Shakespeare

Papers
(The median citation count of Shakespeare is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-01-01 to 2026-01-01.)
ArticleCitations
‘Between the Red Rose and the White’: Staging Vegetal Materiality in the First Tetralogy10
Review of Charlie Dupré's Compositor E (Directed by Amie Burns Walker) at the Network Theatre, London, 16 February 20232
Shakespeare and Gardens: Special Issue Introduction1
Review of Shakespeare’s Measure for Measure (Directed by Blanche McIntyre for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 10 December 20211
Inessential Anti-Blackness: Re-Imagining a Post-Lockdown Tempest1
In Defence of Transcultural Asian Shakespeare: The Case of Yang Jung-Ung’s Theatre1
Criticae Ficus Indica , or a Banyan Tree View of the Globalisation of Shakespeare Through Adaptation1
Roundtable: New Directions in Asian Shakespeare1
William Shakeshafte, Player1
Brown Matter(s) in As You Like It1
‘The Pate of a Politician’: Anwar Ibrahim and the Political Appropriation of Shakespeare in the Press and on Social Media1
Shakespeare is Not Pie: Contingencies of Labour, Marginalisation, and Early Modern Studies1
Authorship Attributions in Middleton’s Canon: Collaboration, Revision, and Shakespeare Ascriptions1
‘If I Were a Woman’: Oregon Shakespeare Festival 20251
Review of Shakespeare’s Richard III (Directed by Adjoa Andoh) at Liverpool Playhouse Theatre, 13 April 20231
Review of Gareth Armstrong’s Shylock (Directed by Frank Barrie for Gareth Armstrong) at the Workshop Theatre, Leeds, 9 February 20241
‘A Woman’s Story at a Winter’s Fire’: Dramatic Text as Visual Imagery in Vishal Bhardwaj’s Feminised Variations on Macbeth , Othel1
Jessica’s Damnation: The Fate of Her Marriage in The Merchant of Venice0
Shakespeare’s Ruins and Myth of Rome0
Shakespeare in the World: Cross-Cultural Adaptation in Europe and Colonial India, 1850–19000
Shakespeare and Morality0
Review of William Shakespeare’s Julius Caesar (Directed by Atri Banerjee for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 29 Mar0
Review of Shakespeare’s Romeo and Juliet , Adapted by Sarah Gobran and Matt Pinches (Directed by Matt Pinches for Guildford Shakespeare Company) at Guildford High Street0
‘With his Head Broke’: The Occupational Hazards of Shakespeare’s Schoolmasters0
The Politics of Desire: The Sexual Exploitation and Maternal Longing of Laili / Lady Macbeth in Anirban Bhattacharya’s Mandaar (2021)0
Accruing Gravitas, or Why There Isn’t a Latino King Lear (Yet)0
Shakespeare in Asian Currents: An Introduction0
Shakespearean Echolalia: Autism and Versification inKing John0
‘I Have Immortal Longings in Me’: Shakespeare in the Lives of Fictional Immortals0
Review of Robert Icke’s Player Kings , an Adaptation of Shakespeare’s 1 and 2 Henry IV (Directed by Robert Icke) at the Noël Coward Theatr0
Shakespeare’s Compassion: Emotion and the Classics on the Early Modern Stage0
Close Reading: Romeo and Juliet 3.5.9–100
Memorialising Shakespeare: commemoration and collective identity, 1916–20160
Mothers, Motherhood and the Feminine in Fiennes’s Coriolanus0
Inessential Shakespeare: Contingency, Necessity, and Marginalization in Early Modern Drama0
Review of William Shakespeare’s Macbeth (Directed by Wils Wilson for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 20 September 20
Review of Titus Andronicus (Directed by Jude Christian for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 18 February 20230
Review of Shakespeare’s The Tempest (Directed by Jamie Lloyd) at the Theatre Royal, Drury Lane, 14 December 20240
Editing Arden: The Dramatis Personae List in As You Like It0
Shakespeare, the Sea and the Stage0
Review of Shakespeare’s Measure for Measure (Directed by Emily Burns) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 7 October 20250
Women, Speech, and Protagonism on the English Stage, 1550–1700: A Quantitative Exploration0
