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Shylock, the Jewish moneylender in The Merchant of Venice who famously demands a pound of flesh as security for a loan to his antisemitic tormentors, is one of Shakespeare's most complex and idiosyncratic characters. With his unsettling eloquence and his varying voices of protest, play, rage, and refusal, Shylock remains a source of perennial fa...
The Merchant of Venice, is an intriguing drama of love, greed, and revenge. Believed to have been written in 1596, it is classified as a comedy, but while it shares certain aspects with Shakespeare's other romantic comedies, the play is perhaps remembered more for its dramatic scenes, and especially for the character of Shylock, a vengeful Venetian moneylender. At its heart, the play contrasts the characters of Shylock, with the gracious, level-headed Portia, a wealthy young woman, besieged by suitors. One suitor in particular, Antonio, a merchant in Venice, must default on a large loan provided by Shylock, who insists on the enforcement of the binding contract that will cost the life of Antonio, inciting Portia to mount a memorable defense. In this richly plotted drama, Shylock, whom Shakespeare endowed with the depth and vitality of his greatest characters, is not alone in his villainy. In fact, the large cast of ambitious and scheming characters demonstrates in scene after scene, that honesty is a quality often strained where matters of love and money are concerned. In many of the play’s productions, Shylock gives such powerful expression to his alienation due to the hatred around him that, he emerges as the hero. The suspense and gravity of the play's main plot, along with its romance, have made The Merchant of Venice an audience favorite and one of the most studied and performed of Shakespeare's plays.
Reading Shakespeare in Jewish Theological Frameworks by Caroline Wiesenthal Lion Pdf
Reading Shakespeare in Jewish Theological Frameworks: Shylock Beyond the Holocaust uses Jewish theology to mount a courageous new reading of a four-hundred-year-old play, The Merchant of Venice. While victimhood and antisemitism have been the understandable focus of the Merchant critical history for decades, Lion urges scholars, performers, and readers to see beyond the racism in Shakespeare's plays by recovering Shakespearean themes of potentiality and human flourishing as they emerge within the Jewish tradition itself. Lion joins the race conversation in Shakespeare studies today by drawing on the intellectual history and oppression of the Jewish people, borrowing from thinkers Franz Rosenzweig and Abraham Joshua Heschel as well as Hannah Arendt, Walter Benjamin, Jacques Derrida, Emmanuel Levinas, and rabbis from the Talmud to today. This volume interweaves post-confessional, Protestant, Catholic, Muslim, Jewish, and mystical ideas with Shakespeare's poetry and opens conversations of prophecy, love, spirituality, care, and community. It concludes with brief critical sketches of Antony and Cleopatra, Hamlet, and Macbeth to demonstrate that Shakespeare when interpreted through Jewish theological frameworks can point to post-credal solutions and transformed societal paradigms of repair that encourage action and the shaping of a finer world.
"Shylock" is an award-winning play about a Jewish actor who finds himself condemned by his own community for his portrayal of Shakespeare's notorious Jew.
Thirteen leading actors take us behind the scenes, each recreating in detail a memorable performance in one of Shakespeare's major roles. * Brian Cox on Titus Andronicus in Deborah Warner's visceral RSC production * Judi Dench on being directed by Franco Zeffirelli as a twenty-three-year-old Juliet * Ralph Fiennes on Shakespeare's least sympathetic hero Coriolanus * Rebecca Hall on Rosalind in As You Like It, directed by her father, Sir Peter * Derek Jacobi on his hilariously poker-backed Malvolio for Michael Grandage * Jude Law on his Hamlet, a palpable hit in the West End and on Broadway * Adrian Lester on a modern-dress Henry V at the National, during the invasion of Iraq * Ian McKellen on his Macbeth, opposite Judi Dench in Trevor Nunn's RSC production * Helen Mirren on a role she was born for, and has played three times: Cleopatra * Tim Pigott-Smith on Leontes in Peter Hall's Restoration Winter's Tale at the National * Kevin Spacey on his high-tech, modern-dress Richard II * Patrick Stewart on Prospero in Rupert Goold's arctic Tempest for the RSC * Penelope Wilton on Isabella in Jonathan Miller's 'chamber' Measure for Measure The actors discuss their characters, working through the play scene by scene, with refreshing candour and in forensic detail. The result is a masterclass on playing each role, invaluable for other actors and directors, as well as students of Shakespeare - and fascinating for audiences of the plays. Together, the interviews give one of the most comprehensive pictures yet of these characters in performance, and of the choices that these great actors have made in bringing them thrillingly to life. 'These passages of times remembered contribute vividly to the sense of a teemingly creative period when Shakespeare seemed to have been rediscovered.' Trevor Nunn, from his Foreword
First published in 1996, James Shapiro's pathbreaking analysis of the portrayal of Jews in Elizabethan England challenged readers to recognize the significance of Jewish questions in Shakespeare's day. From accounts of Christians masquerading as Jews to fantasies of settling foreign Jews in Ireland, Shapiro's work delves deeply into the cultural insecurities of Elizabethans while illuminating Shakespeare's portrayal of Shylock in The Merchant of Venice. In a new preface, Shapiro reflects upon what he has learned about intolerance since the first publication of Shakespeare and the Jews.
