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Uses Aristotle's Physics to examine Time (both concept and chorus) in Winter's Tale. Argues that "Shakespeare's Time is not a hoary allegorical personification lifted from an illustrated page but a profound philosophical meditation, made specifically for the stage, about how the reality of time differs from the phenomenological appearance of its passing."

Uses examples from Hamlet, Twelfth Night, Romeo and Juliet, and Cymbeline to explore "eventuality" of events that evoke sensation in the audience. Argues that "our capacity for 'inner touch' can also explain how . . . eventuality, offers us the basic pleasure of sensing that we exist . . . the means by which it locates us a social beings in and of the theatre's sensory world."

Explores Merchant of Venice's response to "philosophical dramaturgy" in the form of the duel in Hobbes's Leviathan and Hegel's Phenomenology of Spirit. Asserts that, "Rather than imagine that there is an elemental dramatic 'structure' . . . , Shakespeare shows how we invariably begin to act . . . from within a specific human-historical setting, with all its attendant baggage and precise conundrums."

Uses examples from Macbeth, King Lear, Midsummer Night's Dream, As You Like It Merchant of Venice, and Winter's Tale, to explore the connections between early modern hospitality and theatricality. Suggests that the protective and negative sides of hospitality converge in theater to "enact personhood" and reveal "Man's inescapable enmeshment within a larger ecology of organic and non-organic agents."

Uses examples from Twelfth Night, As You Like It, Measure for Measure, Cymbeline, Midsummer Night's Dream, and Hamlet to explore theater's engagement with the foreign. Contends that "[p]laying the foreign makes it possible to stage and even perhaps to recognize the foreign within the self . . . in so doing, the theatre opened the world within and outside the plays to culturally excluded emotions, political possibilities, and arenas for action."

"Outlines the long genealogy of quotidian theatricality embedded in the idea of honestas" and examines its presence in Othello. Argues that Othello, "in dissecting the many and conflicting meanings of honesty . . . dramatizes the profound social dangers of an accomplished 'Theatrical personality' that could manipulate conservations and interactions at will."

Traces American reception of Othello as different manifestations of "other." Focuses on Melissa Hillman's 2005 production of Othello (q.v.), which cast the protagonist as a black lesbian to show that "for twenty-first century American audiences, the social fear of miscegenation shifts to a fear of lesbian infertility."

By juxtaposing "the ekphrastic description of the sleeping woman portrayed as a mental rape in both Othello and Cymbeline and the narrator's description of the sleeping woman and the actual ravishing in the Rape of Lucrece" with Italian Renaissance art, examines the "figurative intertextuality" between play and painting. English summary online.

By examining Hamlet in the context of "Renaissance Neoplatonism and occultism," argues that the play is the epistemological and allegorical tragedy of the fragmented Renaissance mind. English summary, 145.

Examines references to Shakespeare in European court cases. Concludes that European judges may use Shakespeare "to clarify a factual or legal issue or merely add a personal comment." English and French summaries online.