Review of Shakespeare’s Romeo and Juliet (Directed by Ola Ince), Shakespeare’s Globe, London, 15 October 20210
Review of Brian Dykstra’s Polishing Shakespeare (Directed by Margarett Perry for the Twilight Theatre Co. in Association with Kitchen Theatre Company) at0
Timeless Counsel in a Time of Crisis: Rethinking The Misfortunes of Arthur (1587/8)0
Close Reading: Reopening the Endings of Shakespeare's Sonnets 91 and 920
‘A Chancellor’s Foot’: Certifying Justice with Fools’ Ballads in Seventeenth-Century England0
Love Deadline (Desdemona) , 2: Review of Choi Ji Young’s Love Deadline (Desdemona) (Directed by Choi Ji Young for the 2019 York International Shakespe0
Review of Shakespeare’s The Two Gentlemen of Verona (Directed by Lee Dae-ung for Yohangza Theatre Company) at the Daehakro Arts Theatre, Seoul, South Korea, 26 May 20220
Shakespeare and Virtue: A Handbook0
Training Shakespeare's Yes in the Era of No0
Antonio’s Sad Flesh0
Review of Emma Frankland and Subira Joy’s Adaptation of John Lyly’sGalatea(Directed by Emma Frankland for Brighton Festival) at Adur Recreation Ground, Shoreham-by-Sea, 17 May 20230
A Fool by Any Other Name: The Role of the Piso in Konkani Romantic Film0
From Theory to Action: Staging a Feminist Production of The Taming of the Shrew0
2 Henry VI and the Tomb of Duke Humphrey0
Bandwagon of Brothers: Self-Propaganda in the St Crispin’s Day Speech0
Review of Arden of Faversham (Directed by Jesse Berger for the Red Bull Theater) and Francis Beaumont’s The Knight of the Burning Pestle (0
‘A Rock Star’ and ‘a Standup Comedian’: Celebrity Politicians’ Performances in Thomas Ostermeier’s Richard III0
Shakespeare and the Comedy of Enchantment0
Review of Ben Jonson’s The Alchemist, Adapted by Jeffrey Hatcher (Directed by Jesse Berger for the Red Bull Theater) at New World Stages in New York City, Streamed Digitally, 5 February 20220
What is a Shakespearean Actor? Fahadh Faasil and Malayalam Cinematic Adaptation0
Constructing Inessential Shakespeare in the United States0
Taking Shakespeare in Stride: Lady Macbeth at the American Repertory Theatre0
Review of William Shakespeare’s Love’s Labour’s Lost (Directed by Emily Burns for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 10
Review of Shakespeare's Much Ado About Nothing (Directed by Robert Hastie for Ramps on the Moon) at the Crucible, Sheffield Theatres, 20 September 20220
Review of Shakespeare’s Merry Wives (Adapted by Jocelyn Bioh, Directed by Saheem Ali for Shakespeare in the Park) at the Delacorte Theater, New York City, 15 September 20210
Polychronic Actants: Modern Promptbooks as Anticipated Acts, Unanticipated Acts, and Ideal Assemblages0
Close Reading: The Inveighing, Envying Martius in Coriolanus 3.3.940
Review of Shakespeare’s Richard III (Directed by Oisín Kearney) at the Lyric Theatre, Belfast, 3 November 20240
Introduction: Properties of Matter and Performance0
Review of Shakespeare’s Merry Wives of Windsor (Directed by Blanche McIntyre) at The Royal Shakespeare Theatre, 18 and 20 July 2024; and As You Like It0
Editing Cruxes in Shakespeare’s Midsummer Night’s Dream : Folio, Quarto, Performance0
Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference Shakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference 0
Shakespeare and Scale: The Archive of Early Printed English0
Shakespeare Grafting0
Shakespeare in Action0
Shakespeare for the Future: The Humble Activism of Slow Reading0
Listening to First Quartos: The Women of The Merry Wives of Windsor and Henry V0
The Forensic Invention of Leontes’ ‘Affection!’ in The Winter’s Tale0
Review of William Shakespeare and George Wilkins’s Pericles (Directed by Tamara Harvey for the Royal Shakespeare Company) at the Swan Theatre, Stratford-upon-Avon, 27 Au0
Review of Shakespeare’s Othello (Directed by Ola Ince for Shakespeare’s Globe) at the Sam Wanamaker Playhouse, London, 8 February 20240
