This dissertation critiques four stagings of The Merchant of Venice observed in three theatrical cultures of the Anglophone world and argues that engaging productions of this script take into account its self-deconstructive character as one of its most decisive ordering principles. The dissertation draws on Derrida's Deconstruction, stressing that, according to the acknowledged father of the movement, texts do have transcendental traces. It discusses themes such as anti-Semitism versus ethnic intolerance,homosexuality verus somody, carnivalization, and the representation of emotions.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:OTU.1807/24368 |
| Date | 21 April 2010 |
| Creators | Melo, Sergio N. |
| Contributors | Astington, John H. |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | en_ca |
| Detected Language | English |
| Type | Thesis |
Page generated in 0.0022 seconds