138,701 entries in:
Examines gender and knowledge in Cymbeline. Argues that "the tokens for establishing identity function differently for Imogen and her brothers, suggesting that feminine chastity is more difficult to interpret than masculine nobility."
Examines Lucio's language and its connection to criticism of a monarch in Measure for Measure to argue that Lucio "does recognize the Duke through his disguise as Friar Lodowick, and that he perceives the Duke's 'trick' from the very beginning of the play. Lucio's frankness of speech . . . is the outward and discursive counterpart to the 'mad fantastical trick' of the Duke's hidden plan and subsequent disguise."
Considers Hamlet in light of Speech Act Theory. English and Russian summaries, 7.
Considers space, place, and the rhetoric of tragedy to argue that Paola De' Cavero and Shakespeare offer a sensory and multidimensional experience that challenges simple one-to-one signifier-signified dyads.
Considers "transtextual" and "metatextual" connections between Hamlet and Robert Bloch's Psycho. Contends that Hamlet is "a possible 'hypotext' for Psycho." See also part two (q.v.).
Argues that Robert Bloch's Psycho is "adult assimilation of Shakespeare's play" and Hamlet might be part of Bloch's "mental literary scenario." See also part one (q.v.).
Examines poetic artifice in Venus and Adonis, showing how the poem's structure deliberately delays the narrative. Suggests that this poetic pace matches with Venus's perspective of waiting for Adonis and denial of his death and "upend the usual hierarchical relationship between discourse and story." Translated into Danish (by Rolf Reitan) as "Det Unaturlige i Fortaellende Poesi: To Radikale Eksempler" K&K: Kultur og Klasse 112, no. 11 (2012): 71-92, http://ojs.statsbiblioteket.dk/index.php/kok/article/view/15745/13632.
Examines use of "terminal aposiopesis" in Sonnet 126 with particular attention on the two "missing" lines. Argues that the sonnet's "absolute irresolution . . . create[s] an ontological a-temporality which guarantees [its] historical transcendence by situating [it] outside of history."
Explores suicide in literature (particularly Shakespeare) as an extreme method of expressing a main character's frustration and despair, as a tool for solving a variety of conflicts, and as an indication of resistance against irregularities and corruption in society.
Explores apocalyptic vision in Peter Brook's and Akira Kurosawa's film adaptations of King Lear (both q.v.). Contends that "both film-makers are audacious in their appropriation of Shakespeare to represent their own views, in effect making the claim that speaks for their personal view--a view which . . . addresses both the challenges and the possibilities of the culture that each . . . is a product of, producing a vision of both a specific apocalypse and a large possibility for positive social growth."