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Argues that the only way that postcolonial adaptions of Shakespeare plays can contest Shakespeare's canonical status is through intralingual or intersemiotic translation, thus adapting the play into another form so that the "intrusive narratorial voice" can step into the text to replace Shakespeare's and thus contest his status.

Contends that Michael Boyd's conception of history was providential and that his productions staged the conflict between the political pragmatism of Shakespeare's history cycles and the more medieval spiritualism of his earlier plays, using the ghosts of Richard III to represent Nicholas Grene's idea of "Machiavellian Providentialism."

Draws on Cymbeline to show how early modern English literature contradicts the "myth of the island nation," an official nationalist program promoted during the reigns of James I and Elizabeth I.

Examines artist Édouard Lekston's visual engagements with Shakespeare's plays.

Considers the difficulties involving costume which directors of film adaptations of Shakespeare face, arguing that they cannot use period costumes and hope to effectively involve modern audiences who understand very different visual semiotics.

Using Cathy Marston's ballet adaption of Romeo and Juliet--Bern:Ballett's Julia und Romeo--as its focus, examines the progression by which early modern drama becomes movement and asks what distinguishes the linguistic content of the play form from the kinetic concept of the dance.

Surveys English nationalism at the time of King James's accession to analyze how in King Lear Shakespeare, as James's English subject, negotiates politically between the absolutist claim of the Scottish monarch and his own allegiance to English territory through what Hans Kohn calls "national messianism." English summary, 685.

Drawing on Shakespeare, argues that early modern tragedians present a theory of dramaturgy wherein the mind becomes the body's instrument, generated through a pre-linguistic mode of communication, in order to cause a sense of wonder and bafflement in the audiencer, which, in turn, arouses tragic pleasure. English summary, 668.

Suggests that the connection of Viola to Twelfth Night and of The Princess of France to Love's Labor's Lost may help Matias Piñeiro's wry chamber piece films reach a wider audience beyond Argentinia.

By advancing theoretical considerations on openings and examining summarily the evidence provided by the opening of Hamlet and by a detailed study of the opening of the First Folio text of Macbeth, demonstrates how openings can be read as performable entities both in the theater and the classroom. Drawn from dissertation (q.v.).