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Examines Fernando Pessoa's biographical reading of Shakespeare's sexuality in Sonnets and his encounter with Freudian psychoanalysis.
Draws on his own Italian-language translations of Shakespeare in arguing that speakability and performability are central issues in translating dramatic language.
Focusing on Hamlet's encounter with the Ghost in 3.2, uses the German-language translations by Christoph M. Wieland and Franz Heufeld and Friedrich Ludwig Schröder to illustrate the transformation Hamlet underwent in adaptations for the eighteenth-century German stage.
Argues that the hybridization of Shakespearean and kabuki elements in Yukio Ninagawa's Twelfth Night (q.v.) prompts a new interest in the relationship of textual adaptation and performance.
Explores the centrality of religion in Shakespeare's construction of the past, in how we imagine Shakespeare's past, and in how we construct the past.
Suggests that Bianca in Othello is a North African who highlights economies of race and gender in reevaluating the multicultural setting of the play.
Draws on Twelfth Night, Antony and Cleopatra, and especially Hamlet in surveying the shift in the literary representation of the ritual of drinking to another's health.
Reads Taming of the Shrew as a dramatization of "a reparatory fantasy of a poet's struggle for control of his dark mistress" in Sonnets, arguing that Petruchio is a hyperbolically masculine version of the Poet of the Sonnets.
Investigates the historical meaning of the Chinese notion of lyricism in cross-cultural "Shake-xiqu," a Chinese opera adaptation of Shakespeare. In Chinese; English summary, 164.
Examines the text of the First Quarto of Henry V to identify abridgments and to compare it to other chronicle abridgments, pamphlets, and history plays in order to argue that the Quarto and other history plays by Shakespeare and his contemporaries share qualities with popular British histories that circulated in the sixteenth- and seventeenth-century London book market.