keyword(s):  
New Materialism ◽  
History Of Emotions ◽  
Expression Of Emotion ◽  
Karen Barad ◽  
History Of ◽  
And Performance ◽  
The Relationship

A key question for historians of emotion has been the relationship between the expression of emotion and the corporeal experience of emotion by historical subjects. Recently, work indebted to practice and performance theories has emphasised language’s productive capacities to produce emotion performatively. New Materialism extends this conversation by suggesting an alternative imagining of ‘matter’ – the corporeal – which attributes it greater agency in systems of discursive production. This article explores in particular the work of theorist Karen Barad and the implications of her work for the history of emotions.

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