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求教关于英语方面滴英语论文或书籍介绍关于莎士比亚,威尼斯商人,解读《威尼斯商人》中的夏洛克形象,这些方面的英语论文或书籍介绍,最好都是英语的
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关于莎士比亚,威尼斯商人,解读《威尼斯商人》中的夏洛克形象,这些方面的英语论文或书籍介绍,最好都是英语的

求教关于英语方面滴英语论文或书籍介绍关于莎士比亚,威尼斯商人,解读《威尼斯商人》中的夏洛克形象,这些方面的英语论文或书籍介绍,最好都是英语的
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1,Instituted a "Merchant of Venice", it was first thought of Shylock, and the assessment of him seems to have been a foregone conclusion. Most of the very vocal tree T, Shylock is greedy, cunning, mean cruel usurer typical image, and Abagong. Chichikov Greek gold, Eugenie Grandet together are called the world's four major "stingy person." In fact, the image of Shylock is the result of closely related with the times, through the phenomena, He is not a purely negative character, but its ugly appearance following his positive side. and Antonio compared to the others he is true and believable. Meanwhile, Shylock picked up the sword of vengeance, by social, economic, ethnic and cultural factors. He is not only an Avenger, it is a protest and defenders.
2,Shylock’s Personality Revealed in the Merchant of Venice
It goes without saying that Shylock is The Merchant of Venice’s most noteworthy figure and no consensus has been reached on whether to read him as a bloodthirsty bogeyman, a clownish Jewish stereotype, or a tragic figure whose sense of decency has been fractured by the persecution he endures. For instance, in one of Shakespeare’s most famous monologues, Shylock argues that Jews are humans and calls his quest for vengeance the product of lessons taught to him by the cruelty of Venetian citizens.
In the comedy, Shylock is undoubtedly an image having a distinctive personality and the most vivid and memorable character. And he is one of Shakespeare's greatest dramatic creations. But is he a comedy personage or a tragedy one on earth? And what is the author’s attitude towards him, critical or sympathy? Is he a bloodthirsty villain? Or is he a man "more sinned against than sinning"? It is likely that the opinions differ from person to person. But it is affirmative that as a usurer, Shylock is stingy and avaricious of wealth. What’s more, he can ignore humanity and sense if necessary. Meanwhile, as a Jew, he has no other alternative but to control himself when facing the revilement and insult from Antonio. Moreover, as a bystander, he brings to light on the darkness of the governing class in the fierce conflict. All those above unintentionally shape the complex personality of Shylock and make him out of a typical personage image in the world history of literature.
Firstly, Shylock runs after wealth unremittingly. In the Merchant of Venice, he is equally a Jew usurer and the most vivid image. With the development of the plot and the thorough description of contradiction, his true features gradually appear before us: Being a miser, he makes his living by practicing usury and regards money as his life. He is rapt in money and in order to collect more, he even sits watching his servant suffer starvation. What’s worse, he abandons his servant and calls him “lazy wasp”, eventually his servant turns a new host for help. Simultaneously, it is also a naked relationship concerning about money between Shylock and his daughter. He locks his daughter at home and makes her guard wealth for him and does not allow her to go out. As a result, his daughter regards her home as the hell and decides to run away with his lover in a dark night. Finally, Shylock can not bear the fact.
In the Merchant of Venice, Shylock not only runs after wealth, but also execrates the emerging capitalist class represented by Antonio, so he rather choose to have a weight of carrion-flesh than to receive three thousand ducats. At this point, the ugly image of Shylock is clearly reflected in Shakespeare’s writing. He refuses all terms and only wants to kill Antonio, even though he can be offered more ducats if he gives up the plan and spares Antonio’s life.
Certainly, Shylock is the play’s antagonist. On one hand, he is menacing enough to seriously imperil the happiness of Venice’s businessmen, such as Antonio, Bassanio, and so on. On the other hand, Shylock is also a creation of circumstance, even in his single-minded pursuit of a pound of flesh, his frequent mentions of the cruelty he has endured at Christian hands make it hard for us to label him a natural born monster.
Secondly, Shylock repeatedly attempts to revenge the wrongs done to him by murdering his persecutor, Antonio, his coldness prevents us from regarding him in a primarily positive light. In addition, there are lots of unmistakably human moments in the play, and we can not help considering Shylock as a miserly, cruel, and prosaic figure.
By contrast, Portia is a quick-witted, wealthy and beautiful woman. At the beginning of the play, we may be not aware of Portia’s real characters: She is so wise and has the potential for initiative and resourcefulness. What’s more, she appears almost a prisoner, as she has to follow her father’s dying wishes. However, we can understand Portia more deeply and picture a clearer image of her in mind because of this open appearance. She is a free spirit who abides rigidly by rules. She prefers to watch a steam of suitors pass her by, happy to see these particular suitors go, but sad that she has no choice in the matter rather than ignore the stipulations of her father’s will. When Bassanio arrives, however, Portia proves herself to be highly resourceful, begging the man she loves to stay a while before picking a chest, and finding loopholes in the will’s provision that we never thought possible. Also, in her defeat of Shylock Portia prevails by applying a more rigid standard than Shylock himself, agreeing that his contract very much entitles him to his pound of flesh, but adding that it does not allow for any loss of blood. Anybody can break the rules, but Portia’s effectiveness comes from her ability to make the law work for her. Portia rejects the stuffiness that rigid adherence to the law might otherwise suggest. In her courtroom appearance, she vigorously applies the law, but still flouts convention by appearing disguised as a man. After depriving Bassanio of his ring, she stops the prank before it goes too far, but still takes it far enough to berate Bassanio and Graziano for their callousness, and she even insinuates that she has been unfaithful.
