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Focusing on female characters in the histories, suggests that bringing alternative and feminine voices into the traditional historical narratives challenges the source texts.
Draws on Shakespeare in arguing that early modern plays and theater architecture were "designed with an eye towards audience surveillance and control."
Draws on Henry V and Antony and Cleopatra to argue for the centrality of metatheater while highlighting its influence not only on the stage-audience relationship but also on the material conditions under which early modern drama was created and functioned.
Utilizing "the qualitative research methodology of hermeneutics," explores leadership failure in Julius Caesar, Macbeth, Hamlet, and King Lear. Identifies four areas of insight into the nature of leadership failure in the plays, arguing for a close alignment between the areas and the current literature on leadership failure.
Uses the First Quarto and First Folio texts of King Lear to explore how Shakespearean editing in the late twentieth century led to the reintegration of textual and literary criticism as represented by the 1986 edition of the Oxford Shakespeare, edited by Stanley Wells and Gary Taylor (q.v.).
Draws on recent critical editions of Hamlet to discuss how to interpret modern editorial interfaces and apparatuses. Concludes with a brief consideration of engaging with electronic editions of the play.
In exploring metaphors of shadow and substance as applied to diplomats and diplomacy in 1, 2, and 3 Henry VI and Hamlet, argues that Shakespeare exposes diplomatic representation as a form of authorship and the diplomat as author of his sovereign.
Argues that in the comedies, Shakespeare stages multiple gazes "that lay bare blazons as male fantasies and, as such, open up a differential space that challenges male thinking on femininity." Concludes that by opening itself to the beloved's gaze, the blazon clears "a mental space for the possibility of registering the irreducible difference of the feminine thought, which patriarchal thinking cannot grasp.'
Examines how Winter's Tale demonstrates the patriarchal implications of the blazon, while at the same time it creates a space in which female ownership of the body is displayed and praised. Concludes that the play explores the possible uses of the blazon outside patriarchy by using female ghostliness.
Argues that the use of the blazon in Two Gentlemen of Verona "provides a multilayered gloss on the tradition of Petrarchan romance while demonstrating that the theater--by using cross-dressed boy actors to play womens roles--provides important opportunities for alternative forms of agency on the margins of that tradition."