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Conspiracy and Narrative Masquerade in Schiller, Zschokke, Lewis and Hoffmann
Victor Sage

This essay brings together the popularity of Venice in the late eighteenth and early nineteenth century as a setting for horror, terror and fantasy, and the narrative conventions of the Gothic. Focusing on Schiller, Zschokke, Lewis and Hoffmann, the article studies the representation of Venice as a Gothic labyrinth, in the context of the city‘s changing reputation as a political structure. ‘Venice’ is treated as a common set of signs which overlap between the literary field and the field of cultural politics: ‘plots’ are both political conspiracies and (carnivalised: doubled and disguised) narrative forms. All is given over to the dynamics of masquerade. The topography of the Venetian Republic is itself a political text, which carnivalises the ‘separation of powers’, while the texts of the Gothic writers are narrative masquerades which choose popular hybrid forms of comedy, folktale and horror, rather than Tragedy or Realism, to respond to Venice‘s tension between law and anarchy and the conflicting pressures of Enlightenment, Republicanism and Empire.

Gothic Studies
Steve Sohmer

Emilia Bassano Lanier provided the model for Shakespeare’s Jessica in The Merchant of Venice. A dark Venetian Jew When Baptiste Bassano, Venetian converso Jew and court musician, died in 1576, he left his daughter Emilia penniless; she would receive a legacy of £100 only on attaining the age of twenty-one. For reasons

in Reading Shakespeare’s mind
Erith Jaffe-Berg

cultural currency useful for calibrating relations with the other. This was especially palpable in Northern Italian cities, notably Mantua and Venice, where significant populations of ‘foreigners’ became established from as early as the twelfth century. Embraced for their economic and commercial contribution, the religiously and culturally distinctive populations were at the same

in Transnational connections in early modern theatre
Brian Pullan

Trial before the Inquisition 9 The trial of Giorgio Moreto before the Inquisition in Venice, 1589 Brian Pullan Since the 1960s, historians of the great continental inquisitions of Rome, Spain and Portugal have divided into schools and put their documents to different uses.1 Some of them incline to the belief that court records are efficient only at performing the task of showing how courts proceeded, and that they can afford only a sectional view, taken from a peculiar angle, of the prisoners and witnesses who came before the courts to undergo interrogation

in Judicial tribunals in England and Europe, 1200–1700
Brian Pullan
Bulletin of the John Rylands Library
Julianne Simpson, Stephen J. Milner and Caroline Checkley-Scott
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Beverly Louise Brown

Marcantonio Raimondis Il Sogno and Albrecht Dürers Sea Monster share a number of compositional similarities as well as a fascination with the bizarre. The association of monstrous forms as an omen of grave misfortune, including pestilence and war, was particularly common at the beginning of the sixteenth century. In Marcantonios engraving the chimeric monsters, billowing inferno and shooting star can be perceived as a graphic warning that by 1509 Venices world was in deep peril.

Bulletin of the John Rylands Library
Author: Steve Sohmer

This book will come as a revelation to Shakespeare scholars everywhere. It reveals the identity of the playwright and Shakespeare’s colleague behind the mask of Jaques in As You Like It. It pinpoints the true first night of Twelfth Night and reveals why the play’s performance at the Inns of Court was a momentous occasion for shakespeare. It also the identities Quinapalus, the Vapians, Pigrogromitus and Feste, as well as the ‘Dark Lady’ of the Sonnets and the inspiration for Jessica in The Merchant of Venice. And it solves Shakespeare’s greatest riddle: the meaning of M.O.A.I. in Twelfth Night. In sum, this book reveals William Shakespeare as a far more personal writer than we have ever imagined.

Open Access (free)
Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

Introduction I began to reconsider my opinion of humanitarian architecture on a wet November day in Venice, as rain lashed down on the city and darkness had just fallen. At the time, I was visiting the 2016 architecture Biennale, which had the theme ‘Reporting from the Front’: a phrase chosen by director Alejandro Aravena to encapsulate the way that architecture is ‘an endeavour that has to tackle many fronts, from guaranteeing very concrete, down-to-earth living standards

Journal of Humanitarian Affairs