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Suggestes that Tom Stoppard's Dogg's Hamlet and Cahoot's Macbeth (q.v.) "draws upon ideas of Ludwig Wittgenstein" to to showcase "language-learning as a kind of game-playing." Considers how Stoppard's use of Shakespeare and language play could model language learning strategies that could be applied in a classroom. English summary, 67.

Compares Polish-language translations of Love's Labor's Lost by Maciej Słomczyński (q.v.; here analyzed in 1979 edition, Serc Starania Stracone), Leon Ulrich (1895), and Stanisław Barańczak (q.v.), enumerating translation strategies for puns and wordplay. English summary, 106.

Polish-language translations of Comedy of Errors and Love's Labor's Lost. Excerpt from the former published in Teatr (q.v.).

Shows how prefaces to Romanian-language translations of Shakespeare validate, authorize, and explain translations using different metaphors and justifications. English summary, 83.

Compares translations of Macbeth by Abdolrahim Ahmadi (Andisheh Publications, 1975), Daryoush Ashouri (Agah Publications, 1999), and Farangis Shadman (Elmi Farhangi Publishing, 2002; unclear if same as earlier translation, q.v.), gaging how each translator adapted cognitive metaphors. English summary, 50.

Contrasts Bolingbroke's use of Biblical allusions to "justify his claim to the English throne" with Richard II's use of the rhetoric of divine right. Explores how Spanish-language translations emphasize different elements of the "scriptural language." English summary, 78.

Offers "dataset of diverse relational data representations derived from William Shakespeare’s plays" based on Folger Shakespeare Library's texts (q.v.). Presents information in graphs and "hypergraphs."

Analyzes three recent adaptations of Macbeth: Giovanni Carroni's Sardinian translation, Macbettu, directed by Alessandro Serra (q.v.), Botond Nagy's German-language adaptation (q.v.), and Róbert Bógnar's Hungarian translation of Eugene Ionesco's Macbett (q.v.), directed by Silviu Purcǎrete at the Hungarian Theatre at Cluj in 2021. English summary, 5.

Text adapted by Botond Nagy. Pia Carla Ionescu-Liehn, assistant director. Scenography by Cosmin Florea, visual design by Andrei Rancz, music and sound by Claudiu Urse, and lighting design by Cristian Niculescu.

With Daniel Plier, Emőke Boldizsár, Daniel Bucher, and Ioana Cosma. In German, "translated in Romanian and English."

Proposes casting a woman as Hamlet ("h.") in order to explore gendered expectations and camp aesthetics. Offers in-depth character description of h. as intellectual prodigy being raised as a prince. English summary, 142.