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Draws on Shakespeare to examine the "roaring boy" character type in early modern drama, arguing that "the roaring boy marks the convergence of several definitions of masculinity in early modern England, revealing its categorical incoherence." Briefly mentions that Laertes and Tybalt "present the spectacle of young, headstrong masculinity carried to a tragic extreme."

Discusses cultural knowledge of Shakespeare. Alphabetically lists key terms, characters, historical dates, and actors associated with Shakespeare that "culturally literate English people need to know."

Summarizes history of Buzz Goodbody, an English Theatre director, and The Other Place, the first theater of the Royal Shakespeare Company. Maintains that Royal Shakespeare Company should not forget the ethos of Buzz Goodbody and The Other Place, which is a "pure and uncorrupted" way of staging Shakespeare.

By connecting T. S. Eliot's political engagement to his ideas about Shakespeare's tragedies, examines the political context in Eliot's Coriolan.

Relates Shakespeare's Richard II to the fifteenth-century "bonfire of the vanities." Suggests that the play tries to "purge its dramatic world of the vain pleasure." Contends that criticism of Renaissance literature should related to both pleasure and utility.

Analyzes translation of puns from Hamlet and Othello into Spanish and Galician. Maintains that translators translate puns according to their relevance to the source text in terms of content as well as "the effect produced by the pun." English and French summaries, 279.

Discusses the ways in which the anticipation of the future and the desire to be transported beyond the present are manifest in Shakespeare's plays.

By analyzing the "structural dialogue" between speaker and listener, tracks a "sentiment network" among characters in Shakespeare's plays. By analyzing the "flow of sentiment," maintains that it is possible to "detect a given character's enemies and allies, and model the overall emotional development of a play. English summary, 758. Also described in "Character-to-Character Sentiment Analysis in Shakespeare's Plays" (q.v.).

Introduces "an automatic method for analyzing sentiment dynamics between characters" in Romeo and Juliet, Hamlet, and Taming of the Shrew. Suggests that by performing sentiment analysis (SA), scholars may "generate lists of a character's enemies and allies as well as pinpoint scenes critical to a character's emotional development." English summary, 479. Also described in "Extracting Sentiment Networks From Shakespeare's Plays" (q.v.).

Uses Hamlet to examine "immersive literary catharsis that result[s] from broadly similar psychological and philosophical currents." Concludes that Hamlet's incompleteness results in the audience "yearning for something beyond catharsis."