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Explores the results of a project centered on Tempest which exposed four- and five-year-old children to Shakespeare and recorded their language development during that time. Presents "a theoretical explanation as to why these very young children were able to engage so readily with this project and why it had such an immediate and noticeable effect on their language use."

In demonstrating Jane Austen's "career-long preoccupation with the nature and practice of reading, and her attempts to train an ideally critical reader," examines her references to and readings of Midsummer Night's Dream and Twelfth Night in Emma.

Presents an analysis of "British reception of intercultural Shakespeare performances over the past decade" which "showcases the dilemma and fantastic character of global Shakespeares on tour . . . and the opportunity . . . to use touring performances to interrogate Asian and Shakespearean idioms as cultural signifiers in theatre historiography."

Discusses how Terry Pratchett's novels Wyrd Sisters (1988) and Lords and Ladies (1992) operate as adaptations of Shakespeare's plays which address bardolatry, sustained in Discworld through elvish glamor. Argues that "where literary critics of the last thirty years have used historicist, psychoanalytic, and deconstructive means of contesting Bardolatrous readings, Pratchett uses fantasy, not just to re-contextualize Shakespeare, but also to think about the connections between magic, language, and power, and how these elements come together in writing."

Approaches Merry Wives of Windsor as an outlier among Shakespeare's plays by focusing on how it differs from his other works. Reprinted in Shakespeare, ed. Stig Abell (London: The Times Literary Supplement Limited, 2016), 18-21, q.v.

Explores collaboration among twenty-nine professional playwrights (including Shakespeare) working in London between 1580 and 1625. Dismisses the "solitary genius" model prescribed to Shakespeare, and instead examines his plays as the result of community production.

Uses Shakespeare to argue that "the idea of a stable and continuous personhood, in actuality as well as in the dramatic text, was as little evident in the sixteenth century and before as it is today, and that the concept of style, especially as revealed in the soliloquy, is fundamental to this assertion."

Discusses Macbeth's reputation for terror, including the history of superstitions surrounding it, and argues that the play "confirms Renaissance playgoing as a dangerous endeavor that conjured contagiously sickening passions in spectators by employing their knowledge of fear as bodily disease."

Discusses Iago's refusal to reveal the motive for his deeds at the end of Othello, focusing on the "unfitness and inappropriateness of Iago's last words," which would have been expected by an early modern audience of a revenge tragedy. Attempts "by joining an awareness of the semantic and epistemic pressures being placed on the concept of 'confession' in this period with attention to the lived, bodily experience of hearing and speaking . . . to uncover what it might have felt like to have heard Iago's silence."

"Examines religious discourse in order to consider scenes of reading and watching in comedy" and, in Twelfth Night, "contextualizes Malvolio's responses to Maria's letter and Feste's feigned show within early modern ideas about the role of the senses in mental apprehension, arguing that Malvolio's first audiences would have responded not only with laughter but also with pity and even admiration."