No wonder somebody says: When you love him, you will be shame. When you show your mercy to him, he will turn back to hurt you. When you hate him, you will be to blame your cruelty. When you spite him, he will never forget and always want your blood.
Thirdly, the function of Shylock in the play is obstacle. He is a man who stands in the way of the love stories and a traditional figure in romantic comedies. In the play, it is Shylock and the many and various ways that he is linked to the three sets of lovers. The fact that he is a Jew is, in a sense, accidental. Shakespeare wants to contrast liberality against selfishness—in terms of money and in terms of love. There was such a figure available from the literature of the time, one man who could fulfill both functions: this man would be a usurer, or moneylender, with a beautiful daughter that he held onto as tightly as he did his ducats. Usury was forbidden to Christians by the church of the Middle Ages, and consequently, money lending is controlled by the Jews; as a rule, it is usually the only occupation which the law allows to them. As a result, a great deal of medieval literature produces the conventional figure of the Jewish moneylender, usually as a minor character, but also too, as a major character. Shakespeare never seriously defines or condemns a group through the presentation of an individual; he only does this for the purposes of comedy by creating caricatures in miniature for our amusement. Shylock is drawn in bold strokes; he is meant to be a "villain" in terms of the romantic comedy, but owning to the multi-dimensionality which Shakespeare gives him, we are likely to sympathize with him, loathe him at others. Shakespeare's manipulation of our emotions regarding Shylock is a testament to his genius as a creator of character.
When Shylock leaves the courtroom at last, he is stripped of what he has. He is a man who is defeated eventually. Maybe we will feel a little sympathy for him, but not too much. Shakespeare's intention is to make Shylock a tragic figure. But at last, Shylock is meant to be as a selfish man vividly. And he must be defeated in this romantic comedy. In a sense, it is Shakespeare's own brilliance that leads him to create Shylock as almost too human. Shylock is powerfully drawn, perhaps too powerfully for this comedy, but his superb dignity is admirable, despite the fact that we must finally condemn him. Perhaps the poet W. H. Auden has given us our best clue as to how we could deal with Shylock: "Those to whom evil is done," he says, "do evil in return." This explains in a few words much of the moneylender's complexity and our complex reactions toward him.
Such is Shylock, the most vivid and memorable character in the Merchant of Venice. And we can understand Shylock’s personality revealed in the play more deeply only by digging into Shylock’s inner world and his environment.
3,the image of shylock
Shylock is the most vivid and memorable character in The Merchant of Venice, and he is one of Shakespeare's greatest dramatic creations. On stage, it is Shylock who makes the play, and almost all of the great actors of the English and Continental stage have attempted the role. But the character of Shylock has also been the subject of much critical debate: How are we meant to evaluate the attitude of the Venetians in the play toward him? Or his attitude toward them? Is he a bloodthirsty villain? Or is he a man "more sinned against than sinning"? One of the reasons that such questions arise is that there are really two stage Shylocks in the play: first, there is the stage "villain" who is required for the plot; second, there is the human being who suffers the loss of his daughter, his property, and, very importantly for him, his religion.
Shylock's function in this play is to be the obstacle, the man who stands in the way of the love stories; such a man is a traditional figure in romantic comedies. Something or someone must impede young, romantic love; here, it is Shylock and the many and various ways that he is linked to the three sets of lovers. The fact that he is a Jew is, in a sense, accidental. Shakespeare wanted to contrast liberality against selfishness—in terms of money and in terms of love. There was such a figure available from the literature of the time, one man who could fulfill both functions: this man would be a usurer, or moneylender, with a beautiful daughter that he held onto as tightly as he did his ducats. Usury was forbidden to Christians by the church of the Middle Ages, and as a consequence, money lending was controlled by the Jews; as a rule, it was usually the only occupation which the law allowed to them. As a result, a great deal of medieval literature produced the conventional figure of the Jewish moneylender, usually as a minor character, but also too, as a major character. It is from this medieval literary tradition that Shakespeare borrows the figure of Shylock, just as Marlowe did for his Jew of Malta. Some commentators have said that the character of Shylock is an example of Elizabethan (and Shakespeare's own) anti-Semitism. In contrast, many have seen the creation of Shylock as an attack on this kind of intolerance. But Shakespeare, they forget, was a dramatist. He was not concerned with either anti- nor pro-Semitism, except in the way it shaped individual characters in his plays to produce the necessary drama that he was attempting to create. The play is thus emphatically not anti-Semitic; rather, because of the nature of Shylock's involvement in the love plots, it is about anti-Semitism. Shakespeare never seriously defined or condemned a group through the presentation of an individual; he only did this for the purposes of comedy by creating caricatures in miniature for our amusement. Shylock is drawn in bold strokes; he is meant to be a "villain" in terms of the romantic comedy, but because of the multi-dimensionality which Shakespeare gives him, we are meant to sympathize with him at times, loathe him at others. Shakespeare's manipulation of our emotions regarding Shylock is a testament to his genius as a creator of character.
When Shylock leaves the courtroom in Act IV, Scene 1, he is stripped of all that he has. He is a defeated man. Yet we cannot feel deep sympathy for him—some, perhaps, but not much. Shakespeare's intention was not to make Shylock a tragic figure; instead, Shylock was meant to function as a man who could be vividly realized as the epitome of selfishness; he must be defeated in this romantic comedy. In a sense, it is Shakespeare's own brilliance which led him to create Shylock as almost too human. Shylock is powerfully drawn, perhaps too powerfully for this comedy, but his superb dignity is admirable, despite the fact that we must finally condemn him. Perhaps the poet W. H. Auden has given us our best clue as to how we must deal with Shylock: "Those to whom evil is done," he says, "do evil in return." This explains in a few words much of the moneylender's complexity and our complex reactions toward him.

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