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Examines "the stylistic and social implications" of Shakespeare's nonstandard uses of the relativizers who and whom, noting how the relativizers differ in usage in prose and poetry and by characters of different genders. Japanese Summary, 1.

In examining how Winter's Tale engages with the rhetorical and hermeneutic possibilities of emotion while still allowing readers to have emotional reactions, explores the possibilities inherent in a pedagogical approach that places emotion at the forefront of critical interpretation.

Presents the techniques of telematics dramaturgy employed by the authors in the live interactive telecommunications installation called All the World's a Screen, named after the line "All the world's a stage" (As You Like It) and adopting the play's idea of the seven ages of man by having seven rooms for the model film set. English summary, 231-32.

Reassesses the significance of the adaption of Hamlet called Hamnet: Shakespeare's Play Adapted for IRC, produced by the Hamnet Players and performed for Internet Relay Chat, so as to move towards creating a clearer historical narrative for the beginning of theatrical performance on the Internet. English summary, 247.

Compares Shakespeare's plays with Charles Dickens's novels using keyword density analysis in order to provide a means of better visualizing the story patterns of novels and to verify quantitatively that a complex narrative can be simultaneously visualized with multiple themes. English summary, 247.

Arguing that early modern adaption studies should move away from constantly using film adaptions of Shakespeare as a model, offers alternative approaches involving adaption theory and digital humanities. English summary, 677.

Suggests that Shakespeare's personal faith can be determined through reading his plays and noting the changes he made to his sources and the projections he makes in representing Greek and Roman themes, ultimately arguing that the sympathy and emphasis he places on Catholicism imply that he was perhaps a Catholic.

Explores the concept of tragedy in King Lear in terms of the blurred border between human and animal in order to demonstrate that "nothingness" in the play resides in an expression of productive negativity accessed through the imitation of the animal voice which releases a forceful negativity.

Studies Zen Zen Zo's Tempest, noting how it provides a site for negotiating such challenges as postcolonialism that still remain relevant in an Australian context.

Suggests that Shakespeare, when he wrote the French scenes of Henry V, was thinking of the French of England rather than the Continental variety recorded in language manuals and thus uses Katharine as a means to chronicle the end of the process that took the French language from authority to disempowerment.