Shylock, the cunning moneylender in Shakespeare's The Merchant of Venice, is one of the great familiar figures of the world of drama. He is also one of the most controversial characters ever conceived. Photos.
Originally published in 1961, this book is a study of the ways actors since the time of Shakespeare have portrayed the character of Shylock. A pioneering work in the study of performance history as well as in the portrayal of Jews in English literature. Specifically it studies Charles Macklin, Edmund Kean, Edwin Booth, Henry Irving and more recent performers.
In Blood Relations' Janet Adelman confronts her resistance to The Merchant of Venice as both a critic and a Jew. With her distinctive psychological acumen' she argues that Shakespeares play frames the uneasy relationship between Christian and Jew specifically in familial terms in order to recapitulate the vexed familial relationship between Christianity and Judaism. Adelman locates the promise - threat - of Jewish conversion as a particular site of tension in the play. Drawing on a variety of cultural materials' she demonstrates that' despite the triumph of its Christians' The Merchant of Venice reflects Christian anxiety and guilt about its simultaneous dependence on and disavowal of Judaism. In this startling psycho - theological analysis' both the insistence that Shylocks daughter Jessica remain racially bound to her father after her conversion and the depiction of Shylock as a bloody - minded monster are understood as antidotes to Christian uneasiness about a Judaism it can neither own nor disown. In taking seriously the religious discourse of The Merchant of Venice' Adelman offers in Blood Relations an indispensable book on the play and on the fascinating question of Jews and Judaism in Renaissance England and beyond.
"Like Don Quixote or Robinson Crusoe, Shylock is one of the great familiar figures of world drama, known even to people who have never read or seen The Merchant of Venice. He is also one of the most controversial characters ever conceived; his ambiguities have been a challenge to actors, directors, critics, and playgoers for more than four centuries. Is he villain or victim? Tragic or comic? What was Shakespeare's attitude toward the character described on the play's title page in 1600 as "a man of extreame crueltie," and what should be our own?" "It was the brilliant notion of literary and theater critic John Gross to explore the complex and influential history that has given Shylock a life beyond the play and established him as a figure of world mythology. Beginning with the elements that went into Shylock's creation, Gross traces his evolution on the stage at the hands of legendary actors such as Charles Macklin and Edmund Kean on down to George C. Scott and Laurence Olivier. Shylock has enjoyed equally colorful treatment on the page, where he has troubled and stimulated writers as different as Marcel Proust, Henry James, Heinrich Heine, and Erica Jong. Gross pays particular attention to Jewish attitudes toward Shylock, and to his place in the history of anti-Semitism, his use as an economic symbol, and his importance to psychologists and psychoanalysts." "The result is a remarkable cultural study that sheds as much light on our shifting attitudes and beliefs as on the rich and disquieting figure Shakespeare created."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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.
Shylock and the Jewish Question by Martin D. Yaffe Pdf
"Yaffe provides a wide-ranging and probing reflection on the portrayal of Jews and Judaism in early modern thought. His innovative approach to the problem of Shakespeare's treatment of Shylock can stand for the originality of his book as a whole... Yaffe's interpretations are likely to prove controversial, but they are always thought-provoking." -- Virginia Quarterly Review Much attention has been paid to the place of Shylock in the history of anti-Semitism. Most scholars have agreed with Harold Bloom that Shakespeare's famous villain is drawn with a "murderous anti-Semitism" and that Shakespeare uncritically mirrors the rife anti-Semitism of his times. While others see only gross caricature in The Merchant of Venice, however, Martin Yaffe finds a subtle analysis of the Jew's place in a largely Christian society. In Shylock and the Jewish Question, Yaffe challenges the widespread assumption that Shakespeare is, in the final analysis, unfriendly to Jews. He finds that Shakespeare's consideration of Judaism in The Merchant of Venice provides an important contrast to Marlowe's virulent The Jew of Malta. In many ways, he argues, Shakespeare's play is even more accepting than Francis Bacon's notably inclusive New Atlantis or the Jewish philosopher Benedict Spinoza's argument for tolerance in the Theologico-Political Treatise. "Although Yaffe focuses on the Jewish question, his study is a lead-in to a study of the rise of liberal democracy, the development of religious toleration, the relation of church and state, and the inter-relation between politics, economics and religion -- all of these being vital in history's evolution towards modernity." -- Serge Liberman, Australian JewishNews "In a critique that promises to refuel scholarly controversy over the portrait of Shylock... Yaffe's retro-prospective approach to its political philosophy suggests interesting possibilities for contrasting popular anti-Semitic culture and the more tolerant, enlightened statesmanship of the seventeenth-century." -- Frances Barasch, Shakespeare Bulletin
