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Drawing on Tae-Suk Oh's Tempest (q.v.) and Patrice Pavis's scholaraship, inquires into how Korean local performance practices can be evaluated within and outside traditional critical frameworks for theorizing theater.

Explores how critical reception of Shakespeare has developed in modern Germany and how collective endeavors prompt the strong interest in Shakespeare's worlds among German audiences in general.

Contends that the significance of the Jailer's Daughter subplot in Two Noble Kinsmen is to remind audiences "that civilization was purchased with her pain; that the destructive potential of love remains in check only temporarily; that human decisions and human actions have consequences that cannot be explained away by divine providence.

Poem.

Explores how women in Shakespeare's plays negotiate and break the boundaries placed on them by those who would assign them "into appropriate and inappropriate, licit and illicit categories" of femininity. Further suggests that "understanding the operation of these prescriptions against women's speech in early modern society and the examples of women's responses to these expectations enriches our understanding of cultural contexts for Shakespeare's plays today." English summary, 260. Accompanied by "Teaching Guide for: 'Women's Speech in the Age of Shakespeare,'" Literature Compass 10, no. 10 (2013): 822-23. Reprinted in Joseph Rosenblum, ed., Critical Survey of Shakespeare's Plays (q.v. Shakespeare).

Explores philosophical concepts of body and mind in relation to culturally formed notions of adulthood, childhood, and infancy. Examines the roles of Muteus's baby, Aaron's baby, and the school boy Young Lucius in Titus Andronicus, and how adults respond differently to "an infant's body language."

While focusing on not recovering "children's voices for the early modern period," analyzes "the treatment of children in drama as one possible reflection of the contemporary discourse on children and childhood," with particular attention to Shakespeare's history plays.

Surveys Shakespeare's dramatic styles, broadly defined as "an order of practices, including the minutiae of verbal patterning, the architectonics of scene construction, the organization of plot, the interaction of characters, the mixture of generic does, and the deep orientation of the work within the larger meta-literary order of myth." Contends that Shakespeare's style moves through different modes of mimesis throughout his lifetime.

Asserts that major elements of Shakespeare's earlier writing style, including bombast, hyperbole, repetition, and symmetry, were influenced by 1590s culture of expansion. Claims that Shakespeare combines and amplifies these trends for rhetorical effect in his plays.

Argues that Shakespeare's later style is marked by simplicity in form (length of sentences, monosyllables, disjointed phrasing) which serves to heighten the emotional complexity and depth of the scenes and characters.