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Examines Romeo + Juliet, Shakespeare in Love, and 10 Things I Hate About You (all q.v.) "according to their individual content and context, as cinematic products, which are understood in relation to Shakespeare and also many other cultural frameworks." Contends that "cinematic interpretations can transform the cultural currency of Shakespeare, reducing the distance between young people and the text by using familiar modes of address, but also point to tensions stemming from a disjunction of conventional evaluative criteria and the diverse ways in which Shakespeare now functions in mass culture."

"Traces . . . Shakespeare's uses of choruses and characters that provide an intra-play semi-choric function" in Henry VIII to demonstrate "that these devices are a commonplace feature of Shakespeare's late plays" and to show "how in Henry VIII they serve particularly to alert playgoers to equivocal interpretations of the evident ambiguities in the historical narrative."

Examines Shakespeare's Theseus. "Shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries."

Studies the "representation, performance, and reception of Shakespeare's aging women" in Merry Wives of Windsor, Macbeth, Winter's Tale, Coriolanus, King John, All's Well That Ends Well, Antony and Cleopatra, Hamlet, and Richard III. "Finds the old and ageing women. . . to be represented as physically and verbally excessive. . . also identifies a corresponding urge in their reception towards the ageing woman's containment and control."

Contends that Jayaraj Rajasekharan Nair's movie Kaliyattam, an adaptation of Othello, raises the idea of polymorphism in relation to its "construction of the 'othered' subaltern. Compares the discussion of the 'Other' in the original play with the movie's criticism of the caste system in India."

Contends that Barry Unsworth's Sacred Hunger is inspired by Tempest and John Dryden and Sir William Davenant's The Tempest, or the Enchanted Island. Explores how the ideas/uses of theatricality are represented in the novel; and how they are connected to the Unsworth's theme.

Analyzes plot structures of As You Like It, King Lear, and Hamlet "to interpret some of these spaces as functional heterotopias in which oppositions normally regulating the given world do (for a certain time, at least) not apply." Suggests that "heterotopias can be seen as spatio-temporal slots of 'atoning,' 'restoring' and 'setting the world right' again, but demonstrates that their restitutive force fades with time. English summary, 65.

In exploring "the multiple meanings of lateness in relation to The Two Noble Kinsmen--in terms of collaboration, as a form of tragi-comedy, and as a topical play"--"challenges the traditional perception of the collaborative nature of Shakespeare and [John] Fletcher's three works at the end of this period," noting the "closeness of the collaborations."

Discusses "specificities of insults and the insulting mechanisms" in Merchant of Venice. Engages Évelyne Larguèche's "effet injure," Judith Butler's "hate speech" and Denise Riley's "impersonal passion." Focuses on repetition of word "dog" and analyzes word "rate," arguing "that insults are inscribed in a world of negotiation and exchange that has a lot in common with the world of commerce." Concludes that the word "Jew," in its "incongruous use," functions as comedy, but that insult remains at its core. English summary, 82.

Examines "appearance of books and illuminated manuscripts being written/produced in the closing sequences of two adaptations of Shakespeare's The Tempest--Julie Taymor's Tempest (2010) and Peter Greenaway's Prospero's Books (1991)" (both q.v.). Analyzes their focus on "process of writing medieval and early modern books, in relation to two developments in the history of the cinematic paratext: first, opening and end sequences that show the credits printed on turning pages of a book; and, second, the increasing expansion and development of end credit sequences since 1980." Addresses two major questions: "why cinema turns to textual media for the paratext and why books remain, in the age of digital cinema as much as of celluloid cinema, ideal filmic multimedia referents--and particularly in animated feature films."