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Chronicles how Prospero's Books (q.v.) and Shakespeare in Love cinematographically frame desks and "repeatedly draw the gaze back to the site of the desk as the surface to which composition can be materially ascribed." Defines films as "release of the instinctual," tracing the camera's frames, its "seductive montage," and "technological verve," in order to analyze its configuration of "cinematic table as the figurative book in which authorial labor scripts collective textual recollection." Concludes that the early modern table-book in films acts as a way for viewers to "re-member" an author in same way writers utilized table-book to "remember" through writing.

Discusses how "early modern playwrights constantly returned to the morality structure in order to explore a variety of problems and questions related to the ethical status of the individual," demonstrating how "didactic purposes behind these traditions are inherently altered." Focuses on Measure for Measure's "problem play" structure that "aids the restoration of the corrupt city and citizens of Vienna." Contends that Shakespeare repurposed morality play elements "to function within a largely secular realm," moving from exclusively sacred to judicial concerns. Defends Duke's "good intentions" that evoke "penance" from all characters in play, which ultimately produce virtue.

Roundtable discussion with actors from the Utah Shakespeare Festival's 2013 Tempest (dir. B. J. Jones, q.v.). with Henry Woronicz (Prospero), Melinda Parrett (Ariel), Corey Jones (Caliban), Melisa Pereyra (Miranda), and Fred Stone (Alonso), led by Michael Flachmann. Covers wide variety of questions, including relevance of certain plays performed, themes (such as forgiveness), character relationships, Shakespeare's life in his works, actors' physical and vocal choices for specific roles, performance, costumes, outside influences on production, transformation of characters, and challenges in playing certain roles.

Reflects on the transition from religious themes to studies of nobility and court life in Reformation English drama. Describes how the play Sir Thomas More, the works of Boccaccio, and the plays of Shakespeare and his contemporaries created a distinctly Elizabethan form of tragedy. English and Portuguese summaries, 41-42.

Proposes that Shakespeare's King John prompted its audiences to "think of themselves as individuals with the agency necessary to choose nation rather than merely exist as subjects whose nation chose them." Presents the Bastard as a heroic figure whose humor and distance from the play's central action allow the audience to identify with him, thus making his questions about the legitimacy and uses of political power their own.

Discusses how nineteenth-century female critics used Shakespeare's plays to affirm, challenge, or reject Victorian gender norms. Identifies three types of women among Shakespeare's heroines: tragic innocents such as Ophelia in Hamlet; defiant daughters and dutiful wives including Juliet from Romeo and Juliet; and wise and witty women such as Portia in Merchant of Venice.

Arguing that Shakespeare was actively involved in all aspects of the construction of his final plays, "traces the transmission of Shakespeare's final seven plays from the author to audience to print."

Argues that the speaker in Shakespeare's Rape of Lucrece "seeks not public but personal understanding of Lucrece and, consequently, of himself."

Connects the marriage plots of Measure to Measure to early modern legal documents concerning sex and marriage. Argues that both sources "demonstrate the power of narrativity and mediation in the making of early modern unions."

Compares acts of confession in Hamlet and Measure for Measure, emphasizing their religious and legal significance within the plays.