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Asks why Wieland chose to translate Tempest (and not other Shakespeare plays or works by other playwrights) at the start of his career. Traces Wieland's choice back to his education in Zurich.
Considers Coriolanus in light of Pericles and those written directly after it (Cymbeline, Winter's Tale, and Tempest), analyzing "the political processes that evolve in the play" and observing "how Shakespeare differs from Plutarch in his characterization of the protagonist." Further discusses "the diverse source materials the playwright may have used in his reconstruction of Rome in Coriolanus."
Considers how well Wieland's translation of Tempest lends itself to the stage (when it was first written (1672) and today.
Suggests that the genre of Troilus and Cressida could be chivalric (satirical) romance which presents "an idealism celebrated or satirized." Argues that the play is a medievalized chivalric (satirical) romance that implies "the heroic values of chivalric romance even as its indicts them."
Shows how Wieland's translations draw on Shakespeare's use of the word humour in his plays. Demonstrates that both Shakespeare and Wieland point audiences to an understanding of character that can be motivated by the four humours.
While employing "Georges Bataille's theory of eroticism and erotic desire," argues that Richard III is a tragic figure who attempts to overcome his physical deformity by using "his sexuality towards Anne to boost his self-esteem" in Act 1 Scene 2. English summary, 88.
Examines "erotic desire and the motif of going on pilgrimage" in Shakespeare's sonnets. Suggests that "Shakespeare reverses the medieval hierarchy of pilgrimage and desire espoused by Chaucer." English summary, 27.
Examines "the issue of nudity and eroticism" in stage, TV, and film Shakespeare productions. Argues that "the Bard goes bawdy" in twentieth and twenty-first century productions in order to help directors "address present-day issues." English summary, 203.
Considers German reception of Shakespeare in the late eighteenth century, with particular attention to the "Geist Shakespears" (Spirit Shakespeare) debate in the periodical Teutschen Merkur and its implications for domestic drama. Suggests that it is not just the ghost of Shakespeare in Wieleand's work that we see, but the ghost of Wieland in Shakespeare's works.
Shows how Christoph Wieland's and Franz Heufeld's eighteenth-century German adaptations of Hamlet ushered in a wave of German appreciation for the play, "which has not subsided to this day."