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Argues that "the contrasts between Brutus and Antony" in Julius Caesar represents the split in early modern republican thought between a humanist (Aristotelian and Ciceronian) traditional republican thought and Machiavelli's concept of republican virtú. English summary, 81.

Draws on Shakespeare to consider the "aesthetic, sensory, and bodily impact of blood and dismembered body parts in the early modern playhouse."

Comments on use of "tradaptation" (a portmanteau of translation and adaptation) of Romeo and Juliet by second-year undergraduates at Baskent University in Ankara, Turkey. Suggests that students benefited more from this approach than more traditional content-only based approaches.

"Proposes an original technique for representation and analysis of style" in Shakespeare's First Folio in order to determine possible collaborators. Compares vocabulary phrases among Shakespeare's attributed plays, immediate predecessors and contemporaries (like Chaucer and Milton), and "distant" texts to test the validity of the technique. Russian summary, 107. English summary online.

Examines Hamlet's influence on Chekhov. Suggests that the allusions have multiple purposes and function on both surface and structural levels. Russian and English summaries, 14.

Explores "legal awareness of Ariel and Caliban of their status as Prospero's servants" in Tempest. Argues that both long for legal personhood and that in identifying with his servants in his final speech, Prospero "sanctions their manumission which be actualized by the applause of the audience."

Discusses Erich Fried's translations of Shakespeare for the German stage. Analyzes his translations of Merchant of Venice and Hamlet to explore linguistic, cultural, and practical factors that affect translating. Suggests that Fried's "ability to adapt the Elizabethan theatre for a contemporary audience partially stemmed from his experiences as a child actor."

Interrogates black magic and poetic creation in the Tempest, arguing that Prospero in fact practices black magic and that the narrative of Tempest is lifted from a previously undiscussed state crime known to Shakespeare and his contemporaries.

Explores "the figuration of Hamlet in a poet reading himself and his contemporary culture into, through and out of the play and its hero, and now at a moment of wholly modern political stress" in Zbigniew Herbert's "Elegy of Fortinbras" and C. P. Cavafy's "King Claudius." Suggests that these poems are more than just allegories and engage with a variety of sources including Hamlet, critical writings about Hamlet, and contemporary political situations.

Argues that the language of desire and erotic speeches in John Lyly and Shakespeare's dramatic works "function as modes of action" by "exposing audiences to the inner workings of the desiring mind and body."