Review of Arden of Faversham by a Young Shakespeare and a Senior Collaborator (Directed by Gerald Baker for Richmond Shakespeare Society) at the Mary Wallace Theatre, Tw0
Re-localising Shakespeare in Pakistan: A Post-Dramatic Appropriation of Shakespeare’s The Taming of the Shrew as Illaj-e-Zid-Dastiyab-Hey0
Review of Shakespeare’s The Winter’s Tale (Directed by Heidi Vaughan for Tobacco Factory Theatres) at the Tobacco Factory, Bristol, 25 February 20250
‘Dark Deeds Darkly Answered’ – The Political Economy of Prodigality inMeasure for Measure0
Afterword: Reflections from Afar, with Hope for our Collective Future0
Correction0
Paradise Now: Desiring English Eden in Shakespearean Gardens and Early Modern Horticultural Books0
Where Did Shakespeare Get Married?0
Review of Shakespeare’s A Midsummer Night’s Dream (Directed by Eleanor Rhode) for the Royal Shakespeare Company at the Barbican, 12 December 20240
Introduction: To the Reader; or, What’s in a Folio?0
Giles, John, and Will: The Fletchers and Shakespeare in Bishopsgate Street, London, 15960
Waugh’s Green World: Reconceptualising The Ordeal of Gilbert Pinfold as a Transcoded Production of King Lear0
Review of Shakespeare’s King Lear (Directed by Clive Brill) on BBC Radio 4 in Two Parts, 8 and 15 June 20250
The Duke of Gloucester’s Sword: Prosthetic Props in the Repertory of Edmund Kean0
John Caird on Shakespeare: An Interview0
Review of Shakespeare’s All’s Well That Ends Well (Directed by Chelsea Walker) at the Sam Wanamaker Playhouse, 17 December 2024 (matinée)0
Mirroring the ‘Other’: Intertextuality in Aparna Sen’s Arshinagar (2015)0
Interview with Aparna Sen0
Camp on Campus: Love’s Labour’s Lost ’s Queer Scholar0
Pericles VR – Immersive Shakespeare Adaptation for Southeast Asia0
Review of Nell Gwynn by Jessica Swale (Directed by Philip Crawford), Presented by the Lyric Drama Studio at the Naughton Studio, Lyric Theatre, Belfast, 10 May 20250
Review of Christopher Marlowe’s Edward II (Directed by Daniel Ragget) at the Royal Shakespeare Company, Swan Theatre, 11 March 20250
Shakespeare, Hogarth and Garrick: plays, painting and performance0
Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua’s Prince of the Himalayas and Vishal Bhardwaj’s Haider0
The Rich Gloss of Surface: Allegory and Sacred Theft in The Merchant of Venice0
The Dramaturgy of Ophelia’s Bouquet0
One Book to Rule Them All: ‘The King James Version’ of Shakespeare’s Plays0
Playbooks and their Readers in Early Modern England0
Love Deadline (Desdemona) , 1: Script of Love Deadline (Desdemona) , by Choi Ji Young0
Staging Female Characters in Shakespeare’s English History Plays0
Four Imaginary Boys: Astronomy, Allusion, and Erotics in Fletcher and Shakespeare’s The Two Noble Kinsmen (c. 1613), Johann Bayer’s <0
Review of Shakespeare’s The Merchant of Venice (Directed by Arin Arbus for the Theatre for a New Audience and the Shakespeare Theatre Company) at the Michael R. Klein Theatre at the Lansburgh, 0
‘Not on his Picture, but his Booke’: Shakespeare’s First Folio and Practices of Collection0
Steel Caliban: A New Etymological and Alchemical Inquiry into The Tempest0
Shakespeare on the Ecological Surface0
‘Shakespeare Never Said That’: The Internet’s Thousand Hamlets0
Adapting Shakespearean Romance in Indian Films: A Review Essay0
Editing Archipelagic Shakespeare0
Into the Narrative Soil: Prose Translation, Modernity, and Global Shakespeare0
Review of Cirkus (Motion Picture) (Directed by Rohit Shetty), Rohit Shetty Productionz and T-Series Films, 20220
Review of Shakespeare’s King Lear (Directed by Simon Godwin for the Shakespeare Theatre Company) at the Klein Theatre, Washington, DC, 15 March 20230
Hercules or Theseus, Lapiths or Pholus? Duke Theseus and the Fight with Centaurs in A Midsummer Night's Dream0
Dedication0
