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Argues that Romeo and Juliet is not a play of fate or a play of character, but a play of the collision between nature and culture.
Explores Yeats's Baile's Strand alongside Shakespeare's King Lear and Macbeth to analyze how Yeats uses Shakespeare.
Suggests that in Merchant of Venice, Shakespeare not only acknowledges the monetary exchange system but also finds a life ethics in the emerging capitalistic society of Venice.
Argues that "the logic governing the adaptation and early popularity of " John Dryden and William Davenant's adaptation of Tempest "stems in large part from the way that the play exemplified natural philosophical ideas and projects associated with the Royal Society."
Drawing on Henry V and Sir Thomas More, argues that Englishness was not a given political category but a mode of identification creating a fantasy of bond among scrappy individuals otherwise divided by the preexisting formulations of subjecthood.
Argues that students can learn intergrative convergent thinking and creative communication by studying Merchant of Venice.
Compares Synge's Deirdre of the Sorrows and Yeats's Deirdre with Shakespeare's Romeo and Juliet.
Interprets King Lear from the perspective of Kierkegaard's concept of anxiety and three stages of existence.
Examines "Destiny's anthropomorphic representation through the Weird Sisters . . . from Shakespeare's Macbeth (1623), which adapts the classic Moirae figure" and concludes that Macbeth "adds to these descendants of the Moirae sinister figures." Considers the Moirae's partiality in relation to other deities and to humanity. Portuguese and English summaries, 162-3.
Explores the meanings of Paul-Eerik Rummo's poem "The Songs of Hamlet." English summary.