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Examines the British Council's YouTube production "Star Cross'd: A Contemporary Take on Shakespeare's Romeo and Juliet" (2016); Warwickshire county's video game "Romeo, wherefore art thou" (2010); and an amateur video game "Romeo and Juliet: The Video Game," in the style of a Japanese role playing game (jrpg). Drawing on critical discourse analysis, contends that these adaptations retain the themes of Shakespeare's original play while adding interactivity and reaching new audiences. English summary, 263.

Offers analysis of embodied poetic discourse, suggesting three phases for "acting interpreters": 1. "top-down (from mind to text)"; 2. "bottom-up (from text to mind)"; and 3. interactive, combining the two to create "new, original, and entirely subjective verse drama embodiments." Drawing on examples of King Lear, shows value of having actors undertake creative writing about the play and participate in a "physical-theatre workshop" focusing on, for instance, psychological gestures and physical memory. Turns to production reports to show the value of having actors consider meter and punctuation. English summary, 221.

Traces "cultural decolonization" in Caribbean adaptations of Tempest, including Aimé Césaire's Une Tempête, Edmund Kamau Brathwaite's "Caliban" (in Islands), George Lamming's Water with Berries and The Pleasures of Exile, and Marina Warner's Indigo (q.v. all).

Focusing on Desdemona's "Willow Song" and the Jailer's Daughter's song from Two Noble Kinsmen, suggests that these "contingent and intermedial" songs help define "female subjectivity." English summary, 165.

Undertakes analysis of three characters, suggesting that Antonio's sadness is so deep that he "suffer[s] in advance for his future loneliness (when Bassanio will marry Portia)"; that Portia "is the most dynamic character of the comedy" and shows Shakespeare's proto-feminism; and that Shylock is both "odious" and an "emblem of injustice." English summary, 139.

Argues that Shakespeare shows innovation and "technical virtuosity in mixing dramatic modes and emotional responses," focusing on his use of classical comedy, romantic comedy, and tragedy. English summary, 125.

Drawing on watermark evidence, argues that six (perhaps seven) "paper mills supplied the paper to print the First Folio." Catalogues and quantifies watermarks of first folio. English and French summaries, online.

Catalogues an early reader's marks and marginalia in Folio 68 (held by the Folger Shakespeare Library). Suggests that this (possibly eighteenth-century) reader appreciated "aesthetic considerations and morals" and may have marked the book in order to copy the passages into a commonplace book. English and French summaries, online.

Argues that printing using early modern techniques can inform research and pedagogy for Shakespeare studies. Gives example of "the 39 Step Press's printing of Shakespeare's 'Sonnet 126'" and relates how experiences printing informed his interpretation of variants in Romeo and Juliet. English and French summaries, online.

Shows how the editors of the first folio "published the [history] plays as a sequence," rather than in order of composition or publication. Relates how Shakespeare wrote 1 Henry VI as a prequel to 2 Henry VI and 3 Henry VI, which were published as a duology. Argues that folio paratexts "repackag[e] and regulariz[e]" history plays and focuses on titular monarchs who might not always feature prominently in the plays. English and French summaries, online.