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Applies Dževad Karahasan's definition of "mannerist play" in Dnevnik Melankolije [The Diary of Melancholy] (Vrijeme, 2004) to show that Hamlet is foundational to mannerist drama. Bosnian summary, 295; English summary, 313.
Shows how "marginal characters" such as the "nameless murderers in Richard III, nameless servants in King Lear," and Williams from Henry V "willingly disobey their superiors' orders and unequivocally decide to follow the voice of conscience rather than the voice of authority." English summary, 67; Bosnian summary, 79.
Shows how Fletcher and Shakespeare's portrayal of Cardinal Wolsey in Henry VIII draws on "a century of evolving images." Argues that Fletcher and Shakespeare's Wolsey is not as negative a character as sometimes perceived.
Draws parallels between Spike Jonze's Her (2013) and Gregory Doran's 2016 Tempest (q.v.), the latter of which included "scenes where actors and holograms interact in a three-dimensional immersive experience." Argues that artificial intelligence can be fruitfully applied in theatrical performances to enhance natural human intelligence and emotion. English summary, 69.
Traces the history of the Fool's costume, including discussion of Feste's costume in Royal Shakespeare Company productions from 1936-2017. Reads the fool's costume as a "symbol of ... mirth, mobility, and disorder" that "expresses both the characteristics of his inner life and the disorder in the lives of other people." English summary, 57.
Claims that "Shakespeare's work is seen by a growing number of 'woke' teachers as problematic and outdated" and alleges that "more and more teachers believe it is time for Shakespeare to be set aside to make for modern, diverse, and inclusive voices." Suggests that such "reconciliation" is a form of censorship and that Shakespeare's works should not be pushed to the side. English summary, 17.
Points out shared motifs in Anton Chekhov's The Seagull (1896) and Tempest, concluding that "the threat of ... death" in Tempest "is averted by" good will, whereas in The Seagull, it is not. English, Russian, and Ukrainian summaries, 174.
Shows how Maxim Rylsky's translation of King Lear draws on the "cultural 'codes' of European artistic consciousness" set down by Shakespeare, while orienting the play towards "Ukrainian realities." English, Russian, and Ukrainian summaries, 95-96.
Outlines why and how Shakespeare "significantly influenced the development of Ukrainian literature." English, Russian, and Ukrainian summaries, 196-97.
Investigates Shakespearean intertexts of Abraham Lincoln's assassination, namely: John Wilkes Booth's renown as a Shakespearean actor; Asa Trenchand's response as a playwright to Shakespeare's cultural inheritance; and "national mourning" that drew on Macbeth. English and Ukrainian summaries, 108.