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Uses Othello (4.3), where Emilia says to Desdemona "The world's a huge thing," as a focal point for encouraging intellectual curiosity and courage over complacency.
Prompted by Francis Coppola's publicized comparison of his film The Godfather III to King Lear, suggests that six early 1990s films of New York fabulists (Coppola, Woody Allen, and Martin Scorsese) echo themes of King Lear, especially in context of the dire financial situation of the 1990s and its "themes of divestment" and "due resolution."
Through examining Shakespeare's use of anachronisms in Titus Andronicus, offers an example of a specific kind of presentism that acknowledges the importance of understanding a text in its historical context while also acknowledging that such historicist attempts are already implicated in the values and suppositions of the moment within which they are created, thus creating an analogy between past and present.
Uses 3 Henry VI and Pericles to argue that recent abandonment, headed in great part by New Textualists, of the New Bibliographical principle of discriminating between early editions of Shakespeare plays is presentist in the worst sense of that term for it vitiates modern critical editions; suggests that modern critical editions should instead retain the plays' power to generate new meanings in the present and future.
Building off of the work of Hannah Arendt on "natality and action," the Italian autonomists on affective labor, and design theory, reads Pericles as a consideration of the capacities of artisanal efforts to generate political speech out of political-theological and biopolitical forms of life.
Considers the ecology, or the relationship between humans and the environment in which they dwell, of Tempest, specifically concentrating on how negative and positive attachments to place are evoked through theatrical performance.
Turning to several of Shakespeare's plays as examples, considers how "green economics" and general ecological and economic approaches could prove useful when studying early modern literature, culture, and society.
Takes a presentist approach to reading Richard II by demonstrating that the political concerns about environmental degradation, especially in regard to land management and forests, which the play might have evoked in its early modern audience should spark similar concerns in contemporary audiences.
Examines how the Nature Theater of Oklahoma Romeo and Juliet (directed by Pavol Liska and Kelly Cooper; q.v.) "de-dramatizes" the play and creates an inquiry into the figuration of Shakespeare as a "literary dramatist" which speaks to American contemporary culture. Updated in Shakespeare Performance Studies (q.v.).
Drawing from the critical theories associated with Theodor Adorno and Walter Benjamin, traces the interactions between the thematic and the aesthetic in Antony and Cleopatra and Winter's Tale in order to argue that a modern sense of aesthetics existed in Shakespeare's time and that this aesthetic should be positively examined by and applied to contemporary critical culture.