The last seven years has seen a spate of high-profile presentations of The Merchant of Venice: the 2004 Michael Radford film, 2010's New York City "Shakespeare in the Park" production, as well as the play's 2010-11 Broadway run. Likewise, new scholarly works such as Kenneth Gross's Shylock is Shakespeare (2006) and Janet Adelman's Blood Relations (2008) have offered poignant insights into this play. Why has this play garnered so much attention of late? What else can we learn from this contentious comedy? How else can we read the drama's characters? Where do studies of the play go from here?
Papers can consider but are not limited to the following topics: