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Studies the role and reception of Shakespeare in Bengal by examining illustrations in Haran Chandra Rakshit's Shakespeare and in Shri Bimal's Shakespeare golpo tragedy o comedy ekotre (Shakespeare's Stories, Tragedies, and Comedies Together), two Bengali prose retellings of Shakespeare's plays which predate 1947, the date of Indian Independence.

Compares German-language translations of Macbeth by Christoph M. Wieland, Gottfried Bürger, Johann C. F. von Schiller, and Dorothea Tieck, focusing on the scenes involving the Weird Sisters, in order to analyze the changes that took place within the German language, German theories of translation, and German theater history in the years between 1766 and 1833.

Studying Charles and Mary Lamb's rendition of Macbeth in Tales from Shakespeare, Mary Cowden Clarke's in The Girlhood of Shakespeare's Heroines, and Leon Garfield's in Shakespeare Stories, examines the challenges of transmediating the play for young adult audiences and how these challenges have changed and been met for difference generations.

In comparing Richard Appignanesi's manga Macbeth to Classics Illustrated: William Shakespeare, Macbeth, Von's Macbeth, and John McDonald's Macbeth: The Graphic Novel, argues that the manga adaption of Macbeth allows for innovations not possible under the conventions of the other, more Western, adaptions.

Contends that Gábor Bódy, János Szikora, and György Cserhalmi's Hamlet (q.v.) and Béla Tarr's Macbeth were the determining influence behind Hungarian stage productions of Macbeth after the 1989 fall of the Iron Curtain.

Discusses Salvatore Sciarrino's opera Macbeth: Tre atti senza nome (da Shakespeare), his adaptation of Macbeth, and the premiere, which was directed in 2002 by Achim Freyer for the Frankfurt Opera.

Analyzes Shakespeare's representation of sacred space in As You Like It in light of century-long religious reformation efforts that had disrupted or destroyed many existing spiritual sites in England.

Examines posthumanist motifs which appear in Macbeth, concluding with a posthumanist examination of the Porter scene (2.3).

Examines allusions to Shakespeare--especially parallels with Laurence Olivier's Henry V (1944)--in Tom Hooper's The King's Speech, arguing that the film has a central interest with imperial ideology.

Noting that Michel Foucault's "reputation within Shakespeare studies appears to have sunk without trace," argues that his interpretation of Shakespeare's representation of madness in Madness and Civilization offers "a critique that identifies the dark affinity between the sovereign and the beast in Shakespeare's Ubu-esque king: a monster who reveals not madness 'outside', but 'within the hollow crown.'" English summary, 773. Reprinted in Jennifer Bates and Richard Wilson, eds., Shakespeare and Continental Philosophy (Edinburgh: University of Edinburgh Press, 2014), 195-209 (q.v.) and Sophie Chiari, ed., The Circulation of Knowledge in Early Modern England (Burlington: Ashgate, 2015), 17-29 (q.v.).