Search & Browse

Traces the stage history of Macbeth from the seventeenth century to the present.

Surveys scholarly and creative interpretations of Macbeth, excluding live performances, from 2002 to 2012 in order to identify "centres of interpretative energy."

After considering Claudius in Hamlet as a precursor of Macbeth, analyzes how Macbeth reconstructs concepts of sovereignty through a portrayal of the workings and ramifications of the "sovereign process" in the political sphere and in nature.

Arguing that parables play an extensive role in Macbeth at both a linguistic and a thematic level, connects these parables to their biblical counterparts to study how Shakespeare comments upon, manipulates, and challenges biblical themes.

Studies the implications of Lady Macbeth's invocation in Macbeth to the spirits to "unsex" her by discussing the critical attention her body has received, examining what "unsexing" would entail in light of pre-Enlightenment understanding of fluids, analyzing how Lady Macbeth ignores the distinctions between "unsexing" and "unmanning," and examining the cultural appropriations and permeations of the concept of "unsexing."

Examines presentist appropriations and considerations of Macbeth by discussing the idea of the "wordlessness" of the play, William Empson's argument that ambiguity is the central feature of the language in the play, the concept of "double meaning" in both the play and in the English language in general, and finally the benefits of looking at Macbeth from a presentist view.

Examines resources for the study and teaching of Macbeth.

Details allusions to and appropriations of Shakespeare plays which Grant Morrison has made in his DC comics, and examines what these appropriations signify for both readers and writers of comics.

Juxtaposing the morning-after scene in Romeo and Juliet with scenes from Thomas Middleton and William Rowley's The Changeling and Middleton and Thomas Dekker's The Roaring Girl, reveals asymmetires which structure critical recognition of when early modern dramas gesture towards sexual acts but do not depict them.

In looking at scenes in several early modern plays including Midsummer Night's Dream, argues that rimming and anilingus exemplify an erotic practice which is resistant to being abstracted into a sexual identity.