Editor: S. Chand Publishing
File Format: Pdf
The Merchant of Venice by , Summary
"The New Hudson Shakespeare: Julius Cæsar" by William Shakespeare. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
Arden Student Skills: Language and Writing volumes offer a new type of study aid that combines lively critical insight with practical guidance on the writing skills you need to develop in order to engage fully with Shakespeare's texts. The books' core focus is on language: both understanding and enjoying Shakespeare's complex dramatic language, and expanding your own critical vocabulary, as you respond to his plays. Each guide in the series will empower you to read and write about Shakespeare with increased confidence and enthusiasm. A notoriously disturbing play, The Merchant of Venice explores how the discourses of racial and religious prejudice and of business intertwine and shape how characters understand themselves and their relationships with one another. The intersections between religious, racial and economic language in The Merchant of Venice can be challenging to grasp, but in this guide Douglas Lanier showcases a range of approaches to understanding its language, all based on close reading and attention to Shakespeare's style. The volume will equip you to analyze Shakespeare's troubling portrayal of anti-Semitism for yourself and to articulate your views on The Merchant of Venice with greater insight and confidence.
Among the most enduring poetry of all time, William Shakespeare’s 154 sonnets address such eternal themes as love, beauty, honesty, and the passage of time. Written primarily in four-line stanzas and iambic pentameter, Shakespeare’s sonnets are now recognized as marking the beginning of modern love poetry. The sonnets have been translated into all major written languages and are frequently used at romantic celebrations. Known as “The Bard of Avon,” William Shakespeare is arguably the greatest English-language writer known. Enormously popular during his life, Shakespeare’s works continue to resonate more than three centuries after his death, as has his influence on theatre and literature. Shakespeare’s innovative use of character, language, and experimentation with romance as tragedy served as a foundation for later playwrights and dramatists, and some of his most famous lines of dialogue have become part of everyday speech. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
Originally published in 1991. Essays here are arranged chronologically within sections: ‘The Play as Text’, ‘Shylock’ and ‘The Play in the Theatre.’ Collecting previously published important commentaries and scholarly articles, this volume in the Shakespearean Criticism set looks at one of the Bard’s most disturbing plays. These historical critical pieces give witness to the changing attitudes to the play and the characters and provide readers with a wide range of material relating both to performances and to textual readings.
Despite the growing critical relevance of Shakespeare's two Venetian plays and a burgeoning bibliography on both The Merchant of Venice and Othello, few books have dealt extensively with the relationship between Shakespeare and Venice. Setting out to offer new perspectives to a traditional topic, this timely collection fills a gap in the literature, addressing the new historical, political and economic questions that have been raised in the last few years. The essays in this volume consider Venice a real as well as symbolic landscape that needs to be explored in its multiple resonances, both in Shakespeare's historical context and in the later tradition of reconfiguring one of the most represented cities in Western culture. Shylock and Othello are there to remind us of the dark sides of the myth of Venice, and of the inescapable fact that the issues raised in the Venetian plays are tremendously topical; we are still haunted by these theatrical casualties of early modern multiculturalism.
Shakespeare’s works occupy a prismatic and complex position in world culture: they straddle both the high and the low, the national and the foreign, literature and theatre. The Second World War presents a fascinating case study of this phenomenon: most, if not all, of its combatants have laid claim to Shakespeare and have called upon his work to convey their society’s self-image. In wartime, such claims frequently brought to the fore a crisis of cultural identity and of competing ownership of this ‘universal’ author. Despite this, the role of Shakespeare during the Second World War has not yet been examined or documented in any depth. Shakespeare and the Second World War provides the first sustained international, collaborative incursion into this terrain. The essays demonstrate how the wide variety of ways in which Shakespeare has been recycled, reviewed, and reinterpreted from 1939–1945 are both illuminated by and continue to illuminate the War today.
