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Recounts the experience of directing an English and German production of Der Bestrafte Brudermord to demonstrate that differences between Hamlet and the adaptation "are the result not of inept translation, faulty memory, or scribal error but, rather, of purposeful adaptation by the English Comedians."

Discusses parental grief in Shakespeare's plays in considering his portrayal of children in four categories: "infants, pages and serving boys, sons and heirs to a noble or royal family, and innocent victims, dying young." English summary, 103.

Considers the intertextual relationship of Akira Kurosawa's Ran to King Lear in exploring the ways that the film's "depictions of violence and revenge implicate both Western and Japanese traditions concurrently to make a powerful statement about the construction and shattering of national identity and the logic of mutually assured destruction."

Discussing students' acceptance or rejection of the method of close reading in their approach to Merchant of Venice, argues that "the opposition between the merits of cultural and liquid capital that circulate in the students' discussions of the play ... betoken a wider contest over whether 'value' inheres more deeply in subtle and undeliminated meanings, or in what is quantifiable and immediately transparent." English summary, 127.

Consider the intertextual relationship of John Marston's The Malcontent to Hamlet.

Interview with Claude Yersin, Alain Libolt, Christian Cloarec about Yersin's Measure for Measure (q.v.). French summary.

Explores "psychoanalysis' precedents in Greek drama and philosophy and Shakespeare's foreshadowing of psychoanalytic themes and motivations," "details the special types of listening required by the successful psychoanalyst," and "discusses historical debates as to who is analyzable, the difference betwen interpretation and reconstruction, the moment of psychoanalysis' birth, and the importance of the Oedipus complex." English summary, 261.

Analyzes the theology of 1 and 2 Henry IV, arguing that Falstaff's jests "allude not simply to Christian soteriology in general, but specifically to issues raised by the Protestant Reformers" and that "the Henriad sympathetically represents the human experience of a comforting belief system withering under a successful assault."

Draws on Shakespeare to argue that "for authors worried about the ethical ramifications of poetry as invention, repeated figuration of women writing offered an opportunity to justify their own literary production."

Argues that "Shakespeare's stage-practice may have been influenced by several texts on rhetoric that would have been accessible in the sixteenth and seventeenth centuries in England, and which consider the implications, philosophical and practical, contained in the construction and reception of openings in oratory."