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Argues that Measure for Measure "presents two competing models of husbandry, both of which depart from the more balanced ethos of husbandry tracts: a joyless economy and a pleasurable economy"; "the former supports the designs of the state while the latter challenges the norms for a well-managed, Christian household in its pursuit of pleasure."

Discusses the representation of women's sorrow found in Twelfth Night and Mary Wroth's Urania "in the light of similar representations in [Barnabe] Riche's and [Jorge de] Montemayor's romances," Farewell to Military Profession and Diana, respectively. "Examine[s] the significance of the resolutions of women's sorrows depicted in Mary Wroth's Urania in terms of both gender and theatrical convention in Renaissance England, contrasting it with the problematic endings of the same in Shakespere's comic work."

Argues that Comedy of Errors is not a neoclassical homage but rather a reconstitution of Plautus which, through references to Paul's missionary work in Acts and the Epistle to the Ephesians, becomes "a comic drama whose heart and inspiration arise from the Gospel message of salvation by a grace-inspired charity, effecting the reconstitution of a fragmented community meant to resemble England in the early-to-middle 1590's."

Demonstrates that in Tempest "Prospero's reason seizes upon a spiritual, Judeo-Christian prompting to break an impasse between hatred and love so as to realize his human worth in a tradition stretching back as far as Aquinas."

"Counter[s] the narrow post-colonial conceptualisation of the counter-discourse by taking a closer look at Othello-rewritings, with a special focus on African Murray Carlin's play Not Now, Sweet Desdemona," in order to propose "a new approach to Shakespeare rewritings, one that considers the pretexts' polyvalence and one that exchanges notions of counter-discursivity with notions of textual and cultural reciprocity." Abstracted by Grace Tiffany, Shakespeare Newsletter 63, no. 1: 23.

Poem.

Describes the associations that an early modern audience would make with a joint-stool, arguing that these stools "are frequently utilized as props that are directly connected with such wives as Lady Macbeth who have close associations with witchcraft and murder."

Draws from C. K. Jung's theories of the archetype to discuss Ophelia's presence in contemporary pop culture, specifically the adaptation of Ophelia by Jake Heggie in Songs and Sonnets to Ophelia.

Provides a reading of Lady Macbeth and Elizabeth I which "posits a relationship between early modern fears of the aged female body as witch-like and the cult of Elizabeth." Argues that Lady Macbeth is portrayed as willfully post-menopausal in Macbeth "in order to achieve the masculine virility that characterizes the witches," supporting this argument with medical treatises and witchcraft tracts which reveal an early modern unease toward the post-menopausal female body. Demonstrates that Shakespeare, by using Lady Macbeth as a representation for Elizabeth, "recasts the queen's spinsterhood as a national motherhood with perverse undertones of witchery" and "prepares the throne for the ascension of James I."

Uses Prospero's attempt to rewrite the memories of Alonso, Sebastian, and Antonio in Tempest to "discuss how this forcible theatric remembering draws strikingly on early modern magical theory to highlight the ways that Prospero's magic dramatizes early modern claims of the magical roles of memory and image."