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Examines the issues of love and desire as "something divisive and divisible" in Two Noble Kinsmen. Argues that in the play "Shakespeare and [John] Fletcher remind us of love's tendency" of joining people together; and its tendency of dividing people from each other as well as themselves in "quasi-mathematical terms."

Attempts to "reconstruct the medieval and early modern topics of sights of desire." Gives several examples of how Shakespeare depicts the different effects of sighing in Tempest, Romeo and Juliet, and Midsummer Night's Dream.

Argues that the hybridity of literary brown remnants "frustrates order-making systems" in texts, including Antony and Cleopatra. While relating "Mark Antony's description of an Egyptian crocodile" to the image of "Pythagorean transformation with physical excrement," argues that it is the hybrid world in Antony and Cleopatra.

By focusing on "a case study involving the digitization of Shakespeare collections," explores "how communities of practices (CoPs) involved in the supply and use of digital artefacts in the Higher Education sector in the UK."

Considers the paradoxical relation of seeming and hearing. Argues that "the audience are invited to accept a 'truth' that contradicts the evidence of the play" in Shakespearean history plays.

"Explores a stylistic divergence in the deployment of Ovidian motifs in . . . Titus Andronicus and Rape of Lucrece] and argues that it reflects a growing literary division between the poetry of empire and the poetry of transformation."

Analyzes "representations of the maternal" in Gertrude and Ophelia in Hamlet and Hermione in Winter's Tale. Suggests that "the figure of the mother functions as a container for cultural tensions, conflicted beliefs, and turbulent passions" and offers alternative readings of female characters focusing on interpersonal female relationships.

Poem.

In a broader consideration of "'aesthetic illusion,'" argues that "theatrical communication addresses two levels at the same time." By making use of a scene in Othello, shows how Othello generates both external and internal self. Further, relates this issue of play's doubleness to play's own self-conscious aspects. Argues that the structure--play-within-the-play--of Midsummer Night's Dream can be a example of the case of doubleness.

Argues that the islanders' language and silence in Tempest are "the vehicles and expressions of encounters between worlds." Contends that the encountering worlds has "economic and narrative overtones," and they influence on the islanders' identities; specifically, "recognition of the other in the notion of the self."