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Merchant Of Venice Religion Essay

Kibin. (2023). The use of characterization and relationship to reveal values of prejudice in the merchant of venice, a play by william shakespeare. -examples/the-use-of-characterization-and-relationship-to-reveal-values-of-prejudice-in-the-merchant-of-venice-a-play-by-william-shakespeare-aDCzUbR5

merchant of venice religion essay

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"The Use of Characterization and Relationship to Reveal Values of Prejudice in The Merchant of Venice, a Play by William Shakespeare." Kibin, 2023,

1. "The Use of Characterization and Relationship to Reveal Values of Prejudice in The Merchant of Venice, a Play by William Shakespeare." Kibin, 2023. -examples/the-use-of-characterization-and-relationship-to-reveal-values-of-prejudice-in-the-merchant-of-venice-a-play-by-william-shakespeare-aDCzUbR5.

"The Use of Characterization and Relationship to Reveal Values of Prejudice in The Merchant of Venice, a Play by William Shakespeare." Kibin, 2023. -examples/the-use-of-characterization-and-relationship-to-reveal-values-of-prejudice-in-the-merchant-of-venice-a-play-by-william-shakespeare-aDCzUbR5.

This project is a study of the development of early modern racial categories in England - focusing on religion and skin color as primary modes of demarcation interwoven with other prevalent categories of language, ancestry/blood, nationality, and gender - as illuminated in William Shakespeare's The Merchant of Venice and Othello. Religion and skin color, then, are the primary modes of racializing individuals in early modern England and characters in Shakespeare's works. This essay studies the context of racial difference as present in English and European rhetoric, art, theater, and exploration. Given this context, the paper explores the poetic geography of Venice as present in the economic ramifications of the term "bond" in both Merchant and Othello. It then investigates English imperial desires alongside fears of invasion and miscegenation. Alongside these topics, the project addresses "ocular proof" which serves as a cultural methodology for demonstrating racial hierarchies. Shakespeare questions this technique by illustrating the flaws of visual evidence.

Shakespeare and Religion gathers ten chapters onShakespeare's religious contexts. In their Introduction thecollection's editors, Ken Jackson and Arthur Marotti, give us aversion of where we are when they describe Shakespeare as "areligious skeptic who was critical of his own religiouslyconflicted society and also both intellectually and emotionallyattached to some of the features of the 'old religion' as he soughtways to translate some of them into psychologically and ethicallypowerful theater" (5). This portrait, rather than that of areligiously partisan Shakespeare, serves as a starting point formost of the essays. Still, the pieces' methodologies differ enoughthat Jackson and Marotti divide the book into two parts, roughlyapproximating, in terms of chronology and method alike, thehistorical and the postmodern. Interestingly, two essays onShakespeare and the Book of Job (each excellent) face each otheracross this structural divide. This review will treat theanthology's essays in order before concluding with some generalobservations and a suggestion for a way forward.

Lisa Myobun Freinkel's essay, "Empson's Dog: Emptiness and Divinityin Timon of Athens," is unconventional but ultimatelysuccessful. Her subject is less Timon of Athens than theintellectual problem of dualism, especially as it characterizes thedivide between Eastern and Western spiritual paradigms.Timon comes in for its dog, or rather dogs: Freinkelcontextualizes William Empson's interest in the multiple but oddlyimpoverished senses of "dog" in Timon of Athens by examiningthat critic's long romance with Eastern religion and thought. Adetour into Milton prefigures a return to the late Elizabethan eraat essay's end; there an episode of cultural encounter narrated inHakluyt's Principal Navigations helps Freinkel connect thetwo gods of Timon (one who gives money freely; and money,which has its way with one) with problems of language, logic, andbelief.

In "The Passing of Falstaff: Rethinking History, Refiguring theSacred," Joan Pong Linton explores what the death of Falstaff--narrated but not shown in Henry V--has to tell us about thevalue of pain and the quotidian in the histories. Falstaff hasbecome newly relevant to those interested in Shakespeare andreligion since Kristen Poole's landmark essay of 1995, and Lintonbuilds on Poole's argument as well as Julia Lupton's "CreatureCaliban" to suggest that Falstaff is a kind of everyday hero. [2]His narrated passing, Linton concludes, possesses a resonant logic:"Even as the story changes with the context of each telling, thedifferent reminiscences confirm the sacrificial logic of thesovereign politics and the miraculous power of creature sympathy toredeem the past" (223).

Arden Early Modern Drama Guides offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays. Essays from leading international scholars give invaluable insight into the text by presenting a range of critical perspectives, making the books ideal companions for study and research.Key features include:- Essays on the play's critical and performance history - A keynote essay on current research and thinking about the play - A selection of new essays by leading scholars A survey of resources to direct students' further reading about the play in print and online Shakespeare's The Merchant of Venice has often been labelled a 'problem play', and throughout the ages it has been an object of both fascination and repulsion. Without neglecting the socio-political and religious issues that are at the heart of the play, this collection of critical essays invites readers to rediscover the variety of approaches that this multifaceted work calls for, exploring its gender aspects, its rich mythological background, its legal matters and the ways in which it has been adapted to the screen. Essays consider the play in relation to its sources, genre and religion, historical and socio-political context and its critical reception and performance history. 350c69d7ab


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