The present paper focuses on some frequent Swedish thank formulas that do not seem to fit the pattern of thanking - either syntactically or semantically. One example of the syntactic irregularities is tack för senast, ‘thanks for last time’ (lit. ‘thanks for lastADV’), where the prepositional phrase consists of an adverbial (not a nominal) component relating to time. On the other hand, the Swedish tack för mig, ‘thanks for me / myself’, does not conform to the semantics of thanking, as it seems to suggest that the speaker himself is the only proper reason for thanking, not - as usually expected - ‘something good’ for the speaker, i.e. an action brought about for him or her by the addressee. Some similarities with the Polish phrases for thanking (which also include adverbs but are fewer and less frequent in comparison Swedish), e.g. dziękuję za dziś, ‘thanks for today’, have also been taken into consideration. Such constructions can be analysed and explained in terms of metonymy. Furthermore, the thank formulas including the temporal adverbs seem to reflect the significance of time as a special value in the Swedish culture.
The first decades of the new millennium have seen an odd return to origins in Shakespeare studies. The Merchant in Venice, a site-specific theatrical production realized during the 500th anniversary year of the “original” Jewish Ghetto, was not only a highlight among the many special events commemorating the 400th anniversary of Shakespeare’s death in 2016, but also a more creative and complex response to historicism. With her nontraditional casting of five Shylocks (developed through collaborations with scholars and students as well as her international, multilingual company), director Karin Coonrod made visible the acts of cultural projection and fracturing that Shakespeare’s play both epitomizes and has subsequently prompted. This article, written by a participant-observer commissioned to capture on video the making and performance of Compagnia de’ Colombari’s six-night run in the Campo del Ghetto Nuovo, explores the way this place is—and indeed, the category of place itself is always—a dynamic temporal construct, defying more complacent attempts at simple return (to home, to the text, to the past). Such a recognition allows nuanced, hybrid forms of multicultural theater and Shakespeare scholarship to emerge, and to collaborate more fruitfully.