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A story of Venice today and Venice in its illustrious past, this novel gives the reader a portrait of the modern-day film world and a clue to the passions behind Shakespeare's most enigmatic work. Jessica Pruitt, a Hollywood actress in her forties has come to Venice to judge the film festival.
Jessica, the 16-year old daughter of miserly pawnbroker Shylock, feels trapped by the endless rules of the 16th-century Venetian ghetto, until she falls for Lorenzo, a handsome and charming aristocrat. But it is a doomed passion - for Jessica is a Jew and Lorenzo a Christian.
An actress travels back in time to Venice and has a passionate affair with William Shakespeare, in this novel by a #1 New York Times–bestselling author. A glamorous Hollywood film star, Jessica Pruitt fears the best days of her career are behind her. Arriving in Italy soon after losing custody of her young daughter, she hopes to forget her woes by serving as a judge at the Venice Film Festival and immersing herself in preparations for her starring role in a new cinematic take on The Merchant of Venice. For the aging but still beautiful actress, this ancient, crumbling city of canals is the perfect escape, enchanting her with its history, its magic, and its mystery. Then one day, while strolling through the old Jewish quarter, she finds herself in a very different Venice—one that hasn’t existed for five hundred years—as the heroine of a new theatrical endeavor by an enigmatic young playwright named Will Shakespeare. Suddenly, impossibly, Jessica has found a new beginning, a new audience—and, in the arms of a genius fledgling bard, a love affair more stimulating, satisfying, and liberating than any she will ever know, even five centuries on. Originally published as Serenissima, this “hypnotic” novel by the bestselling author of Fear of Flying is a magical tale set in a magical city, and a delightfully uninhibited love story that transcends time (The Washington Post Book World). This ebook features an illustrated biography of Erica Jong including rare photos and never-before-seen documents from the author’s personal collection.
This book explores responses to The Merchant of Venice by Jewish writers, critics, theater artists, thinkers, religious leaders and institutions.
The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience.
Venice, a long time ago. Three prominent Venetians await their most loathsome and foul dinner guest, the erstwhile envoy from the Queen of Britain: the rascal-Fool Pocket. This trio of cunning plotters—the merchant, Antonio; the senator, Montressor Brabantio; and the naval officer, Iago—have lured Pocket to a dark dungeon, promising an evening of sprits and debauchery with a rare Amontillado sherry and Brabantio's beautiful daughter, Portia. But their invitation is, of course, bogus. The wine is drugged. The girl isn't even in the city limits. Desperate to rid themselves once and for all of the man who has consistently foiled their grand quest for power and wealth, they have lured him to his death. (How can such a small man, be such a huge obstacle?). But this Fool is no fool . . . and he's got more than a few tricks (and hand gestures) up his sleeve. Greed, revenge, deception, lust, and a giant (but lovable) sea monster combine to create another hilarious and bawdy tale from modern comic genius, Christopher Moore.
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Augsburg, course: Proseminar, 9 entries in the bibliography, language: English, abstract: William Shakespeare's The Merchant of Venice surely can be considered one of the playwright's greatest works. Still today critics are not fully aware of its actual meaning and there are many different opinions of how this play is to be interpreted. As a matter of fact we can say that Shakespeare has created one of the most diverse plays in the history of drama. Containing two equally important plot-lines and several sub-plots it is very difficult to make out even one main character or to be absolutely sure about their variety of intentions. On the one hand there is one of the main characters, the Jew Shylock, "a comic antagonist far more important than any such figure had been in his Shakespeare's] earlier comedies," who plays the role of a non-Christian villain. And opposing him we have the Venetian society with all its flaws and hypocrisies which are pointed out during the conflict with Shylock. On the other hand there is the romantic love story between Portia and Bassanio located in remote Belmont, which is the actual trigger for the conflict between Antonio and Shylock and also brings a solution to it. This solution is due to Portia's cunning and liberation as a woman, which can be seen in her disguising as the judge in order to be able to save Antonio's life; there are only two qualities which are supposed to be quite unusual for a female character of that time. But at the same time she has to fulfil her typical role as "a faithful daughter whatever the consequence," yielding to fate by obeying her father's will. And Portia is not the only ambigous and exceptional figure of the play.
In Living under the Evil Pope, Martina Mampieri presents the Hebrew Chronicle of Pope Paul IV, written in the second half of the sixteenth century by the Italian Jewish moneylender Benjamin Neḥemiah ben Elnathan (alias Guglielmo di Diodato) from Civitanova Marche. The text remained in manuscript for about four centuries until the Galician scholar Isaiah Sonne (1887-1960) published a Hebrew annotated edition of the chronicle in the 1930s. This remarkable source offers an account of the events of the Papal States during Paul IV’s pontificate (1555-59). Making use of broad archival materials, Martina Mampieri reflects on the nature of this work, its historical background, and contents, providing a revised edition of the Hebrew text as well as the first unabridged English translation and commentary. Martina Mampieri has been granted a special mention of excellence in the Alberigo Award 2021 by the European Academy of Religion and Fondazione per le Scienze Religiose (https://www.europeanacademyofreligion.org/alberigo-award) and a special mention of excellence in the Pirovano Award 2022 by the Istituto Luigi Sturzo in Rome (http://sturzo.it/blog/2023/06/12/lassegnazione-del-premio-desiderio-pirovano-2022/). "Martina Mampieri provides scholars with a source of great interest, which helps better understand the complex period following the election of Pope Paul IV Carafa from a Jewish perspective. This is undoubtedly an important book that contributes to the advancement of our knowledge regarding that historical moment." -Alessandra Veronese, AJS Review 45/1 (2021) "This valuable source is now available to the many – the many including, and this is no small thing, those who study the history of historical writing for itself as that writing began emerging from the shadows at just this time. We are deeply indebted." -Kenneth Stow, University of Haifa, Emeritus, Journal of Modern Jewish Studies 20/1 (2021) "By triangulating important themes in early modern history with a rich and lengthy narrative source, Mampieri has produced an outstanding contribution to the ever-growing literature on interreligious and intercultural relations in the Papal States." -Frank Lacopo, Sixteenth Century Journal LIII/2 (2022)