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English summary, online.
Finds similarities in "theme, plot, and diction" between Abdülhak Hâmit Tarhan's play Nesteren and Romeo and Juliet. English and Turkish summaries, 17.
Draws parallels between "suspicion, obsession," and "delusional jealousy," in Halide Edip Adıvar's novel Mev’ut Hüküm (1917) and Othello.
Describes how conflict Namık Kemal's novel Intibah revolves around "pathological, unusual, and extreme jealousy." English and Turkish summaries, 178.
Explores "implicit and explicit allusions, repetitions, [and] transformations of the Shakespearean texts" in Namık Kemal's plays Akif Bey (Othello and Tempest) and Gülnihal (primarily Othello and Hamlet; Macbeth and Tempest to a lesser degree). Positions Kemal's plays as an effort to introduce Western styles of theatre to Tanzimat era Turkey while also showing shared themes across literatures, such as "evil, prejudice, love, hatred, jealousy, revenge, and the problem of existence itself." English and Turkish summaries, 1170.
Positions Othello as an exemplary exploration of femicide, showing parallels between Shakespeare's play and twenty- and twenty-first centure cases of women murdered by their intimate partners. Describes Othello's obsession with Desdemona and the handkerchief as "dis-affectionate fetishism," "in which subjects are transformed into objects that come to embody lost love."
Considers Juliet's words in 2.1 ("Take all myself") as a performative utterance, applying J. L. Austin's speech act theory. Describes Juliet's utterance as a "take-ative," a subset of Austin's "performative" where the "speaker does not (or does not intend to) enact a performative successfully (and might not even recognise their utterance as performative) but is subsequently taken by another to have done so."
Proposes that faces that continually appear and disappear in Macbeth imply that seeing and knowing might simply fold, fail, or spoil. Contends that Duncan’s difficulty in reading faces exemplifies an early modern world where the face’s importance and ubiquity were complicated by urban mobility and print technology. Determines that the uncertainty that Shakespeare reveals in Macbeth renders the legibility of faces more important than their expressiveness or responsiveness. English summary, 398.
Asks what sort of speech act the speaker of Shakespeare’s sonnets performs when he swears that the dark lady is fair, contradicting what is self-evidently true. Notes that, as an act of swearing, the statement is performative, but it also describes, or “constates,” something about the dark lady, albeit falsely. Coins the term “constantive” to identify such a speech act that both performs and constates, and which demonstrates performative force only because it is descriptively dubious, or even self-evidently false. English summary, 381.
Examines epistemological implications of the metaphors in Midsummer Night’s Dream, some of which are mere figures of speech, some have descriptive and prescriptive power, and others are literalized in the play’s action. Argues that the notion that lovers have an epistemological advantage with regard to the love object is both explored and mocked, while the fairies and love potion are to be recognized as fictions. Concludes that Theseus’s speech about lovers, madmen, and poets is to be taken seriously, and the epilogue demonstrates genuine anxiety that educated Protestants might “reprehend” the play. English summary, 360.