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Teaching Jessica: race, religion, and gender inThe Merchant of Venice

100%

Sicher E.

tom 4

nr 3

268-287

The Jew’s “fair daughter” in Shakespeare’s play The Merchant of Venice converts and marries a Christian, Lorenzo. Recent attention, however, to changing ideas of race and identity in the early modern period has brought into question the divisions of Christian/Jew/Moor. Can Jessica convert and no longer be considered the Jew’s daughter? As “gentle” and “fair” is she to be considered gentile and in no way dark (spiritually or racially)? Jessica’s conversion has apparently little religious meaning, but rather she is saved from the Jew her father by marriage to Lorenzo, who becomes Shylock’s heir. Is Jessica’s conversion to be considered a matter of convenience that might, as Launcelot quips, raise the price of hogs, or is it also to be counted as an ideological and racial conversion that reveals underlying anxieties about gender, sexuality, and religious identity? This essay attempts to argue against the grain of the performance history of The Merchant History, which often downplays the role of Jessica or revises the text of the play, and returns to the text in order to contextualize the conversion of Jessica in contemporary discourses of gender, race, and religion in England’s expansionist colonialism and proto-capitalist commerce. The conversion of Jessica can be seen in that context as an exchange of monetary and ethical value, in which women’s sexuality also had a price-tag. These questions have implications for the teaching of the play and for the understanding of its concerns with unstable sexual, religious, and national identities.

Adapting Shakespeare – Converting Shylock in Michael Radford’s the Merchant of Venice

86%

Oakes L.

nr 1

28-37

This article aims to explore the extension and evolution of Shakespeare’s The Merchant of Venice through Michael Radford’s 2004 cinematic adaptation. By investigating the concept of adaptation and the significance of intertextuality, Shakespeare’s source text is considered alongside Radford’s twenty-first century recreation to reimagine and redefine the construction of Shylock as both a comic and tragic device utilized across film and play. Issues of racial and religious prejudices alongside anti- Semitic views were particularly prominent in Elizabethan England and, by concentrating on recontextualisation, this article looks to expose Shakespeare’s characterization as a reflective commentary concerning societal discriminations at the time of the play’s performance. By focusing primarily on Shakespeare’s Jewish Usurer, Radford is able to reconstruct and reestablish the dramatic devices and characters within the cinematic version, metaphorically converting Shylock from comic villain to tragic victim. Finally, it argues that this dynamic shift inevitably metamorphoses Shylock from a spectator’s perspective and provides Michael Radford with an opportunity to offer a social commentary on social inequality in the twenty-first century.