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Discusses King Lear's and Gloucester's suffering, which "evokes early modern pictorial representations of martyrs and the crucified Christ," and argues that the two are not martyrs, but that "their agony and death should be seen as a consequence of their own decisions." Contends that because King Lear's and Gloucester's pain so markedly resembles that of Christ, "the difference which Shakespeare's King Lear marks in the history of thought appears all the more clearly: the tragedy presents 'a world without God.'" English summary, 175. Also published in Akzente 59, no. 4 (2012). Republished in Zwischen Koran und Kafka (q.v.).

Analyzes Duke Ellington's "Sonnet to Hank Cinq" as a musical Shakespearean sonnet. "Attempts to support Ellington's claim that his music parallels an elaborate musical realization of Shakespearean sonnet form, but unfolds its very own objectives: it stages a witty, punning play with the musical element of the 'fifth' that intertextually links African-American musical tradition and Shakespeare." Concludes that Ellington thus "questions the boundaries between white (European) hegemonic high culture and African-American musical traditions." English summary, 194.

"Discusses Shakespeare's representations of resurrection in Romeo and Juliet in terms of how his characters interact with sacred spaces and the landscape itself, such as the graveyard, the crypt, and the church." Examines the conflict between Catholicism and Protestantism as well as "Shakespeare's own seeming skepticism regarding the act of resurrection itself," "focus[ing] on Friar Lawrence specifically and argu[ing] that because he employs Catholic ideals, beliefs and characteristics that relate to early modern concepts of magic and witchcraft, and because he interacts with the landscape in culturally taboo ways, he contributes to the lovers' downfall and shares Satan's sin of pride" so that "resurrection [. . .] becomes the vehicle through which Shakespeare's characters seal their doom." English and French summaries, ix.

Analyzes Shakespeare's "portrayal of the union of the phoenix and the turtle in relation to the conventions of visionary devotional poetry" in Phoenix and Turtle, arguing that "the key to such a reading is found partly in the poet's practice of 'architectural' and even 'theatrical' mode of composition and in his use of bird imagery." Demonstrates that "a topomorphical analysis of the interconnectedness of the poem's three parts and its distribution of metaphors reveals a carefully designed devotional poem mainly based on three sources: Barthélemy Aneau's emblem "Matrimonii typus" (1552), Giordano Bruno's phoenix emblems in De gl'eroici furori (1585), and consistent allusions to the Latin Death Mass." English and French summaries, x.

Uses secondary school pupils' visual adaptation of Macbeth in order to discuss "the processes through which [visual] products are assembled, thereby investigating visual grammar in practice." "Focuses on situations in which pupils explicitly discuss and negotiate the placement of speech bubbles, thereby revealing aspects of the 'meaning-effects' of such placements." English summary, 127.

Examines Johann Joachim Eschenburg's German-language translation of Sonnets.

Uses Johann Joachim Eschenburg's German-language translation of Richard III to analyze his translation theory and practices.

Studies Johann Joachim Eschenburg's role in the debate over William Henry Ireland's Shakespeare forgeries.

Studies Johann Joachim Eschenburg's response to Voltaire's criticism of Shakespeare.

Finds evidence in Henry Chettle's Kind Heart's Dream that Shakespeare was an aristocrat.