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Argues against Hulse's claim that 1,200 copies of the first folio were printed (q.v.). Suggests that "concurrent printing was the norm"; including "when a printer has copy texts for two or more documents...and alternates his [sic] shop's work between them, not necssarily in a regular pattern," which makes it harder to quantify print runs based on watermark evidence, as a ream of paper could be shared between two different printings. Includes appendix suggesting omissions in Rasmussen and West's Catalogue (q.v.). English summary, 282.

Analyzes form in sixty-nine Spanish-language translations of Shakespeare's sonnets dating from 1877 to 2018. Notes preference of verse when translating sonnets, with differing metres (often eleven or fourteen syllables per line) and rhyme patterns (often ABABCDCDEFEFGG).  Categorizes translations as conciliatory, analogical, organic, mimetic, or extraneous. English and Spanish summaries, 7.

Compares "two theatrical versions of [Vicente] Molina Foix's Spanish translation of the love duet in The Merchant of Venice," directed by José Carlos Plaza and Hansgünther Heyme, respectively (q.v.). Focusing on allusions to Dido and Criseyde, contrasts Plaza's interpretation, which emphasizes Jessica and Lorenzo's romantic love, with Heyme's "dark approach," noting that both interpretations are "difficult to justify." English and Spanish summaries, 7.

Investigates Shakespeare-related materials in the library of Earl Grigoriy A. Stroganov (1770–1857); argues that these volumes "contributed to the formation of the national myth" about Shakespeare in Russia and reflect the evolution of Western European Shakespeare studies.

Contends that Turgenev effectively presents Martin Harlov as a King Lear figure in "Lear of the Steppes," a loose adaptation, adding gravitas to his story. Recounts how Turgenev's characters, sitting around a table, share one Shakespearean character "they have met in reality: Hamlet, Othello, Falstaff, Richard III and Macbeth," before turning to Lear. Russian summary, 5; English summary, 13.

Shows how Sergei Stepanov's translation and edition of Sonnets (q.v.) presents an anti-Stratfordian interpretation and reorders the sonnets in order to reconceptualize their creation.

Links Boris Pasternak's poem "Hamlet" (1946) to his novel Dr. Zhivago (1957), suggesting that Pasternak positions both Hamlet and Yuri Zhivago as Christ-figures in tragic contexts. Russian summary, 185; English summary, 196-97.

Argues that in his novels, "Turgenev artistically shapes the portrait of the 'hero of the time' in close connection with Prince Hamlet’s moral and psychological image." Suggests that Turgenev's deployment of Shakespearean-style heroes makes "the epic [novel] genre more dramatic." Russian summary, 14; English summary, 25.

Explores Turgenev's portrayal of Ivan the Terrible in "Lear of the Steppes," a loose adaptation of King Lear. Suggests that Turgenev applies Shakespearean imagery and ideas to Russian historical contexts. Russian summary, 23; English summary, 30-31.

Describes dialogue between two Russian writers, Ivan Turgenev and Afanasy Fet, about Shakespeare's Hamlet, noting that "for Fet, the tragedy of Shakespeare’s character lays in the depth of internal suffering that arose due to the unbearable hardships of fate, while Turgenev saw its basis in an extreme moral and psychological contradiction." Points to Shakespeare's and Fet's influences on Turgenev's "The Hamlet of the Shtchigri District." Russian summary, 233; English summary, 255.