138,701 entries in:
In examining the sexual politics and love of honor in Troilus and Cressida, focuses on Ulysses' political pandering at work.
Uses Rape of Lucrece to explore "the nature of tyranny and the means necessary to create and preserve a republic."
In examining different perspectives of honor in 1 and 2 Henry IV and Henry V represented by Hotspur, Falstaff, and Hal, argues for Shakespeare's bleak outlook on a machiavellian view of politics.
Uses Timon of Athens to question what philosophy might have meant to Shakespeare and how that affected his moral and political outlook.
Focuses on Shakespeare's invocation of philosophy and alternative politics in Taming of the Shrew, finding that two political schools of thought in the play bear resemblance to Socrates and Niccolò Machiavelli with radically different approaches to the problem of ruling human beings.
Argues that Edgar's pursuit of his own happiness at the end of King Lear represents "not only the political and personal costs of failing to think through the desire for justice but also the deeply rooted obstacles to doing so."
In examining the potential benefits and pitfalls of a modern liberal imagination in Much Ado about Nothing and Othello, suggests that Shakespeare's poetic imagination teaches his readers about politics and political regimes.
Examines how service affects the representation of community in early modern texts, arguing that Timon of Athens displays the collapse of service-relationships as part of an ethical crisis in Athens.
By focusing on instances of hunting language in the Induction of Taming of the Shrew, examines the abilities of hunting dogs, to argue against Edward Berry's assertion in Shakespeare and the Hunt: A Cultural and Social Study (q.v.) that animal instinct can be "tamed by short-term human manipulation" by contending that hunting dogs have an instinctive, rather than learned, reliance on olfactory cues.
Suggests that Gratiano's mention of "Nerissa's ring" in the Merchant of Venice is not a bawdy reference to the female body, as many scholars have argued, but rather an allusion to the "ring jest" of Ludovico Ariosto's fifth satire and thus acts to make fun of Gratiano's stereotypical Italian jealousy.