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Explores the marketing issues and changing fortunes of the Boydell Shakespeare Gallery for the 15 years of its exhibition, arguing that the Gallery should be considered as "distinct moments in a complicated cycle of Shakespearean representation and consumption in the Romantic era."
Argues that Joanna Baillie's two sacred dramas The Martyr and The Bride were influenced by Pericles in that it points toward the feminine as an essential component of spiritual life and wisdom.
Suggests that Shakespeare has a negative view of secularism by noting how, in Merchant of Venice, secular laws, originally meant to lessen religious tension, prove to be inadequate for resolving conflicts fueled by latent religious prejudice.
Noting that scholars usually approach Richard II as an analogue to Christopher Marlowe's Edward II, contends that Shakespeare also draws from more of Marlowe's work, particularly Tamburlaine the Great and Doctor Faustus.
Focuses on Julie Taymor's Tempest (q.v.) to examine her placement of an African Caliban within a Hawaiian setting, finding that this choice situates the film within an active political discourse regarding colonialism and the conspiracy theory about the birthplace of President Barack Obama.
Includes discussion of Jacques Lacan's analysis of Hamlet as rearticulating "the object of desire in an 'unchristian' tragic grammar."
Reads King Lear as an expression of the Catholic Christian tradition in presenting the depths of human and supernatural love.
Responding to the negative reception of Kenneth Branagh's Love's Labor's Lost (q.v.) as little more than a Hollywood film musical by arguing "that the film is more productively approached in terms of pasticcio and pastiche than recreation or revivial" and that "the film invites . . . an interrogation of escapism."
Explores the possibilities and difficulties of political articulations of cultural differences in Shakespeare's plays, and suggests new approaches to performances in marginalized spaces in order to confront "archival silences" in the" record of globalization" in Shakespeare's corpus and to reframe Shakespearean debates about cultural exchange. English summary, 373.
Explores some of the ways in which the "Ryutopia Company's 2007 production of Hamlet reimagines Shakespeare's play as a global, intercultural work" and how it creates a dialogue between the epic texts and performance traditions of Tale of the Heike and Virgil's Aeneid; also considers the Ryutopia Hamlet in the light of Margreta de Grazia's Hamlet without Hamlet. English summary, 291.