Inimitable Rarities?: Feather Costumes, Indigenous Artistic Labour and Early Modern English Theatre History0
Gender Reversals in Contemporary Shakespeare Adaptations: The Case of the National Theatre at Home During the Pandemic0
‘[S]he-Mercury’: Broadening Female Neighbourly Networks in The Merry Wives of Windsor0
On the Threshold: Hospitality in Shakespeare’s Drama0
Review of Shakespeare’s Romeo and Juliet (Directed by Jamie Lloyd for the Jamie Lloyd Company) at the Duke of York’s Theatre, 18 May 20240
Introduction: Shakespeare and the Jews0
Visualising Touch: Hand Imagery in Zeffirelli’s and Luhrmann’s Film Adaptations of Romeo and Juliet0
Dreaming of Serpents and Asses: Shakespeare’s Ovidian Animal Dreams inA Midsummer Night’s Dream0
Celebrity Plays and Embodied Fidelity0
Afterword0
‘I Will Through and Through / Cleanse the Foul Body of Th’infected World, / If They Will Patiently Receive My Medicine’ (As You Like It ) : 0
‘On Pleasures Past, and Dangers to Ensue’: Site-Specific Violence and the Post-Renovation Rose Repertory0
Review of Shakespeare’s Women (Directed by Ben Gould for Commedia of Errors) at the Studio Theatre, Grand Opera House, 9 November 2024 (Afternoon Performance)0
Review of Ham.net , Adapted by Sophia Carlin from Hamlet by William Shakespeare (Directed by Sophia Carlin for Hamlet Isn’t Dead) at Spit 0
Review of Shakespeare’s As You Like It (Directed by Ellen McDougall) at Shakespeare’s Globe, London, 8 September 20230
Close Reading: A Couplet from Love’s Labour’s Lost0
Disabled for England: Crip/Queer Veterans in Henry V0
Knowing What we are Making: Props, Scholarship, and the Pandemic0
Review of Hannah Khalil’s Adaptation of Shakespeare and Fletcher’s Henry VIII (Directed by Amy Hodge) at Shakespeare’s Globe, London, 16 September 20220
Review of Shakespeare’s Hamlet (Directed by Sean Holmes) at the Sam Wanamaker Playhouse, 3 March 20220
‘What els do Maskes, but Maskers Show’: Masked Ladies in Shakespeare’s Comedies0
Localising The Tempest in Malaya, via the Lambs: Cultural Resistance and Negotiation in Za’ba’s Cherita-Cherita Suka Shakespeare0
Review of Shakespeare’s Much Ado About Nothing (Directed by Simon Godwin) at the Lyttleton (National Theatre), London, 10 and 30 August 20220
Review of Shakespeare’s Twelfth Night (Directed by Mei Ann Teo) at the Folger Theatre, 18 June 20250
Shakespeare, Neurological Identity, and Early Modern Neurodiversity Studies: A Neurological Approach to ‘Character’0
Shakespeare and Digital Performance in Practice0
Just How Remarkable was the ‘Jealous Moor’? Othello , Jealousy and Early Modern Racial Stereotypes0
Review of William Shakespeare’s A Midsummer Night’s Dream (Directed by Elle While for Shakespeare’s Globe), 31 July 20230
Shakespeare’s Hamlet : Philosophical Perspectives0
Imagining the Soul in Premodern Literature Imagining the Soul in Premodern Literature , by Abe Davies, Cham, Palgrave Macmillan, 2021, Early Modern Literature in History0
Dogs Urinating on the 1623 Folio: The Jaggard Press’s Dionysus Ornament in Context0
Review of William Shakespeare’s The Tempest (Directed by Elizabeth Freestone for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 8 0
Fathoming the Deep in English Renaissance Tragedy: Horror, Mystery, and the Oceanic Sublime0
Quickly’s Rawhide Notebook: Desentimentalising the Crux atHenry V, 2.3.15-160
‘Poor Tom O’Bedlam’: Identifying the Subsistence Migrants of Early Modern England in Shakespeare’s King Lear0
Review of Shakespeare’s Henry VI: Rebellion and Henry VI: War of the Roses (Directed by Owen Horsley for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, 12 May 2022 and 0
Notes on the Couplet in the Sonnet0
Interview with Anirban Bhattacharya0
Performing Babies and the Properties of Race and Ethnicity0
‘This it is when men are ruled by women’: The Ableists’ Curse and the RSC’s 2022 production of Richard III (directed by Gregory Doran) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 0
