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"Discusses the narrative, cultural and historical energies of Roland Emmerich's 2011 film Anonymous [q.v.] and lays out how it works towards (and in hindsight missed) its anti-Shakespearian goal."
Discusses "the different kinds of antagonism which clash at the heart of the Shakespeare authorship question and its infiltration into at least two universities," illustrating the author's account "by close reference to The Shakespeare Birthplace Trust's Shakespeare Authorship Campaign."
Argues that although the protagonist of Macbeth is a murderous tyrant, the play insistently makes readers and spectators aware of his intense suffering, which he himself identifies with his rejection of grace. Concludes that, therefore, the play's tragic nature is inseparable from its imaginative evocation of compassion on an explicitly Christian model.
Poem.
Examines the characterization of revenge as "boundless, superhuman, and supernatural" by analyzing "the evolution of the archetypical period revenge text," starting with Hamlet and ending with the modern superhero.
Studies the idealized portrayal of human behavior and passions in eighteenth-century acting manuals that rely heavily on examples from Shakespeare (especially Hamlet's advice to the Players), arguing that "manuals dealing with Shakespearean stage practice were, as arbiters of taste, vigorous advocates of a kind of superhumanity which only shows the most decorous parts of humanity onstage."
"Explore[s] the role of soothsayers . . . in both ancient Rome and Elizabethan England, and . . . focus[es] on how the dismissing and deriding of them as fools rather than respecting them as superhumans exposes the vulnerability of humanity, as represented by the weak qualities of Caesar and Charmian, respectively."
"Examine[s] the feminine superhuman force, locating its negation through masculine spheres of discourse and action" and "argue[s] that throughout Macbeth and Henry VI Part I there is never a truly autonomous feminine power and that females that are, or become, superhuman, are abhorrent within the context of the play."
Presents findings and recommendations from a study that used Bernard Beckerman and Maxine Green's theories to investigate how performing Shakespeare in a high school classroom setting is perceived by theater artists, university professors, and high school teachers and students.
Explores how Shakespeare deflates the early modern "super-masculine" through poetry, arguing that "through imaginative ekphrasis in Venis and Adonis, Shakespeare seems able to transgress the homosocial completely."