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Analyzes two translations of Charles and Mary Lamb's prose Hamlet: the anonymously translated Xiewai qitan (Strange stories from abroad, 1903) and Lin Shu and Wei Yi's  Yinbian yanyu (An English poet reciting from afar, 1904). Focusing on Hamlet, contrasts "the failure of Xiewai and the success of Yinbian" in relation to "the public’s attitude to both reading works in translation and importing foreign ideas and concepts." English summary, 7.

Draws on adaptation theories to argue that Margaret Atwood's Hag-seed (q.v.), a novelization of Tempest, "suggest[s] the possibilities and limits of fiction for adapting Shakespeare’s work, as her novel explores process, intentionality, and the genre of adaptation itself." 

Contends that Chloe Gong’s young adult adaptation of Romeo and Juliet, These Violent Delights (q.v.), "exemplifies ... anticolonial, antiracist writing back as it entertainingly weaves postcolonial concepts into its dramatic narrative and structure." Shows how Gong's novel encourages students and readers to draw on Shakespeare to reflect on current events.

Places Aimé Césaire's Tempête (q.v.) in relation to other island literatures including Tempest and writing by Suzanne Césaire and Gilles Deleuze.

Applies distant reading to corpus of early modern English plays to consider protagonism, asking, what makes a character a protagonist? Uses Hamlet as a case study for protagonism, offering quantitative analysis of Hamlet's share of lines, stage time, mentions by other characters, and use of asides and soliloquys.

Explores "how illustrations supplement, modify, and even critique a text," focusing on John Moyr Smith's illustrations in the 1879 edition of Charles and Mary Lamb's Tales from Shakespeare. Positions Moyr Smith as co-author who shapes interpretation by reinserting erotic content into the sanitized prose versions. English summary, 27.

Analyzes Paul Griffiths's let me tell you (2008, q.v.), "a novel written in the first person, in the voice of Ophelia, using only those words assigned to her in Shakespeare’s Hamlet," that is, a scant 483 words. Traces allusions to other intertextual works such as Luigi Pirandello's Six Characters in Search of an Author (1921) and Tom Stoppard's Rosencrantz and Guildenstern are Dead (q.v.).

Considers Thomas, Lord Cromwell's relation to history and genre. Draws parallels between treatment of class in Thomas, Lord Cromwell and Merchant of Venice, pointing out privilege of "gentlemen venturers playing at investment" who are "bailed out" at the end of both plays.

Situates Miranda Carroll, protagonist of Emily St. John Mandel's Station Eleven (q.v.), as a Prospero figure, who is both an author in the novel and participates in authoring the novel itself. Traces Shakespearean allusions throughout Station Eleven.

Draws on philosophy, including phenomenology, psychoanalytics, and Marxism, to propose that Hamlet's ontology is a Derridean hauntology. Considers being, ghosts, and corpses in Hamlet.