Discusses embarrassment not merely as a condition but as a weapon and as the wound the weapon inflicts
The second book in the Hogarth Shakespeare series heralds the full-on 2016 anniversary celebration of Shakespeare: Man Booker Prize winner and our great chronicler of Jewish life retells the powerful, controversial story of Shylock. In The Merchant of Venice, the merchant Antonio borrows from the Jewish moneylender Shylock, whom he openly despises, to help fund his friend Bassanio's wooing of the beautiful, prized Portia. Shylock agrees--but on the condition that Antonio promise in return a pound of flesh should he be unable to repay the debt. When Antonio's ships are lost at sea and it becomes clear he cannot, the case goes to court: Antonio must honour his promise--until an unknown lawyer (Portia herself, dressed as a man) arrives and brilliantly picks the case apart. Jacobson takes the great tale of vengeance and cruelty and propels it through space and time to the shiny modern world of Cheshire's Golden Triangle, where we meet a funny, love-driven, vindictive cast of characters very much from our world, confronting Shakespeare's timelessly urgent questions in the 21st century.
The story of a king who craves flattery—and the daughter who refuses him even at the cost of her own inheritance. King Lear wants nothing more than to be praised, and when he decides to divide his realm according to how much each of his daughters can impress him with their declarations of love, Goneril and Regan are quick to oblige. Only the youngest, Cordelia, cannot give him what he wants—and she is promptly cut out of his will. Lear’s decision will roil not only his family but his kingdom, for the political implications of the inheritance set off a tragic series of events as Lear’s madness grows. One of the theater’s greatest works, re-popularized most recently by the 2018 film adaptation starring Anthony Hopkins, King Lear is a cornerstone of Western literature and a timeless story.
Worldmaking takes many forms in early modern literature and thus challenges any single interpretive approach. The essays in this collection investigate the material stuff of the world in Spenser, Cary, and Marlowe; the sociable bonds of authorship, sexuality, and sovereignty in Shakespeare and others; and the universal status of spirit, gender, and empire in the worlds of Vaughan, Donne, and the dastan (tale) of Chouboli, a Rajasthani princess. Together, these essays make the case that to address what it takes to make a world in the early modern period requires the kinds of thinking exemplified by theory.
Explores the place of Shakespeare in relation to artistic practices and activities, past and presentThis substantial reference work explores the place of Shakespeare in relation to cultural processes that take in publishing, exhibiting, performing, reconstructing and disseminating.The 30 newly commissioned chapters are divided into 6 sections: * Shakespeare and the Book* Shakespeare and Music* Shakespeare on Stage and in Performance* Shakespeare and Youth Culture* Shakespeare, Visual and Material Culture* Shakespeare, Media and Culture. Each chapter provides both a synthesis and a discussion of a topic, informed by current thinking and theoretical reflection.
What does it mean to teach Shakespeare with purpose? It means freeing teachers from the notion that teaching Shakespeare means teaching everything, or teaching "Western Civilisation†? and universal themes. Instead, this invigorating new book equips teachers to enable student-centred discovery of these complex texts. Because Shakespeare's plays are excellent vehicles for many topics -history, socio-cultural norms and mores, vocabulary, rhetoric, literary tropes and terminology, performance history, performance strategies - it is tempting to teach his plays as though they are good for teaching everything. This lens-free approach, however, often centres the classroom on the teacher as the expert and renders Shakespeare's plays as fixed, determined, and dead. Teaching Shakespeare with Purpose shows teachers how to approach Shakespeare's works as vehicles for collaborative exploration, to develop intentional frames for discovery, and to release the texts from over-determined interpretations. In other words, this book presents how to teach Shakespeare's plays as living, breathing, and evolving texts.
