Shakespeare and the Italian Renaissance: Appropriation, by Michele Marrapodi

By Michele Marrapodi

Shakespeare and the Italian Renaissance investigates the works of Shakespeare and his fellow dramatists from in the context of the eu Renaissance and, extra in particular, from in the context of Italian cultural, dramatic, and literary traditions, just about the effect and effect of classical, coeval, and modern tradition. not like prior stories, the serious views pursued during this volume's tripartite association take note of a much broader eu intertextual measurement and, peculiarly, an ideological interpretation of the "aesthetics" or "politics" of intertextuality. individuals understand the presence of the Italian global in early smooth England no longer as a standard treasure trove of effect and imitation, yet as a possible cultural strength, consonant with advanced techniques of appropriation, transformation, and ideological competition via a continuing dialectical interchange of compliance and subversion.

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17 René Girard, A Theater of Envy: William Shakespeare (New York: Oxford University Press, 1991), p. 246. , p. 247. 17 In the excellent introduction to her edition of the play, Lindsay Kaplan observes that “Antonio seems to set up a competition here between himself and Portia, one he apparently wins, given Bassanio’s response that he esteems his friend above his wife and his subsequent willingness to give up Portia’s ring to thank the ‘doctor of law’ for saving his friend”. At the conclusion, however, Portia “appears to win” when she shames “Antonio into insuring that her husband will remain true to her”: M.

R. , The Merchant of Venice, The Pelican Shakespeare (New York: Penguin Books, 2000), p. xliv. , pp. xlvi–xlvii. The specific comic conventions Braunmuller cites are those of “the Biter Bit” and “the heavy father”. L. E. Stoll), see Kenneth Gross, Shylock Is Shakespeare (Chicago: University of Chicago Press, 2006), 79–83. 12 Shakespeare and the Italian Renaissance / Berger, Jr. 15 The assurance of the comic rhythm doesn’t purge this nastiness but lets it safely run its course. Portia’s performance as Balthasar is a case in point.

Two cases are of note: the argument of the excellence of women, polemically twisted by Hamlet in his denunciation of female frailty, and the argument of folly. Alongside the obvious Erasmian frame, Lando’s Paradossi and the ensuing fashion, Coronato contends, offer an interesting case of controversial cultural influence. The analysis of the liaison between Lando and Hamlet also tests the feasibility of an open-ended model of cultural dissemination and may assess the salience of Italian Renaissance culture in Elizabethan England from a largely unexplored perspective.

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