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Argues that "there are more things for us in this sea of stories than even Shakespeare had to tell" by showing how Shakespeare altered his sources for Twelfth Night.
Examines Shakespeare and John Fletcher's approach to Chaucer's Knight's Tale. Contends that the two dramatists understood Chaucer "not just as an engaging narrative poet" but also "as an inspirational dramatic poet."
Examines Kate's final speech in The Taming of the Shrew and focuses on "her spirit of rebellion." Argues that her speech delivers "a spirit of flirtatiousness" and exposes Petruchio's "gendered limimations."
Illustrates "the ever-present problem of monologism and the eternal need for dialogism in education" by showing how Love's Labor's Lost mocks Holofernes's pedantry and how Shakespeare Reloaded celebrates the importance of student-driven learning.
Deals the issues of "a metaphysical vision," "human motives and values," and the "universal aspects of human nature" in relation to "the historically specific features" in King Lear. Contends that the ethos of the play is not aesthetic but moral.
Contends that The Tempest supports the status quo performed by European colonizers, which is "founded on Elizabethan era conception of family."
Draws on Julius Caesar to consider the relationship between history and historical drama, arguing that plays invariably do not reflect actual history. English summary, 285.
Contends that poet C. P. Cavafy (1863-1933) was heavily influenced by Shakespeare. Compares Hamlet with two Cavafy poems, "King Claudius" (1899) and "Young Men of Sidon (AD 400)" (1920). English summary, 194.
Explores how Zeffirelli, in his Taming of the Shrew (q.v.), uses Shakespeare's induction to invite spectators to the world of the filmed Padua.
Attempts to re-examine the use of 'dead march'--a form of funeral procession--in Shakespeare's plays and its effects on audience interpretation.