This bold new collection offers an innovative discussion of Shakespeare on screen after the millennium. Cutting-edge, and fully up-to-date, it surveys the rich field of Bardic film representations, from Michael Almereyda's Hamlet to the BBC 'Shakespea(Re)-Told' season, from Michael Radford's The Merchant of Venice to Peter Babakitis' Henry V. In addition to offering in-depth analyses of all the major productions, Screening Shakespeare in the Twenty-First Century includes reflections upon the less well-known filmic 'Shakespeares', which encompass cinema advertisements, appropriations, post-colonial reinventions and mass media citations, and which move across and between genres and mediums. Arguing that Shakespeare is a magnet for negotiations about style, value and literary authority, the essays contend that screen reinterpretations of England's most famous dramatist simultaneously address concerns centred upon nationality and ethnicity, gender and romance, and 'McDonaldisation' and the political process, thereby constituting an important intervention in the debates of the new century. As a result, through consideration of such offerings as the Derry Film Initiative Hamlet, the New Zealand The Maori Merchant of Venice and the television documentary In Search of Shakespeare, this collection is able to assess as never before the continuing relevance of Shakespeare in his local and global screen incarnations.Features* Only collection like it on the market, bringing the subject up to date.* Twenty-first century focus and international coverage.* Innovative discussion of a wide range of films and television.* Accessibly written for students and general readers.
The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally. Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English. In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019. In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.
Choice Outstanding Academic Title of 2018 International adoption is in a state of virtual collapse, rates having fallen by more than half since 2004 and continuing to fall. Yet around the world millions of orphaned and vulnerable children need permanent homes, and thousands of American and European families are eager to take them in. Many government officials, international bureaucrats, and social commentators claim these adoptions are not "in the best interests" of the child. They claim that adoption deprives children of their "birth culture," threatens their racial identities, and even encourages widespread child trafficking. Celebrity adopters are publicly excoriated for stealing children from their birth families. This book argues that opposition to adoption ostensibly based on the well-being of the child is often a smokescreen for protecting national pride. Concerns about the harm done by transracial adoption are largely inconsistent with empirical evidence. As for trafficking, opponents of international adoption want to shut it down because it is too much like a market for children. But this book offers a radical challenge to this view—that is, what if instead of trying to suppress market forces in international adoption, we embraced them so they could be properly regulated? What if the international system functioned more like open adoption in the United States, where birth and adoptive parents can meet and privately negotiate the exchange of parental rights? This arrangement, the authors argue, could eliminate the abuses that currently haunt international adoption. The authors challenge the prevailing wisdom with their economic analyses and provocative analogies from other policy realms. Based on their own family's experience with the adoption process, they also write frankly about how that process feels for parents and children.
'An entertaining, wide-ranging defence and explanation of the conservative way of seeing the world . . . suffused with generosity and wit' Catholic Herald Brought up by eccentric intellectuals, Ed West experienced what he believed was a fairly normal childhood of political pamphlets as bedtime reading, family holidays to East Germany and a father who was one political step away from advocating the return of serfdom. In his mid-twenties, West found himself embracing a mindset usually acquired alongside a realisation that all music post-1955 is garbage, agreeing with everything said in the Telegraph and all the other bad things people get in middle age. This is his journey to becoming a real-life Tory boy. Forgoing the typically tedious and shouty tone of the Right, West provides that rare gem of a conservative book - one that people of any political alignment can read, if only to laugh at West's gallows humour and dry wit. Crammed with self-deprecating anecdotes and enlightening political insights, Tory Boy discloses a life shaped by politics and the realisation that perhaps this obsession does more harm than good. 'Anyone - liberal, conservative, whatever - would enjoy [this book]. It is full of the most fascinating facts, all mixed in with Ed's inimitable displays of self-mockery' Tom Holland 'A self-deprecating and often hilarious memoir of a born conservative watching the world go wrong. Sprinkled with gallows humour, like a political version of Nick Hornby's Fever Pitch' The Critic
Teaching English Literature 16 – 19 is an essential new resource that is suitable for use both as an introductory guide for those new to teaching literature and also as an aid to reflection and renewal for more experienced teachers. Using the central philosophy that students will learn best when actively engaged in discussion and encouraged to apply what they have learnt independently, this highly practical new text contains: discussion of the principles behind the teaching of literature at this level; guidelines on course planning, pedagogy, content and subject knowledge; advice on teaching literature taking into account a range of broader contexts, such as literary criticism, literary theory, performance, publishing, creative writing and journalism; examples of practical activities, worksheets and suggestions for texts; guides to available resources. Aimed at English teachers, teacher trainees, teacher trainers and advisors, this resource is packed full of new and workable ideas for teaching all English literature courses.