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Reads Titus Andronicus through a Darwinian lens, analyzing the conflict between Titus's "pursuit of personal honor and his expression of paternal love" and arguing that "the disposition and motive of Titus reveal[s] human beings' cognitive activity, paternal love and survival in Joseph Carroll's diagram of human nature." In Chinese; Chinese and English summaries, 88.

Traces the history of interest in Shakespearean phonology, or 'original pronunciation' (OP), from the mid-nineteenth century to the present. Discusses "dramaturgical and scholarly criticisms" and affirms the practice of phonological reconstruction. English summary, 5.

Analyzes "the construction of space and perspective as ways of reflecting textual idea and movement" in the images of eighteenth-century artists including François Boitard, Hubert Gravelot, Francis Hayman, and some associated with John Bell's edition. Includes discussion of "notions of perspective, viewpoint, the acting areas of locus and platea and the reader's experience of these in relation to the play." English summary, 149.

Looks to medieval treatments of Cressida for the source of Shakespeare's portrayal of her in Troilus and Cressida, arguing that in the play "Shakespeare continues an important late medieval poetic tradition, which highlights the problematic consequences of virtue's performativity for idealized women in premodern England."

Examines both early modern and modern musical adaptations of Sonnets, discussing whether a musical version "can still be considered poetic in the conventional form, or whether it has to be assessed from the viewpoint of a different and fresh aesthetic, more from the perspective of adaptation praxis." Also discusses "what constitutes this notion of musicality inherent in Shakespeare's sonnets," and argues that "articulation, accentuation, phrasing and other aspects of prosody in the adaptation and consequently the sung delivery, significantly affect the interpretation and reception of the sonnet when transformed to the new medium." English summary, 220.

Examines courtly space and social mobility in Hamlet and early modern society, focusing on the malleability of social space as well as stage portrayals of social identity and mobility which are "unrestricted precisely because of this open court setting." Argues that Hamlet's status as a revenge tragedy makes it particularly helpful for the study of early modern social mobility, as "the stage revenger was the most viable type of drama for the representation of social mobility at court for a number of key reasons." English summary, 204.

Contrasts formalist and historicist approaches to Shakespeare, promoting a neo-formalism or new aestheticism which focuses on space and style in the text.

"Explores the peculiarly claustrophilic nature of Shakespeare's Sonnets, the claustrophobic response they provoke in the reader, and how space is opened up around and within the Sonnets by modern writers, specifically Anthony Burgess in Nothing Like the Sun (1964) and William Boyd in the screenplay, A Waste of Shame (2005)." English summary, 187.

Discusses Shylock's notable absence from Sigmund Freud's writings, arguing that Freud omits Shylock, "Shakespeare's Jew," because he "brings into too close a proximity a number of elements with which Freud was preoccupied . . . when he was writing 'The Theme of the Three Caskets'--the place we might most obviously have expected some mention of Shylock." Argues further that Shylock's omission "might be attributed to Freud's reluctance to limit his understanding of otherness to a particular cultural other, so that one could equally claim that the omission is strategic, an attempt to get beyond the particularities of religious, racial, or ethnic difference" usually associated with Shylock.

Discusses the use of "the new visual aesthetic of painted scenery" in Restoration adaptations of Tempest, arguing that "the idealized 'absent' place of performance provides one way of thinking about the theatrical representation of place as 'not a place,' an idealized artifice that 'colonizes' theatrical space by imposing order on it." Argues alternatively that "the play enables through the experience of its performance a critique of the subordination of place to colonial discourse, no less through its utopianism."