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In exploring Renaissance humanists' combination of the Aristotelian character type with the ethics of Christian Neoplatonism or Neostoicism, finds that Shakespeare reveals the ideology of patriotism and historical triumphalism in the character of Henry V.

Explores the manifestations of alterity and plurivocity in Merchant of Venice--alongside Charles Marowitz's Variations on The Merchant of Venice and Arnold Wesker's The Merchant--and Othello.

Suggests how the marginalized characters in Merchant of Venice resurface in a new context in Othello where the dynamics of Otherness are similar.

Analyzes the context of the appearance of Moor and how Moors as characters take shape through the diegesis of the text in Othello and Titus Andronicus. For the first part of the study, see García García, "The Moor in the English Dramatic Mirror: The Term 'Moor' in the Primary Texts of Early Modern English Plays" (q.v.)

Focusing on the use of animal imagery with close connection to the categories of human action as all-controlling in Hamlet, finds that the allusive nature of the language in the play dissolves the boundaries between humans and animals.

Examines the inadequacies of Francesco Maria Berio's adaptation of Othello in his libretto for Gioacchino Rossini's Otello.

Argues that, instead of being faultily constructed, Antony and Cleopatra structured spatially as a triple arch rather than temporally.

Argues that in As You Like It, 3.2, Orlando realizes that Ganymede is Rosalind and that both of them teasingly participate in her deception.

Examines how Shakespeare influenced W. H. Auden's poetry, essays, lectures, and reviews from the late 1930s onwards.

Argues that Sarah Fielding's portrayal of a Shakespearean understanding of "propriety" in The History of the Countess of Dellwyn played an important part in elevating Shakespeare's reputation during the second half of the eighteenth century.