Search & Browse

Argues that aberrations from Roman history--occasioned by Shakespeare's use of Herodotus's Histories--in Titus Andronicus suggest "significant non-Roman material underlying at least some of the political work of the play and helping to shape and moralize Shakespeare's critique of Roman values."

Provides a "stage work" ("dramaturgy, stage design, costuming, acting, and directing") assignment for several scenes in Taming of the Shrew, which helps students persuasively argue for their own interpretations.

Describes a classroom activity in which students direct, perform and film a scene from Taming of the Shrew and then explicate their directorial vision.

Identifies the Hostess in 2 Henry IV as a model for theatrical knowledge and reading. Considers her on-stage body and ambiguous gender in relation to early modern scientific and pseudo-scientific tracts.

Focusing on how Richard III was allegedly born with adult teeth, contends that he achieves political triumph by straddling adulthood and childhood simultaneously.

Argues that Thomas of Woodstock's murder that happens before Richard II does not anticipate future political turmoil in England but rather draws attention to the dramatic events preceding the play that eventually lead to his murder.

In a consideration of the ethical agency of servants and principles of Athens's greater political community in Timon of Athens, argues that the servants' subjectivity provides a model of how service can act as potential vehicle for societal repair within the play.

Shows how Portia and Isabella use subtlety and disguise to manipulate savage men; notes that male and female roles in Merchant of Venice and Measure for Measure are reversed when women come to mentally dominate over male bodies. English summary, 16.

Demonstrates how Shakespeare achieves an aesthetic of horror by removing all empathetic elements in Titus Andronicus and purposefully alienating audiences. Parallels this to techniques used in Japanese pop culture. English summary, 144.

"[T]races the history of the idea of world cinema, cataloguing its key meanings within film studies before going on to provide an overview of its uses within the critical discipline of Shakespeare on film" and " . . . endeavour[ing] to reveal how theoretical templates of world cinema have been deployed to consider how a globally circulating Shakespeareanism interacts with the representational practices of diverse localities."