Review of Shakespeare’s Cymbeline (Directed by Gregory Doran for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 23 May 20230
Justice or Judgment? On Adaptations of Macbeth in Chinese Traditional Opera0
Shakespeare for Everyone? History, Dramaturgy, and the Black Flesh as Prop in Transracial Shakespeare0
Review of Shakespeare’s Romeo and Juliet (Directed by José Zayas for the American Shakespeare Center) at the Blackfriars Playhouse, Staunton, Virginia, 25 February 20220
Introduction, or, Is Blank Verse Black?0
Ophelias’ Struggle to Break Free from Patriarchal Constructions of Gender Relations: The Pendulum Swing Between Hope and Despair in Iranian Rewritings of Hamlet0
Review of John Fletcher’s The Faithful Shepherdess (Directed by Lizzie Conrad Hughes for Shake-Scene Shakespeare), Zoom, 26 November 20230
Santiago : Making Bilingual Shakespeare Count0
Ross and the Politics of Witnessing in Macbeth : Shakespeare and Coen0
Review of Webster’s The Duchess of Malfi (Directed by Rachel Bagshaw) at the Sam Wanamaker Playhouse, London, 20 March 20240
Review of Elizabeth and Mary: Royal Cousins, Rival Queens (Exhibition), British Library, London, UK, 10 October 2021–20 February 20220
Hiding in Plain Sight – the (In)visibility of Shakespeare in the Films of Miklós Jancsó0
Review of Shakespeare’s As You Like It (Directed by Laurie Sansom for the Northern Broadsides Theatre Company) at the New Vic Theatre, Staffordshire, 10 February 20220
Review of Thomas Middleton’s Michaelmas Term (Directed by Perry Mills for Edward’s Boys) at the Inner Temple, London, 17 March 20230
Romancing the Tamil Shrews: Intertextuality and Inter-Caste Marriage in Arivaali0
Trees, Ballads, Iconoclasm and the Garden in Shakespeare’sRichard II0
Sympathy in Early Modern Literature and Culture0
Review of Shakespeare’s Richard III (Directed by Elle While) at Shakespeare’s Globe, London, 3 July 20240
The End(s) of The Tempest in Post-apartheid South Africa0
All’s Well That Ends Well ’s Paroles and the Bisexual Miles Gloriosus : Early Modern Expectations, Modern Stagings0
Knowing through Nursing: Edgar and the Exercise of Care in King Lear0
Review of Hamlet , by William Shakespeare (Directed by Selina Cadell for Westbeth Entertainment, Mick Perrin Worldwide and John Gore) at the Greenwich House Theater in N0
Review of Shakespeare’s Romeo and Juliet (Choreographed by Christopher Gable and Massimo Moricone to Sergei Prokofiev’s Score for Northern Ballet) at the Sheffield Lyceu0
Review of Shakespeare’s Richard II (Directed by Nicholas Hytner) at the Bridge Theatre, London, 22 April 20250
Objectifying Desire in Goliyon Ki Rasleela: Ram-Leela0
Horatio in Pieces: Or, How to Deal with Ghosts0
Exploring Contemporary Jewish Identity and Anti-Semitism via Metalepsis in Howard Jacobson’sShylock Is My Name(2016)0
John Trapp and the Shakespeare Family Epitaphs0
Shakespeare, Marston, and Getting to Moral Clarity through Comedy0
Metre, Rhythm, and Sounds of Silence in Shakespeare0
Metrical Variation and Metrical Emendation in Q1Hamlet0
Reworking Shakespeare: Romeo and Juliet to Maro Charithra0
Review of Marlowe’s Doctor Faustus (Directed by Ricky Dukes for the Lazarus Theatre Company) at the Southwark Playhouse, London, 3 September 20220
Shakespeare: The Man Who Pays the Rent0
Review of Iru , Motion Picture (Directed by Varghese Lal), 20230
Bound by Non-action: The Art of Not Doing in The Banquet and Prince of the Himalayas0
‘Wilt Break My Heart?’ Takotsubo Syndrome and Shakespeare’s Discourse of Heartbreak in Antony and Cleopatra and King Lear0
Review of Marlowe’s Edward II (Directed by Daniel Raggett) at the Swan Theatre, Stratford-upon-Avon, 1 April 20250
Macbeth and the Nine Herbs Charm : A Genealogy of the Grotesque0
Love as Bewitchment: Nimmi as the Third Witch in Maqbool0
