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Demonstrates that the "'Spiritual Testament' cannot belong to John Shakespeare for reasons of date" and ascribes it to "Joan Shakespeare Hart (1569–1646), Shakespeare’s sister."
"Offers a new interpretation of" and new evidence about "John Shakespeare's muckhill" fine, placing it "within its communal, economic, and biographical contexts." Considers waste management in Stratford-upon-Avon, noting the town's industry and explaining that "muckhills were a regularly occurring and regulated convention of urban waste management and a source for multiple streams of possible revenue."
Argues that Shakespeare's first folio "has become the subject of multiple scholarly tales" because it "cannot be fixed in time." "Attempt[s] to think about the Folio as an object with a complicated relationship with time, both as a historical artifact and as the starting point of narratives about construction, editing, provenances, and modes of reception," considering readerly, public, and scholarly responses.
"Contends that 'The Names of the Principall Actors' [in the first folio] creates a fantasy 'Shakespeare Company'...Headed by Shakespeare himself and composed entirely of sharers in the Lord Chamberlain's and King's Men." Points to actors missing from this list, including Edward Alleyn and Lawrence Fletcher. Suggests that in this list, "hired players, apprentices, and musicians are relegated to the margins; and women do not feature at all."
Considers on-stage circles in Shakespeare's plays in terms of passions and atmosphere in the sense of both environmental and psychological. Suggests that on-stage circles are often associated with magic, notably in 2 Henry IV, Tempest, Macbeth, Merry Wives of Windsor, and Midsummer Night's Dream, linked to conjuring, witches, or fairies. Presents circles in As You Like It as an example of "the power of music and dance [that] can act upon characters unwittingly." Suggests that circled bodies on stage, even without magical implications "concentrat[e] and communicat[e] affect," as in Titus Andronicus or Julius Caesar.
Contends that "Milton's representation of Shakespeare in his 'Epitaph' on Shakespeare (1632) and Eikonoklastes (1649)" reveals Milton's "ongoing" engagement with Shakespeare and "allows ... peculiar insight into the poet’s conflicted desire both to create enhanced space for human agency and to critique its overestimation, especially in the idealization of political virtù." English and French summaries, 165.
Outlines a "prosodic taxonomy" for Shakespeare's sonnets, suggesting that one function of Shakspeare's metrical emphases is to create a sense of unease in the "voicer"/reader. English summary, online.
Investigates Tempest frontispieces in eighteenth- and early nineteenth-century editions of Shakespeare by Nicholas Rowe, Thomas Hanmer, John Bell, and Alexander Chalmers, showing how they reflect the turn to bardolatry. English summary, 155.
"Outline[s] the history of Shakespeare in Gujarati translation on page as well as on stage and examine how it reflects the evolution of the Gujarati literary culture along caste, ethnic, and communal lines." English summary, 121.
Finds contradictory interpretations of the Shakespearean quotations and allusions in Michael Winterbottom's This England (2022). Shows that Shakespearean allusions both critique Boris Johnson's handling of the covid-19 pandemic while also positioning him as a tragic figure. English summary, 149.