Shakespeare's play, The Merchant of Venice, is one of the most misunderstood plays in the playwright's canon. Although the play's popularity is evidence by its history of successful production, critics have looked with puzzlement at the drama because Shakespeare combined three tales having no apparent relationship into one play. The story of the man who is willing to give up his life for his friend, the tales of the caskets, and the love story of the Christian for the Jewess do have a common general theme of love. But there is another underlying theme which is significant to the meaning of the play--the theme which examines the importance of worldly wealth. In the Antonia/Bassanio story, wealth is important because it brings Antonio to the point of sacrifice. In the Bassanio/Portia tale, wealth has made the lady Portia desirable yet must have no importance to Bassanio when he chooses the casket. The Lorenzo/Jessica story demonstrates not only disregard for worldly wealth but the apparent squandering of it. There are also problems in the characters of Antonio and Shylock. Antonio's melancholy is difficult to explain, and Shylock has been interpreted in nearly as many ways as there have been actors who have played to part. All of these difficulties, including that of supposed disunity, are resolved when the play is examined in the atmosphere of its creation. The play historically was born to a nation struggling for material wealth. Its dramatic inheritance was that of the Christian religious tradition brought from the medieval times in the form of the miracle plays. The unifying element of the miracle cycles was the allegory of Christian salvation. And thus it is this same Christian allegory which unties The Merchant of Venice. The Christian allegory also defines in a satisfying way the specific love which each of the seemingly unrelated tales exemplifies. The allegory brings together the apparently dissimilar attitudes toward worldly wealth. I is within the Christian allegory that the roles of Antonio and Shylock, as well as all the minor characters, are precisely determined. It is the purpose of this study to delineate the Christian allegory and thereby identify the dominating and unifying theme of the play. It is the purpose of this study (1) to show that the play contains much of the symbolic allegory which was prevalent in the language of the Church in medieval times, (2) to demonstrate that the allegorical traditions are present in all parts of the play, and (3) to reveal that the Christian allegory makes all aspects of the drama contribute to the entirety of its effects.

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Les juges et consuls : que sont-ils ? Qui représentent-ils ? Qui sont-ils ? L’analyse d’une affaire survenue à Angers, au-delà d’une querelle de préséance, pose en réalité cette question d’état relative à leur définition et donc à leur importance dans la ville. Si l’arrêt intervenu en 1736 les reconnaît comme députés de la juridiction consulaire, le débat est sans cesse relancé, notamment lors de l’application de la réforme Laverdy. Car, élus par leurs pairs, pour une charge initialement annuelle, pour rendre la justice de l’ordre des marchands au nom du roi, ils sont concomitamment les mandataires d’une compagnie coutumière des anciens, qui se prétend de justice, d’un corps des marchands, sorte de fédération des différents ‘corps des marchands de’ dont les membres sont éligibles au consulat, et dans les grandes villes d’une « corporation des négociants libres ». En effet, les « ayant passé par les charges » s’instituent membres de droit du conseil d’administration de ce corps des marchands, tout en s’en estimant distincts car encore revêtus de la dignité de la judicature, et ce rôle ne leur est contesté que par les gardes de certaines communautés unies dont ils sont par ailleurs également issus en grande partie. Cette représentation multiple est clairement assumée dans un jeu de pouvoir avec la ville, notamment en raison d’une compétence partagée du service public économique. Ils évoquent l’édit de Cremieu pour s’imposer de droit dans les assemblées générales de la cité et pour s’autonomiser de liens originels ; par ailleurs, ils sont souvent membres de droit des chambres particulières de commerce et jouent un rôle non négligeable dans la désignation des députés du commerce. Défenseurs naturels du commerce, ils veillent à ce que les marchands, le plus souvent des membres de leur compagnie, soient élus au sein des différentes institutions de la ville. Issus d’une sanior pars différente selon les villes et évoluant selon un mouvement de pas chassé, ils veillent à ce que la survivance de la dignité de la judicature efface les qualités personnelles selon le principe intangible de l’ordre de la matricule. La désignation des membres de leur compagnie suit une logique’ d’oligarchisation’, parfois subie, maintenue par une parfaite maîtrise du processus électoral. Un noyau dur est formé par certains anciens bénéficiant d’un cumul des charges à la fois en interne et de manière essaimée, posant la question de la multi-appartenance et des conflits d’intérêts. / Judges of the “juridictions consulaires”: what are they? Who do they represent? Who are they? A case occurred in Angers, beyond a quarrel over precedence, pose actually the question of their state and social and legal importance in the city. If the judgment reached in 1736 recognizes them as members of a jurisdiction, the debate is constantly revived, especially during the Laverdy reform. In fact, elected by their peers, initially for annual responsibility to render justice, they are simultaneously representatives of a customary former company that aspires to be of justice, of a united corporation of various “merchants of… communities” whose members are eligible for the Court, and in major cities of a “free trading community”. Indeed, “having passed through the charges” are established ex officio members of the board of these institutions, while considering themselves different because still dressed in the dignity of the judicature. This role is disputed to them by some unified communities guards. This multiple representation is clearly assumed in a power game with local authorities, mainly because of a shared competence of public economic service. They evoke the edit of Cremieu to impose themselves in the general assemblies of the city and to empower original links; moreover, they are often ex officio members in the “chambers of commerce” and they play a significant role in the appointment of the “députés du commerce”. Natural defenders of the business, they ensure that the merchants, most often members of their company, are elected in the various local institutions. Stemming from a different sanior pars according to cities and evolving to a movement of “pas chassés”, they ensure that their survival dignity of judicature erases the personal qualities according to the inviolable principle of the order of the roll. The elections of the members of their companies follow a logic of “oligarchisation”, sometimes suffered, maintained by a perfect control of the electoral process. A core is formed by some formers enjoying simultaneously loads, both internally and in a spray-out way, raising the question of multi-membership and conflicts of interests.