Adapting Shakespearean Romance in Indian Cinema: An Introduction0
Review of Romil and Jugal , Web Series (Directed by Nupur Asthana), 20170
Review of Thomas Dekker, John Ford, and William Rowley’s The Witch of Edmonton (Adapted and Directed by Laura Jay Wright for Creation Theatre) Online, 9 March 20220
Review of Shakespeare’s Othello (Directed by Tim Carroll for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, Saturday 9th November 0
Review of Shakespeare's Macbeth (Directed by Max Webster) at the Donmar Warehouse, London, 2 Jan 2024 and Shakespeare's Macbeth (Directed 0
Review of Shakespeare’s Julius Caesar (Directed by Diane Page) at Shakespeare’s Globe, London, 6 September 20220
‘And All Is Semblative a Woman’s Part’: Japan’s All-Male As You Like It0
Hamlet’s Melancholic Imagination0
The Revolution’s Bloody Hands: Macbeth in Bolshevik Russia0
Marina’s School: Education and Vulnerability in Pericles0
Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History Richard III’s Bodies from Medieval England to Modernity: Shakespeare and Disability History0
Our Discontents: RD3RD and the Theatre of Cruelty0
Dark Renaissance: The Dangerous Times and Fatal Genius of Shakespeare’s Greatest Rival, Christopher Marlowe0
Shakespeare in Activism: Podcasts, Processions and the Public’s Richard II0
Review of William Shakespeare's All's Well That Ends Well (Directed by Blanche McIntyre for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 31 August 20220
Periclesand the Secret0
Counting to One: ‘One Flesh’ Marriage in Shakespeare and Fletcher’s The Two Noble Kinsmen0
Reading Robert Greene: Recovering Shakespeare’s Rival0
Introduction0
Shakespeare Against War: Pacifist Readings0
Shakespeare’s Botanical Imagination0
‘And Now They Never Meet in Grove or Green’ – Independent Theatre, Crisis, Viktor Bodó and A Midsummer Night’s Dream0
Shakespeare and the New Palace of Westminster (1834–1927)0
The Renaissance of the Saints After Reform0
Review of Shakespeare's The Comedy of Errors (Directed by Sean Holmes) and Macbeth (Directed by Abigail Graham) at Shakespeare's Globe The0
Industrial Nature: The Unrealised King Lear of Norman Bel Geddes0
Death as Preservation in The Winter’s Tale0
Othello and the ‘Turbanned Turk’: Rereading Othello’s Death in Light of Mosaic Allusion0
‘The Tale of Tereus’ and the Story of Procne: Innogen’s Bedside Reading0
Review of Shakespeare’s King Henry VI, Part II (Adapted and Directed by Danielle Rosvally for the University at Buffalo Department of Theatre and Dance) at the Universit0
Sound Logic: Verse Form, Musical Paradox, andThe Phoenix and the Turtle0
Indict the Author of Affection: Affectation and Catachresis in Hamlet0
Shakespeare and the Denial of Territory: Banishment, Abuse of Power and Strategies of Resistance0
Thomas Kyd: Two New Books0
‘Fears and Scruples Shake Us’: Ecological and Perceptual Instability in Macbeth0
The Shakspaires of Trinity Lane: A Possible Shakespeare Life-Record0
Uncanny Fidelity: Recognizing Shakespeare in Twenty-First-Century Film and Television0
Review of Shakespeare’s Henry V (Directed by Max Webster for the Donmar Warehouse), Streamed to Cinemas by NT Live, 21 April 20220
Review of Shakespeare's A Midsummer Night’s Dream (Directed by Jimmy Fay) at the Lyric Theatre (Outdoors), Belfast, 6 July 2024 (Afternoon Performance)0
Review of Shakespeare’s Much Ado About Nothing (Directed by Roy Alexander Weise for the Royal Shakespeare Company) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 4 March 20220
Review of Shakespeare’s King Lear (Directed by Helena Kaut-Howson) at Shakespeare’s Globe, London, 1 June and 24 July 20220
Rhetorical Identification in Shakespeare’s Roman Republics0
The Folgers’ First Folios0
Close Reading: 1 Henry VI, 1.1.8-160
Shakespeare and the Law0
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