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Considers multiple and global possibilities in Shakespeare's writing as exemplified by Omkara and Maqbool (both q.v.), two Indian films discussed here in their postcolonial contexts.

Discusses Horace Howard Furness's editorial practices and Edwin Booth's influence on Furness. "Demonstrate[s] that Furness's belief that Shakespeare's plays were written for the theatre was the guiding editorial principle of his New Variorum project."

"Explores the theatrical symbolism of Portia in The Merchant of Venice, Cressida in Troilus and Cressida and Cordelia in King Lear." "Argues that Shakespeare's characterization of these three women can be seen to foreground issues of theatrical value and currency." German and English summaries, 11-12.

Contends that W. H. Auden saw the conflicts of humanity reflected in Tempest. Argues that Auden's reworking of Tempest (The Sea and the Mirror, 1958) offers endless interpretive resonances, emphasized by Ariel's final echoing words.

Drawing on cognitive theory, "examines recognition scenes in Cymbeline, and in the late plays more generally, from a modern scientific viewpoint to gain a fresh perspective on the 'creativity, hope and joy' that seem to be such strong forces in the late plays, and in the 'romances' in particular."

Analyzes gift-giving and reciprocity in Timon of Athens. "Interprets the juxtaposition of different moral principles in Timon of Athens as a critical comment on the culture of credit in early modern times." German and English summaries, 21-22.

Compares gold treasure scenes of Timon of Athens to Spenser's Faerie Queene 2.7. Concludes that Timon's "dietary ethic of modesty and thankful acceptance of the nourishment that nature gives to man freely . . . proves to be an inadequate defense against gold, from which Guyon and Timon save themselves only by forbearing existence." German and English summaries, 35-36.

Shows how Tim Crouch's I, Banquo and I, Malvolio (q.v.) monologues present Shakespearean tragedy as a tragedy of stereotypes and expectations.

Explains how Juliet was appropriated and adapted by John Ford in 'Tis Pity She's a Whore and Giovanni Piscatelli in Rosalina.

Describes how Carmelo Bene's Amleto and Federico Tiezzi's Scene di Amleto (both q.v.) use adaptation to theorize the meaning of tragedy both as a form and philosophy.