138,701 entries in:
Uses Shakespeare as refracted through the third edition of the Oxford English Dictionary in investigating the place of language contact and neologism. English summary, 17.
Explores Hilmar Höckner and Walter Leigh's collaboration on Midsummer Night's Dream in the context of current controversies in music historiography over "Nazi music." English summary, 322-23.
In reviewing the stage history of Richard III, defends cut versions of the play (such as Colley Cibber's, John Barrymore's, and John Barton's adaptations) that maintain the essential theatrical value of the play better than stagings of the full text.
Draws on Merchant of Venice, Tempest, and Othello in exploring Shylock, Caliban, and Othello as marginal characters who are victims of demonizing Others for the benefit of the state and commercial needs. English summary, 17.
Examines the representations of the physical, sexualized body of Shakespeare in the first two volumes of Conor McCreery and Anthony Del Col's graphic novel Kill Shakespeare. Argues that the North American popular culture appropriation of Shakespeare attests to the authors' authenticity and offers a type of authorial protection.
Introduces ways of using musical burlesques of Shakespeare in the classroom (with a few examples of tunes, songs, assignments, and activities).
In examining the moralizing discourse involving gold in Merchant of Venice, finds that the proverb "all that glisters is not gold" resonates with historical cautionary lessons during the early modern age of exploration (represented by narratives of Martin Frobisher's voyages). English summary, 250.
In insisting the evocation of laughter is one type of baffling and boundary shifting response to tragic representation, uses Shakespeare to assess the ambivalent tone of tragic drama.
In exploring the representation of demonism, ventriloquism, and Venetian skepticism in Othello, argues that the play stages the vulnerability of the English state's secularization to supernatural harm.
"Argue[s] that Enobarbus's demise aligns symbolically with Cleopatra's as an instance of an easy death, and moreover a death that . . . enables the character to avoid the full weight of the catastrophe that conventionally occurs at the end of a tragic drama." Concludes that "Shakespeare's treatment of Enobarbus and Cleopatra offers interesting resonances with other late plays that have tragic elements but fit uneasily into any single genre. English summary, 562.