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In discussing the complexities of teaching literature in the Middle East as a Western woman, includes consideration of the difficulties of teaching Shakespeare to a non-Western culture.
Looking at several prequels and sequels based on Hamlet, reflects on how they deal with its issues and unanswered questions of the play through genres different from dramatic tragedy.
Drawing on Gérard Genette's work on intertextuality, examines Andy Fickman's She's the Man (q.v.) and its intertexts to argue that an uneasy tension exists between Shakespeare and teen film adaption.
Uses George Sidney's Kiss Me Kate (1955), Gil Junger's 10 Things I Hate about You (q.v.), and Franco Zeffirelli's (q.v.) and David Richards' Taming of the Shrew to argue that critics of Shakespeare adaptions underestimate the role played by cinematic genre in shaping the way in which each new film response to Shakespeare is created and received.
Analyzes Stephen Greenblatt and Charles Mee's Cardenio, suggesting that Greenblatt, in taking on a creative project which Shakespeare himself supposedly worked on, creates a medium of exchange between scholarly and creative practices.
Compares and contrasts the ways in which Stephen Greenblatt's Will in the World and Peter Ackroyd's Shakespeare the Biography mix together fact and fiction when outlining events in Shakespeare's life.
Prints an excerpt sample from their fictional The Life and Death of the Brothers Macbeth.
Discusses how his Italian translation of Romeo and Juliet entitled Romeo et Juliet (co-written with Marco Ponti) deals with the original play's subtle shift from comedy to tragedy.
Explores recent German productions of Merchant of Venice (directed by Dieter Dorn, Malte Kreutzfeldt, Michael Blumenthal, Manfred Langner, Nora Somaini, Clemens Bechtel, and Elmar Goerden [all q.v.]) focusing on the work of directors born in the 1960s and thus representatives of a third generation in relation to the period of National Socialism and the Holocaust.
Examines how Yukio Ninagawa's Twelfth Night (q.v.) is successfully "Japanized" into the Kabuki form.