138,701 entries in:
Critiques "Word Adjacency Networks" and their application to stylometric analysis of Shakespeare's authorship, challenging Segarra et al (q.v.). English summary, 361.
Introduces Hyperbard (q.v.), "a dataset of diverse relational data representations derived from Shakespeare’s plays." Offers multiple visualizations of Shakespeare's texts using graphs and "hypergraphs." Written in iambic pentameter in three acts with extensive appendix about dataset. English summary, 74.
Rebuts Pervez Rizvi's argument about principal components analysis (q.v.); contends that PCA is a valid technique for ascertaining authorship of plays by Shakespeare and his contemporaries. English summary, 97.
Compares computational approaches to "the Marlowe-Shakespeare authorship question." English summary, 185.
Adds evidence to his earlier claims that Sir John Oldcastle is a play by Shakespeare (q.v.).
Suggests computational methods for determining which plays and poems were written by Shakespeare. Concludes by encouraging Shakespeare scholars to offer insights. English summary, 308.
Explicates Emily Dickinson's allusions to Shakespeare in her correspondence, showing how one Dickinsonian allusion to Antonty and Cleopatra suggests "weary confusion," whereas another to 2 Henry IV and Richard II presents her in competition with Shakespeare, reframing ideas of honor. English summary, 66.
Revisits stylometric analysis of Arden of Faversham by Jack Elliott and Brett Greatley-Hirsch in the New Oxford Shakespeare (edited by Gary Taylor et al) and its refutation by Pervez Rizvi (both q.v.); suggests that principal component analysis is not sufficient to prove Shakespeare's authorship.
Drawing on ideas of "affinity spaces," suggests pedagogical value of pairing Shakespeare with "texts that students love outside the bounds of school," in this case, Taylor Swift's Midnights album (2022). Offers prompts to compare Swift's lyrics with Shakespeare's sonnets in an undergraduate classroom. English summary, 7.
Describes 1964 tour led by Stephen Gray by Cambridge Shakespeare Group (including students and professional actors) led by "South Africa to perform productions of Comedy of Errors and Love’s Labour’s Lost as part of a Shakespeare festival organised by the newly formed English Academy of Southern Africa." English summary, 113.