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"Explores how target-audience expectations and generic limitations on modern, mass-culture adaptations of Shakespeare’s comedy Twelfth Night mould the characterization of his officious steward Malvolio." Focuses on Katharine Davies' novel The Madness of Love, Andy Fickman's film She’s the Man, and 

Mya Lixian Gosling's web-comic published on Good Tickle Brain and later in Brevity is the Soul of Wit (q.v. all).

Argues that the copy of Sonnet 2 in Margaret Bellasys's commonplace book "was consciously rewritten during the first third of the Seventeenth century by an educated adapter who tried to improve on the sonnet’s inner structure, imagery and rhythm." English and Spanish summaries, 205-6.

Shows how Nemesio Martín adapted Merchant of Venice for young adults, with particular attention to the "representation of the personal, national, racial and religious identity of the characters, highlighting the extent to which an adaptation can preserve or reduce the critical character of its hypotext." English and Spanish summaries, 233-34.

Analyzes reception of Nicolás González Ruiz's El Mercader de Venecia (1947) by considering theater reviews "in the context of the New Spanish National Catholic State, where the myth of the Judeo-Masonic-Bolshevik collusion and the need to show an open spirit coexisted, after the defeat of the Axis countries in the Second World War." English and Spanish summaries, 209-210.

Points to Lady Macbeth's remorse as an example of the "madness for guilt" topos. English and Spanish summaries, 193-94.

Traces Shakespeare's use of astronomical language to develop character, dramatic structure, and "gender characterization." English and Spanish summaries, 281-307.

Assesses wordplay and use of rhetorical devices in Gustavo Falaquera's translation of Sonnet 144 (q.v.).

Considers wordplay in translations of Sonnet 9. English and Spanish summaries, 217. This is a different article than Marín Calvarro's article of a similar name (q.v.).

Compares Spanish-language version of the Romeo and Juliet story in prose and drama, including by Lope de Vega, Rojas Zorrilla, Cristóbal de Rosas. English and Spanish summaries, 361.

Compares three Spanish-language translations of Merry Wives of Windsor, by Luis Astrana Marín, José Mª Valverde, and José Arnaldo Márquez (q.v. all).  finding them to lack the puns and wordplay of Shakespeare's English, and, as such, lose some of the humour. English and Spanish summaries, 47.