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Suggests that sphere imagery in King Lear represents crisis and urgency of globalization. Looks to play's "trifling moments" as response to "catastrophic times." English summary, 245.
Suggests Midsummer Night's Dream echoes Sidney's Defence of Poetry. "Suggests how theater might offer resources for bringing diverging human and nonhuman worlds into new alignments by furnishing us with accounts of knowledge and collective action that differ from those of modern science." English summary, 214.
Suggests that "Macbeth’s Witches introduce into the play an imagination that is both global and planetary." Draws parallels between the fog of Macbeth's Scotland and today's Delhi. Contends that "it is only when we recognize the ecological inextricability of human and nonhuman" that we can "rise up against totalitarian regimes like Macbeth’s."
"Considers how Antony and Cleopatra employs the concept of the horizon to illuminate the virtues of what we cannot know—allowing us to embrace the unknown as a source of potential." Analyzes Antony and Cleopatra as "an archive of counterfactuals" that presents "world history otherwise," that is, a "world that exists beyond the frame of empire." English summary, 47.
Shows how English revenge tragedy, including Titus Andronicus, draws on Senecan roots to present Hispanized dramas obsessed with bloodlines, miscegenation, and Spanish downfall. Argues that "Aaron ... personifies the racist contention, commonly expressed by proponents of the Black Legend, that the cruelty of Spaniards originated in their mixed Moorish and Gothic blood." English summary, 221.
Points out that although Hotspur has often been interpreted as a medieval character in contrast to Prince Hal's early modernity, Hotspur "sees himself as the urbane, cosmopolitan, modern gentleman and Hal as the old-fashioned English throwback." Focuses on sword imagery, notably, Hotspur's "dismissive reference to that same sword-and-buckler Prince of Wales."
Argues that Richard II does not break a mirror onstage during the deposition scene, suggesting that modern productions should abandon this practice and could instead stage Richard weeping. Draws on evidence from early play publications, rejecting eighteenth-century editorial stage directors.
Argues that in Antony and Cleopatra, messengers are "vectors of erotic charge: that is, they are a primary means by which Antony and Cleopatra make love."
"Trace[s] a thread of thought about giving and receiving, action and passion, from ancient metaphysics through Shakespeare’s As You Like It and to its (somewhat unlikely) expression in modern-day kink culture," notably BDSM. Suggests that Rosalind is a submissive who gives of herself to Orlando, emphasizing the duo's erotic power.
Drawing parallels between formal wedding dances and the form of rhymes, presents a "rhyme-dance analogy to show how rhyme, especially the couplet, matches proximate bodies in a balance dependent on compatibility, reciprocity, and mutual willingness." Shows how rhymes (and failed rhymes) in Midsummer Night's Dream can support and undermine the characters' words.