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Points to possible pedagogical applications of MOOs (Massive Online Objects) in post-pandemic pedagogy, focusing on potential of massive multiplayer online game platforms and Discord servers. English summary, 201.
Proposes using Shakespeare on film to teach about global film studies rather than to illuminate Shakespeare's works. Raises challenges of "where to begin" in a Shakespeare on film course; "Shakespeare's conflation with prestige"; seeming ubiquity yet uneven distribution of Shakespeare films; and "histories of empire and ongoing global inequities." English summary, 171.
Offers strategies to help students explore "allusive dynamics" and heteroglossia in Preti Taneja's We That Are Young (q.v.), which creates "an opening onto the contemporary ethical and political binds" of the novel and postcolonial readings of Shakespeare, notably King Lear. English summary, 159.
Interview with Preti Taneja about We that Are Young (q.v.) and its relation to King Lear. English summary, 123.
Applies José Esteban Muñoz’s theory of disidentification to Tayeb Salih's Season of Migration to the North (q.v.), suggesting that "Season of Migration to the North models a referential mode of critique in its manipulation of canonical texts—Othello the Moor and Othello the tragedy—for and from the perspective of a distantly contemporary present." English summary, 111.
Contends that scholarly interest "lies in global, intertextual, and cross-cultural mediations of Shakespeare in a dazzling array of languages, aesthetic traditions, and geopolitical fault lines across boundaries of nation, race, gender, and class hierarchies." English summary, 103.
Interview with Darren Freebury-Jones. English summary, 215.
Based on Shakespeare's use of the word "hurricane," argues that "The Atlantic functions as a supplementary space to read King Lear as a tragedy in which the spiraling motion of the hurricane characterizes both the protagonist and the play’s theatrical design." Compares meaning of "hurricane" in Troilus and Cressida and King Lear. Offers "oceanic reading" of King Lear that positions play in global contexts and tempestuous upheavals. English summary, 191.
Positions Desdemona's willow song as part of "rich intertextual networks" of "entire genre" of willow songs. Suggests this song is comedic and parodic rather than tragic. English summary, 167.
Suggests that Shakespeare's first tetralogy "relies on accounts of the Fall ... and the return from it through divinely blessed kingship that are present in syncretic readings of Ovid and the Bible." Rejects readings of these plays as entirely Hobbesian. English summary, 117.