Possessing the book and peopling the text

Orkin, Martin

doi:10.4324/9780203426517_chapter_10

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…A related effort works to untangle the roots of Shakespeare’s Shylock from a wide range of cultural and social models, including Christopher Marlowe’s The Jew of Malta , and early modern Europe’s violent religious and economic conflicts. It is thought that both Marlowe and Shakespeare drew on “older (non-Jewish) European traditions of hate literature” ( Orkin, 1998 , p. 196), and that anti-Judaic violence was fueled for centuries by stereotypes assigning to Jewish people a wildly exaggerated competency alongside derogatory traits as bizarre as male menstruation, cannibalism, and child murder ( Bildhauer, 2020 ). These have a long association with blood, which makes its way importantly into Shakespeare’s Merchant and Egervari’s adaptation.…”

Section: Stereotype Ontologymentioning

confidence: 99%

See 1 more Smart Citation

The Merchant of Venice in Auschwitz: Taking Apart Shylock Using the SCM and BIAS Map

Knutson

2021

Front. Psychol.

View full text Add to dashboard Cite

In response to Frontiers’ 2020 Call for Papers on “Stereotypes and Intercultural Relations: Interdisciplinary Integration, New Approaches, and New Contexts,” my paper integrates the scientific study of stereotypes with a literary-theatrical exploration of stereotyping. The focus is on Tibor Egervari’s post-Auschwitz adaptation of Shakespeare’s anti-Semitic comedy The Merchant of Venice, with a very brief look at his related work on Christopher Marlowe’s The Jew of Malta and his 1998 collaboration with conductor Georg Tintner on a touring production of composer Viktor Ullmann’s and librettist Peter Kien’s one-act opera, The Emperor of Atlantis, or Death’s Refusal, composed in the “model” concentration camp Terezín (Theresienstadt), in 1943–1944. Egervari’s theater art critically deconstructs what he calls “the Old Jew” stereotype in specific ways highly readable using the Stereotype Content Model (SCM) and Behavior from Intergroup Affect and Stereotypes (BIAS) map. Theater performance can sometimes embody the forceful dynamic traced by the BIAS map, from cognition to affect to behavior. Egervari’s original adapation, which sets The Merchant of Venice in Auschwitz, reveals this dynamic clearly. My interdisciplinary study of Egervari’s theatrical-cultural work validates the SCM and BIAS map for literary studies and interprets the Shylock stereotype in the terms of those models and through the lens of Egervari’s anti-Nazi adaptation of Shakespeare’s Merchant.

show abstract

Section: Stereotype Ontologymentioning

confidence: 99%

“…Malka “shows … that Jewish representations of the concepts of mercy, justice and revenge are entirely unrelated to the (mis)representation of them in Merchant” ( Malka, 1996 , n.p. ; cited in Orkin, 1998 , p. 196).…”

mentioning

confidence: 99%