The merchant of Venice : new critical essays

Abstract

Acknowledgments Contributors General Editor's Introduction Introduction, John W. Mahon and Ellen Macleod Mahon Shakespeare's Merchant and Marlowe's Other Play, Murray J. Levitch Jewish Daughters: The Question of Philo-Semitism in Elizabethan Drama, John Ozark Holmer Jessica, John Drakakis Textual Delivery in The Merchant of Venice, John F. Andrews Portia and the Ovidian Grotesque, John W. Velz Does Source-Criticism Illuminate the Problems of Interpreting The Merchant as a Soured Comedy? John K. Hale Shylock Is Content: A Study in Salvation, Hugh J. Short Isolation to Communion: A Reading of William Shakespeare's The Merchant of Venice, Maryellen Keefe The Less into the Greater: Emblem, Analogue, and Deification in The Merchant of Venice, John Cunningham and Stephen Slimp Nerissa Teaches Me What to Believe: Portia's Wifely Empowerment in The Merchant of Venice, Corrine S. Abate Mislike Me Not for My Complexion: Whose Mislike? Shakespeare's? That of the Age? R. W. Desai The Merchant of Venice and the Politics of Commerce, Karoline Szatek Names in The Merchant of Venice, Grace Tiffany Singing Chords: Performing Shylock and Other Characters in The Merchant of Venice, Jay L. Halio Making The Merchant of Venice Palatable for U.S. Audiences, Gayle Gaskill Shylock in Performance, John O'Connor Portia Performs: Playing the Role in the Twentieth-Century English Theater, Penny Gay

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