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In relation to the issues of interpretive and aesthetic consequences, explores Gregory Doran's revisions of Theobald's Double Falsehood in Shakespeare's Lost Play: In Search of Cardenio (q.v). Suggests that although Doran tries to remove sexual assualt from the play, this "actually generates an unnerving undertone of sexual violence."

After arguing that Hollywood treatments of Cleopatra focus too much on sexualized bodies, and that male critics focus too much on Antony, offers suggestions for understanding and performing Shakespeare's Cleopatra.

Examines the action of blind men and their blindness in Oedious Tyrannos and King Lear. Contends that in the two plays "the significance of clear-sightedness and blindness operates literally and resonates figuratively in relation to questions of power and 'truth.'"

Using the example of Young Shakespeare Nation, explores how to make better connections among students, their teachers, and theatre programs at the Royal Shakespeare Company in education field.

Shows how programs and resources at the Shakespeare Birthplace Trust can supplement primary and secondary education.

Laments the closing of the Springfield College of Education, which made the great achievements of Shakespearean productions. Shares concerns that educational productions of Shakespeare in India have been adversely affected by government control.

Compares "the two new Chinese translation of Hamlet by [Hongyin] Wang and [Guobin] Huang." Suggests that Wang's translation is intended to be read, whereas Huang's translation is intended to be staged. English summary.

Draws on King Lear to examine the materiality of air in early modern culture through embodied breath, wind, and nothingness, specifically dealing with their connections to ecocriticism. English summary, 30.

Argues that historicists need to pay more attention to lyric in poems by focusing on their private yet public feature, "public reflection." Considers Shakespeare's sonnet 55 from this "methodological perspective." English summary.

"[E]xamines the extensive critical commentary on a single line of Hamlet--'He's fat, and scant of breath' (5.2.287)--in order to trace the emergence of a modern understanding of the fat body." Shows how the understanding of fat body has been changing. By referring to Simon Russell Beale's performance of Hamlet (q.v.), suggests that the single line may lead the audience to perceive "dehumanizing implication of fatphobic constructs." English summary.