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TheMerchant of Venice is, for good reason, considered to be one of Shakespeare's most legal works, alongside Measure for Measure. At the heart of the debate is the famous penalty clause that Venetian ship owner Antonio allows to be imposed on him by Jewish moneylender Shylock. The clause requires a pound of Antonio's own flesh in the event that he defaults on payment of his loan. Generally called to mind is the monologue by Portia, who pleads for the moneylender's mercy. The play is read as an illustration of an eternal trial between the letter of the law and its spirit, between legal formalism and equity. This lecture questions this traditional interpretation by placing the story back into its socio-historical context: the Venetian casino, the games of seduction and power, and the fact that the adventures are necessarily financed by the Venetian Ghetto. Yet, in addition to legal analysis and sociological decoding, an anthropological reading of Shakespeare's work is warranted. The Merchant of Venice can be understood as a clash between radicalized legal passions. For Shylock, the promissory note, containing the famous penalty clause, presents itself as an opportunity to finally quench his thirst for vengeance, fueled by age-old resentment. For Antonio, a diehard gambler, any transaction is an opportunity to go for broke and to preemptively turn misfortune to his advantage. After all, how could a Venetian ship owner lose to a Jewish moneylender?
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Criminal defamatory libel presents a fundamental conflict between the right to freedom of expression and its underlying principles, which have been expressed in various forms since the late 18th century. The policy of using criminal law to discourage harmful forms of expression, on the grounds that they damage the victim's reputation, has evolved gradually over the years. However, since the 1990s, there have been significant pressures in the Western world and in Canada to implement reforms. Drawing inspiration from the work and thought of Jean-Denis Archambault, while paying tribute to him, the author suggests that it is up to public civil law, that is to say, civil law in its interactions with public law, to define and, above all, to develop under the influence of international human rights law, in order to identify situations where the free exercise of speech infringes upon other interests, such as respect for privacy and dignity.
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The poem “As coisas têm alma” by Maria José de Queiroz (1934-2023), and the book Lição de Coisas by Carlos Drummond de Andrade (1902-1987), illuminate the reading of Mameloshn: memória em carne viva (2004) and O padeiro polonês (2015) by Halina Grynberg. The eleven-year time that separates the two novels does not make their reading more palatable. On the contrary, the doubling of the number 1 (one) points symbolically to the double condition of the narratives. In both, “the memory in the flesh” translates to “the violence of being a survivor,” as stated by Nilton Bonder (2004). The Holocaust, he adds, generates cruelty, exile from one’s homeland and, mainly, exile from human territory, humans’ most primitive language. In this sense, the things or items referenced, cited or listed bring into play objects and things that are part of a ruined world that is mobilized through memory by writers and narrators.
Keywords: Shoah, memory, Brazilian literature, things, objects, Halina Grynberg, Brazilian Jewish literature
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