〈威尼斯商人〉帶給我們最大的疑惑有兩個：
第一：這真的是喜劇嗎？夏洛克沒有被欺負嗎？
第二：莎士比亞有沒有暗中挺猶太人？
這些爭議正是〈威尼斯商人〉不朽的原因，作者將基督教和猶太教的立場都呈現出來，讓角色根據自己的處境說話。即使事這類作品還是可以被不斷解讀出新意。 而這就是不朽

創作

閱讀書評

文化生活

據說是翰林獨有的〈威尼斯商人〉

這裡是我對於高中核心古文的教學記錄，歡迎關心高中國語文教育的你，來這裡逛逛，並與我交流

琳瑯滿目的高中國文的沙龍

旅行美食

親子與教育

嗨，世界！歡迎來到問題學生羅訢的小格，我是羅訢。
 
上次，我們說到莎劇《威尼斯商人》中的夏洛克以及猶太民族的處境。這次，我們準備來到比莎翁更早一些的年代，看到上一篇開頭提到的關漢卿的元曲《竇娥冤》。竇娥和夏洛克又有什麼關聯性呢⋯⋯？

電影戲劇

那些藏身於戲劇裡的邊緣人們 II

音樂藝文

國際

政治與評論

學習

嗨，世界！歡迎來到問題學生羅訢的小格，我是羅訢。

這是一篇很久以前國文課上到元曲，亦提及關漢卿的經典名劇《竇娥冤》時問題學生與老師討論以後激發出火花而誕生的文章⋯⋯的第一部

（欸，以上87個字欸我好棒）

健康與情感

那些藏身於戲劇裡的邊緣人們 I

[S. 4 Ep. 2] 

'The Merchant of Venice is a 16th-century play written by William Shakespeare in which a merchant in Venice named Antonio defaults on a large loan provided by a Jewish moneylender, Shylock.' ~ Wikipedia

Shakespear's the Merchant of Venice in the Man in the High Castle [Season 4]

The company of The Merchant of Venice perform Act 3 Scene 1 with Makram J. Khoury as Shylock in Polly Findlay's 2015 production of The Merchant of Venice from the Royal Shakespeare Company.

Act 3 Scene 1 | The Merchant of Venice | 2015 | Royal Shakespeare Company

Shylock ACT 3

我發現咖啡的名稱，如 Expresso，Americano，Cappuccino，Latte 都來自義大利這是什麼緣故？ 請聽紅柿子的考證。

旅遊美食

觀點

DW 太太：我發現咖啡名字好「義大利」喔，為什麼呢？


"Il Sufi a volte danza, ma, mentre danza, al centro rimane assolutamente immobile -- il centro del ciclone.
 La danza è il ciclone, tutto il suo corpo è in movimento, è fluido, dinamico, ma al centro la coscienza osserva in silenzio, indisturbata e senza distrazioni. Esteriormente si può solo imparare l'esercizio. 
Esteriormente non si conoscerà mai quello che accade dentro al danzatore. E la vera storia è tutta interiore."

Osho, The Perfect Master, Vol.2

Danza Sufi

Ottoman Turkish is the variety of the Turkish language that was used in the Ottoman Empire, Cretan State, Khedivate of Egypt, Provisional National Government of the Southwestern Caucasus and Provisional Government of Western Thrace.

The conservation of archaic phonological features of the Arabic borrowings furthermore suggests that Arabic-incorporated Persian was absorbed into pre-Ottoman Turkic at an early stage, when the speakers were still located to the northeast of Persia, prior to the westward migration of the Islamic Turkic tribes. An additional argument for this is that Ottoman Turkish shares the Persian character of its Arabic borrowings with other Turkic languages that had even less interaction with Arabic, such as Tatar and Uyghur. From the early ages of the Ottoman Empire, borrowings from Arabic and Persian were so abundant that original Turkish words were hard to find. In Ottoman, one may find whole passages in Arabic and Persian incorporated into the text. It was however not only extensive loaning of words, but along with them much of the grammatical systems of Persian and Arabic.

In a social and pragmatic sense, there were (at least) three variants of Ottoman Turkish:

Fasih Türkçe (Eloquent Turkish): the language of poetry and administration, Ottoman Turkish in its strict sense;
Orta Türkçe (Middle Turkish): the language of higher classes and trade;
Kaba Türkçe (Rough Turkish): the language of lower classes.
A person would use each of the varieties above for different purposes, with the fasih variant being the most heavily suffused with Arabic and Persian words and kaba the least. For example, a scribe would use the Arabic asel (عسل) to refer to honey when writing a document but would use the native Turkish word bal when buying it.