Between the eleventh and thirteenth centuries, Venice transformed itself from a struggling merchant commune to a powerful maritime empire that would shape events in the Mediterranean for the next fou
Shakespeare's two Venetian plays are dominated by the discourse of embarrassment. The Merchant of Venice is a comedy of embarrassment, and Othello is a tragedy of embarrassment. This nomenclature is a
Shakespeare's two Venetian plays are dominated by the discourse of embarrassment. The Merchant of Venice is a comedy of embarrassment, and Othello is a tragedy of embarrassment. This nomenclature is a
Like most 18th century Venetians, Adriana d'Amato adores music-except her strict merchant father has forbidden her to cultivate her gift for the violin. But she refuses to let that stop her from livin
Wood was essential to the survival of the Venetian Republic. To build its great naval and merchant ships, maintain its extensive levee system, construct buildings, fuel industries, and heat homes, Ve
In the thirteenth century, Italian merchant and explorer Marco Polo traveled from Venice to the far reaches of Asia, a journey he chronicled in a narrative titled Il Milione, later known as The Travel
In the autumn of 1598, Abraham, a melancholy young Jewish gem merchant, seeks his fortune far from the imprisoning ghetto walls of Venice. Traveling halfway across the world, he lands in the lush an
Franzicco Ragoczy di Santo-Germano is a successful merchant in Venice. His lavish lifestyle and rumored cache of magnificent jewels have attracted the wrong sort of attention, and without Santo-German
Making innovative use of digital and library archives, this book explores how Shakespeare used language to interact with the verbal marketplace of early modern England. By also combining word history with book history, Jonathan P. Lamb demonstrates Shakespeare's response to the world of words around him, in and through the formal features of his works. In chapters that focus on particular rhetorical features in Richard II, The Merchant of Venice, As You Like It, Hamlet, and Troilus and Cressida, Lamb argues that we can best understand Shakespeare's writing practice by scrutinizing how the formal features of his works circulated in an economy of imaginative writing. Shakespeare's interactions with this verbal market preceded and made possible his reputation as a playwright and dramatist. He was, in his time, a great buyer and seller of words.
Making innovative use of digital and library archives, this book explores how Shakespeare used language to interact with the verbal marketplace of early modern England. By also combining word history with book history, Jonathan P. Lamb demonstrates Shakespeare's response to the world of words around him, in and through the formal features of his works. In chapters that focus on particular rhetorical features in Richard II, The Merchant of Venice, As You Like It, Hamlet, and Troilus and Cressida, Lamb argues that we can best understand Shakespeare's writing practice by scrutinizing how the formal features of his works circulated in an economy of imaginative writing. Shakespeare's interactions with this verbal market preceded and made possible his reputation as a playwright and dramatist. He was, in his time, a great buyer and seller of words.
This 1998 book is the fourth volume of essays by actors with the Royal Shakespeare Company. Twelve actors describe the Shakespearian roles they played in productions between 1992 and 1997. The contributors are Christopher Luscombe, David Tennant, Michael Siberry, Richard McCabe, David Troughton, Susan Brown, Paul Jesson, Jane Lapotaire, Philip Voss, Julian Glover, John Nettles, and Derek Jacobi. The plays covered include The Merchant of Venice, Love's Labours Lost, The Taming of the Shrew, The Winter's Tale, and Romeo and Juliet, among others. The essays divide equally among comedies, histories, and tragedies, with emphasis among the comedies on those notoriously difficult 'clown' roles. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages.
The tale begins in sixteenth-century Venice, when explorer Juan de Fuca encountered English merchant Michael Lok and relayed a fantastic story of a marine passageway that connected the Pacific and Atl
This is the third volume of essays by actors with the Royal Shakespeare Company. Thirteen actors describe the Shakespearian roles they played in productions between 1987 and 1991. The contributors are Roger Allam, Simon Russell Beale, Brian Cox, Gregory Doran, Penny Downie, Ralph Fiennes, Deborah Findlay, Philip Franks, Anton Lesser, Maggie Steed, Sophie Thompson, Harriet Walter and Nicholas Woodeson. The plays covered include Hamlet, Richard III, The Merchant of Venice, As You Like It, Much Ado About Nothing, Measure for Measure and important theatrical rarities such as Cymbeline, Titus Andronicus, King John and the Henry VI plays in the Royal Shakespeare Company's highly successful adaptation retitled The Plantagenets. A brief biographical note is provided for each of the contributors.
What happens when we consider Shakespeare's The Merchant of Venice as a play with 'real' Jewish characters who are not mere ciphers for anti-Semitic Elizabethan stereotypes? Is Shylock Jewish studies
Adaptations of The Merchant of Venice, MacBeth, Hamlet, The Taming of the Shrew, and Measure for Measure. Having compared an audience to a stopped clock in his introduction to this volume, Marowitz sh
The present day: when Warsaw Ghetto escapee Sarah goes to the Venice Ghetto, and encounters a group of actors staging a dress rehearsal of The Merchant of Venice, she is confronted by a terrible stor
'The Family Shakspeare: in which nothing is added to the original text, but those words and expressions are omitted which cannot with propriety be read in a family.' These words on the title pages of this edition gave rise to the verb 'to bowdlerise' - to remove or modify text considered vulgar or objectionable. Although the first edition was in fact created by Henrietta Maria Bowdler (1750–1830) and published in 1807, the many subsequent editions were published under the name of her brother Thomas (1754–1825), whose other enthusiasms were prison reform and chess. The Bowdlers' work became enormously popular as the scandal-ridden Regency gave way to Victorian respectability. This volume, from the 1853 edition, contains Love's Labour's Lost, The Merchant of Venice, As You Like It, All's Well that Ends Well, The Taming of the Shrew, The Winter's Tale and The Comedy of Errors.
First published in 1858, this is the first of three volumes of Howard Staunton's collection of Shakespeare's plays, with black-and-white illustrations by the prolific artist John Gilbert. Staunton's annotated edition, based on the folio and quarto editions collated with the texts of later editors from Rowe to Dyce, combines common sense with meticulous research, making it a definitive resource in its day. Each play is accompanied by an introduction giving details of its original production and publication and the sources of its plot, critical commentary, and footnotes explaining terms and expressions. This volume contains The Two Gentlemen of Verona, Love's Labour's Lost, The Comedy of Errors, Romeo and Juliet, The Taming of the Shrew, King John, A Midsummer Night's Dream, The Merchant of Venice, King Richard II, King Henry IV Part 1, King Henry IV Part II, The Merry Wives of Windsor, and Much Ado About Nothing.
Shakespeare's Pictures is the first full-length study of visual objects in Shakespearean drama. In several plays (Hamlet, The Merchant of Venice and Twelfth Night, among others) pictures are brought o
