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Explores the presence of a religious subtext in Shakespeare's examination of ritual and its relation to sacrifice in Merchant of Venice and King Lear.
Discusses national and cultural identities alongside conceptions of Britishness in the Shakespearean performances at the World Shakespeare Festival and the Olympics.
Argues that Shakespeare scholarship has taken a speculative turn as critics consider uncertainty of knowledge.
Discusses presentism in Shakespeare, including both contemporary impositions in The Hollow Crown and Shakespeare's own presentisms in Troilus and Cressida.
Discusses Shakespeare souvenirs, especially Greater Shakespeare, the London Tube map. Examines how the souvenir "transforms the textual into a synthesis of form and content which is in some respects recognizably early modern in its appeal to the viewer or consumer's facility in interpretation, their delight in play, and in its wit."
Examines genre of Shakespeare seminars run by management consultants and those outside the classroom. Suggests that model may be improved by addressing multiple audiences and "making Shakespeare the site for a more pluralistic, interpretative exchange."
"[E]xplores a range of attitudes towards foreign languages and translation in the work of Shakespeare, and seeks to relate these to the present day situation in Britain."
Explores instances of inhumanity in Shakespeare's plays and his insistence on staging these acts. Argues that "the inhuman is inextricably entwined with the human in Shakespeare's imagination, but in ways that reveal how profoundly at odds he was with his era."
Uses history of math studies surrounding the concept of zero (introduced in the 1570s) to discuss Shakespeare's engagement with the concept of "nothing." Argues that modern readers have been "desensitized" to these engagements.
Discusses how Shakespeare utilizes "faces," both in his descriptions of character's countenances and how actors used expression to convey emotions. Highlights that the face is not always an accurate reflection of a person's inner working and argues that Shakespeare exploits this contradiction in his plays.