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Journal Article
South Atlantic Quarterly (1972) 71 (4): 587–594.
Published: 01 October 1972
... has, to my knowledge, faced the possible aesthetic problems created by the bawdy nature of the episode or accounted, for the effect of its presence in the play. We may briefly recall the exact circumstances. After defeating Shylock in the Venetian court, the departing Portia, still disguised...
Journal Article
South Atlantic Quarterly (1931) 30 (1): 79–83.
Published: 01 January 1931
... not sentimen­ talize them. It is the actors who have sentimentalized Shylock. Shakespeare is merely just to him, and no more. It is [79] 80 The South Atlantic Quarterly worth noting that Portia speaks more lines than Shylock. Shakespeare refuses even to sentimentalize the scene in which Prince Hal, after his...
Journal Article
South Atlantic Quarterly (1957) 56 (2): 207–216.
Published: 01 April 1957
... is the family. Of great interest here are the novels of Elizabeth Bowen. She has given us brilliantly and movingly all the accessories, as it were, of the English family. Her children are memorable: Henrietta and Leopold in The House in Paris, Portia in The Heath of the Heart; and no living novelist can rival...
Journal Article
South Atlantic Quarterly (1987) 86 (1): 87–89.
Published: 01 January 1987
..., heterosexual, Christian Venetians (31). Once Bassanio a man 88 The South Atlantic Quarterly with a rented limousine (59) enters into marriage as a sine qua non of social acceptance, Portia operates without hesitation to possess him both legally and emotionally by isolating both Shylock and Antonio, the one...
Journal Article
South Atlantic Quarterly (1934) 33 (4): 334–353.
Published: 01 October 1934
... held in New York under the auspices of Sorosis.52 By 1890 there were in New Or­ leans headquarters for the Louisiana State Suffrage Associa­ tion and for five local clubs, the Woman s Club, the Arena Club, the Portia Club, an offshoot of the Portia Club, known as the Era Club (Equal Rights Association...
Journal Article
South Atlantic Quarterly (1928) 27 (4): 367–375.
Published: 01 October 1928
... and Nesta, belong to the same constellation that is graced by Rosalind, Beatrice, Portia, and Imogen. In all his deflation of turgid ambition, Meredith distin­ guishes between high and low objects, since by their relative value is tested the quality of any aspiration. If it is for his own personal pluming...
Journal Article
South Atlantic Quarterly (1989) 88 (1): 7–29.
Published: 01 January 1989
... a theater we find misogynistic the end of The Merchant of Venice, with Portia s and Nerissa s ring trick, plays on both the male fears and the female fantasies of a patriarchal society. Shakespearean drama often confronts these anxieties; comedy looks for ways to control them, they constitute a subject...
Journal Article
South Atlantic Quarterly (1925) 24 (4): 373–384.
Published: 01 October 1925
... was in transgression. With these opinions Milton thoroughly agreed, and they reacted upon his poetry. Milton could never have written the beautiful dia­ logue in Julius Caesar between Brutus and Portia, nor a play like Macbeth, where the motivating, the dynamic personality is a woman. But the fundamental difference...
Journal Article
South Atlantic Quarterly (1929) 28 (3): 269–280.
Published: 01 July 1929
... and Portia. Like these noble ancestresses, and like her English cousins Candida and Lady Cicely, she is easily mistress of every situation, and competently manages the men for their good. The parallel with Candida is especi­ ally interesting. In each play the heroine has an ambitious, successful...
Journal Article
South Atlantic Quarterly (2010) 109 (2): 357–368.
Published: 01 April 2010
... change.12 A new gen- eration of women rose through the ranks of the People’s National Party in Jamaica such as Portia Simpson who became prime minister in 2006. Nonetheless, gender analysis and queer theory made little inroads into our political discussions, and we did not engage...
Journal Article
South Atlantic Quarterly (1963) 62 (1): 78–91.
Published: 01 January 1963
... in his plays resides in this juxtaposition, that is to say, in human action in one world seen against the other. And thus it comes about that Portia and Beatrice and Rosalind, Shakespeare s supreme creations in the comedies, combine a yearning for ideal forms with the awareness that their full...
Journal Article
South Atlantic Quarterly (2008) 107 (3): 597–608.
Published: 01 July 2008
... from its con- tinuities with and parallels to divine power.9 In a text that marks the twi- light of this moment in more ways than one, Shakespeare’s Portia could thus claim that mercy “is an attribute to God himself. / And earthly power dost then show likest God’s, / Where mercy seasons justice...
Journal Article
South Atlantic Quarterly (1935) 34 (1): 23–41.
Published: 01 January 1935
... of arithmetic. More she would never have occasion for, she explained, and her mind should not be burdened with needless Application. A more pretentious work was The Polite Lady, which, written in the form of letters from a mother called Portia to her daughter Sophia, discussed the studies proper...
Journal Article
South Atlantic Quarterly (1916) 15 (3): 223–240.
Published: 01 July 1916
... in the plays of Shakespeare a dominant motif is frequently emphasized and enforced by repetition. Thus in The Merchant of Venice the love motif of the main plot, the love of Bassanio and Portia, is repeated in the love of the supporting characters, Gratiano and Nerissa, and in the love of Lorenzo and Jessica...
Journal Article
South Atlantic Quarterly (1986) 85 (1): 40–55.
Published: 01 January 1986
... to dream of Steve who asks: Do you think you re fit to live? (414). Steve s dream question recalls Portia s reply to Shylock in The Mer­ chant of Venice'. Therefore, Jew, though justice be thy plea, consider this, that in the course ofjustice none of us should see salvation: we do pray for mercy...
Journal Article
South Atlantic Quarterly (1989) 88 (4): 811–862.
Published: 01 October 1989
... in the Merchant of Venice, Portia s I stand for sacrifice and Shylock s I stand for judgment. It is hilariously burlesqued by Richard III, mock­ ingly and bitterly (perhaps nostalgically) mimed by Richard II, and, in its most significant manifestation, pursued with increasing fervor through three plays...