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Offers alternative reading of Antony's line “See how I convey my shame out of thine eyes” from Antony and Cleopatra, considering Shakespeare’s dramatization of Antony. Proposes that Shakespeare drew on widely circulating ancient Greek proverb—“Shame is in the eyes" and supports his claim with Erasmus’s interpretation of proverb in Adagia and Aristotle’s explanation of proverb in Rhetoric. 

Seeks to explain Shakespeare’s transnational and transhistorical ubiquity, his ability to be recontextualized in wide variety of cultures and ideological views. Offers “technical diagnosis of textual prerequisites for Shakespeare’s international success” rather than focus on his plays’ particular values. English summary, online.

Studies different spellings and interpretations of Mallico/Malicho from different early editions of Hamlet: "This is myching Mallico, that meanes my chiefe" (Q1); "Marry this munching Mallico, it meanes mischiefe’"(Q2); "Marry this is Miching Malicho, that meanes Mischeefe" (F). Notes persistence of Thomas Hamner's gloss of word as "a wicked act, a piece of iniquity’, after Spanish malhecho." Proposes instead that that Mallico is “orthographical variant of” malligo as in Malaga wine.

Analyses Anglophone reception of Kurosawa Akira’s less-acknowledged film, The Bad Sleep Well (q.v.), which draws on Hamlet for inspiration. Notes film's lack of conformity to Western expectations and articulates its significance within global Shakespeare discourse. English summary, online.

Investigates portrayal of Portia in Merchant of Venice, arguing her "intelligence" makes her hero of play. Considers "revolutionary" characteristics of Portia and other Shakespearean comic heroines, including assertiveness, strength, and wit. 

Detects racial assumptions in characterization of white actors as “shape-shifting” and Black actors as “charismatic” and explains what this implies about supposed craft and labor of white actors as opposed to inherited or innate skills of Black actors. Traces ways of praising contemporary actors to “birth of racialized performances,” arguing that “the waves that rippled through the early modern London theaters continue to roll through twenty-first-century American ones.” Notes early modern praise of actor Richard Burbage referred to his shape-shifting ability, particularly his ability to embody his “chiefest part,” namely role of Othello, which required “cross-racial impersonation.”

Argues Shakespeare provides wider understanding of nationhood and nationalism in Henry V. Assesses complex presentation of war in Henry V and describes play's frequent appropriation for nationalistic purposes. Considers Laurence Olivier's film adaptation (1944), Kenneth Branagh's film adaptation (1989, q.v.), and use of Shakespeare in Brexit discourse in 2016. English summary, online

Examines sixteenth and seventeenth century travelogues of three early modern principalities (Wallachia, Moldavia, and Transylvania), now part of modern-day Romania. Notes how these spaces are presented in Merchant of Venice,  Othello and Pericles, Prince of Tyre. Argues “these territories represent real-and-fictional locations, shaping an ever-changing world of spatial networks reconstructed out of fragments of cultural geographic and ethnographic data.” English summary, online.

Investigates how former American President Donald Trump evokes comparisons to Shakespeare's Richard III. Compares Trump's use of Twitter to Richard's soliloquies, noting both work to draw audiences nearer to plots and dealings. English summary, 31. 

Describes Anantanarayanan's novel set in medieval India, where Shakespeare is experienced by Indian audience infomed by classical Indian art and thought. Notes unexpected, "incongruous" encounter leads to new insights. Focuses on orientalism, or cultural chauvinism represented in Hamlet and Macbeth. English summary, online.