Lam Kam Fai Jeffrey. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2001-2002, design report." / Includes bibliographical references (leaves 69). / Chapter Part I --- General Research on Maritime Safety / Chapter 1. --- Introduction / Chapter 1.1 --- Scope of interest / Chapter 1.2 --- What is a maritime safety center / Chapter 1.3 --- Users benefited from the center / Chapter 2. --- Port Traffic and Water Transportation in Hong Kong / Chapter 2.1 --- Total amount of goods transported through water in the past and future / Chapter 2.2 --- Percentage of goods transported through water / Chapter 3. --- International Maritime Safety and The International Maritime Organization / Chapter 3.1 --- General background and objective of The International Maritime Organization / Chapter 3.2 --- Convention introduced by the IMO / Chapter 3.3 --- "Standards of Training, Certification and Watchkeeping for Seafarers" / Chapter 4. --- Local Training Facilities and Activities / Chapter 4.1 --- Seamen's Training Center / Chapter 4.1.1 --- General background / Chapter 4.1.2 --- Training provided / Chapter 4.1.3 --- Building and facilities / Chapter 4.2 --- The Hong Kong Marine Department / Chapter 4.2.1 --- New training facilities / Chapter 4.2.2 --- Other safety isses / Chapter 5. --- Overseas Training Example- the Jovellanos Integral Maritime Safety Center / Chapter 5.1 --- General background / Chapter 5.2 --- Function of the center / Chapter 5.3 --- Facilities / Chapter Part II --- Design Report / Chapter 6. --- Proposed Design Brief and Site Consideration / Chapter 6.1 --- Design Brief / Chapter 6.1.1 --- Maritime safety academy / Chapter 6.1.2 --- Public Interface / Chapter 6.2 --- Site selection / Chapter 6.2.1 --- Site selection criteria / Chapter 6.2.2 --- Site characteristics / Chapter 7. --- Preliminary Design / Chapter 7.1 --- Building form / Chapter 7.2 --- Visitor center / Chapter 7.3 --- Entrance / Chapter 7.4 --- Access / Chapter 8. --- Design Development / Chapter 8.1 --- Spatial relationship of the academy and the public interface / Chapter 8.2 --- Architectural expression of the two programs / Chapter 8.3 --- Form and facade treatment / Chapter 8.4 --- Special study - the use of pre-cast panels / Chapter 8.5 --- Detail and construction consideration / Chapter 9. --- Final Presentation Documentation / Chapter Part III --- Bibliography / Chapter Part IV --- Appendix / Appendix I: / "Summary Statistics on Port Traffic in Hong Kong as at July 2001," / Hong Kong Port and Maritime Board / Appendix II: / "Articles from the Hong Kong Maritime News," / Hong Kong Marine Department

Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

莎劇＜威尼斯商人＞已被廣泛地從種族、性別和宗教等角度討論。然而這些非物質的角度並無法全然地描繪全劇。劇中有許多物件，並且深深地影響著劇中的角色們。這篇論文將試著探索物件和人們之間的關係，以三種人與人之間的關係來著手：猶太人和基督徒、父母親和子女以及愛情和友誼。很明顯的，在劇中，角色和物件之間的關係密不可分，甚至物件的力量會高過人們，進而產生控制。維根斯坦以聖奧古斯丁的論點來做為他的語言哲學的開端：語言以物件命名為基礎。但維根斯坦認為語言的運用並不全然建立在為物件命名，而是在不同的情境之下使用且產生不同的意義，換言之，語言重要的目的不是表達意義，而是在情境中發揮功能。而這樣使用語言的方式，描繪了人們的生活形式(Form of Life)。在劇中，物件在不同的情境之下有著不同的意義。由於戲劇能夠反映人生，因此透過探索劇中物件與角色間的關係，可以反映出人們的真實生活抑是和物件密不可分，也反映出人們的生活形式。 / The Merchant of Venice has long been discussed with the view of race, gender and religion. These immaterial aspects, however, are not able to depict the totality of the play. There are many material objects in the play, those objects which strongly involved in characters’ relationships. The thesis aims to explore when people grant force on objects and objects act upon people in return by examining objects in the play. The importance of objects can be found in three relationships: Shylock and Christianity, parents and children, love and friendship. It is obvious that objects function diversely in different situation and objects do have influence on characters. Ludwig Wittgenstein starts his linguistic philosophy with St. Augustin’s observation: the use of languages starts from naming objects. However, Wittgenstein thinks that languages function in activities, so we should consider the function of language within activities of life instead of an abstract meaning. The way people use languages can be seen as participating in activities which presents the form of life. Similarly, objects function differently in activities and have diverse impact on characters. Drama is formed by many activities and reflects people’s life. Through finding the importance of characters and objects in The Merchant of Venice, the result can reflect people’s real form of life.

No description available.