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Considers the "German eighteenth-century fascination with Shakespeare," exploring the portrayal of the fool in a German Hamlet adaptation, acting practices, and Shakespeare critcism, including by Goethe.
Argues that William Blake drew on Macbeth's dagger speech and narrative of regicide in order to respond to Edmund Burke and reflect on madness, revolution, history, and corruption.
Analyzes how William Martin's and James Barry's late eighteenth-century paintings depict Iachimo's ekphrasis when he enters and describes Imogen's bedroom and body.
Suggests that both Shakespeare's Julius Caesar and Byron's Marino Falieri, which Byron presented as a "dialogue" with Julius Caesar, are proto-Brechtian texts.
Traces reception of Shakespeare in Germany in the 1800s in relation to Romanticism and broader artistic movements, focusing on criticism by Jacob Michael Reinhold Lenz, Johann Wolfgang von Goethe, Friedrich Gundolf, A. W. Schlegel, and Ludwig Tieck, and Heinrich Heine. Compares the 1864 “Shakespearefest” to the 1859 “Schillerfeier."
Shows how Keats drew on descriptions of nothingness from Shakespeare's King Lear and Sonnet 107 in his poetry.
Includes one essay on Shakespeare.
Compares The Northman (dir. Robert Eggers, 2022) to Hamlet, both of which draw on the same "medieval source text ... [Saxo Grammaticus's] legend of Amleth." Suggests that Eggers' film, unlike Shakespeare's play, does not adequately dramatize the delayed an acausal nature of trauma; argues that Eggers, while trying to offer a critique of an imagined white medieval past only serves to reinforce white supremacist interpretatins. English summary, 77.
Analyzes "'innoculat[ion]' as a rhetorical device" in Hamlet, suggesting that Shakespeare "negotiates legal and medical" valences of immunity. Suggests that Hamlet discusses inoculation in terms of grafting onto the body politic. English summary, 158.
Analyzes failed poisonings Shakespeare's works: in Winter's Tale and Pericles, where poison is not administered, and in Cymbeline, where draught turns out not to be poison. Suggests that Shakespeare took inspiration from Dr. Roderigo López's trial for poisoning Queen Elizabeth (1594) and from the gospel of Mark and chose to dramatize the lesson that a blameless monarch leads to ineffective poison. English summary, online.