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Suggests sources and analogues for Celtic allusions across the canon--especially in 1 Henry IV, Henry V, Merry Wives of Windsor, Macbeth, King Lear, Tempest, and Cymbeline.

Uses Rape of Lucrece and Titus Andronicus to discuss early modern representations of rape, "highlight[ing] the interconnections between aspects of culture and the creative exchange, the confrontation and mutual assimilation between 'high' and 'low' cultural forms." English summary, 211.

Discusses auto-allusion, or "the moment at which a writer quotes his or her earlier work" such that "the resulting allusion is a return to an earlier self and an earlier text, and the return is done in such a way as to demonstrate both repetition (or sameness) and repetition with a difference." Approaches auto-allusion through analysis of Shakespeare's reuse of the King Lear line "O, the difference of man and man!" (4.2.27) in Two Noble Kinsmen.

Draws on experience playing Desdemona in a production of Othello to "investigate the implications of performing death and explore some ways in which its convergence with desire might be conceptualized (and complicated)."

Explores mimesis in Shakespeare through analysis of the ape imagery applied to Angelo in Measure for Measure.

Includes discussion of Carl Schmitt's Hamlet oder Hekuba: Der Einbruch der Zeit in das Spiel (q.v.).

Argues that, in light of the fact that there was "no noticeable distinction between the sensibilities of the reprobate and the elect" in early modern Protestant England, Macbeth's behavior in the play may be re-interpreted "as emerging from a terrified awareness, shared by Shakespeare and his contemporaries, of the Protestant world, rather than from a specifically reprobate frame of mind." English summary, 48.

Devotes a chapter to Winter's Tale in arguing that "the early modern theatre made a significant contribution to the development of a new, more complex idea of news." Revised and published under same name (q.v.).

Discusses the classical, scriptural, and aesthetic contexts of original sin in Hamlet to argue for the deliberateness of its appearance.

"Aims to analyze the reasons and the steps that led to the transmigration of Shakespeare's masterpiece [The Tempest] from the English tradition to that of Naples, from the literary code to the vernacular." Sets out "to identify the suggestions arising from differing expressive languages: from writing to theater, from impalpable voice to the materiality of the puppets, in the incessant research of the endless possibilities offered by the theatrical performance." English summary, 363.