He correctly points out that the computer can only augment the critics' judgment, not replace it, but he makes a convincing case that such augmentation is of value.
He succinctly expresses a division of literary critical and scholarly work into two chief categories: what he terms "Lower Criticism," which is chiefly textual and bibliographical in nature, and "Higher Criticism, “which is typified by interpretive studies.
He explores the notion of the "performance crux"- a moment, puzzling to the director and actors, that calls for some kind of stage business to justify or explain action - in the surviving texts of many of Shakespeare's plays.
she continues concern with the scholarly electronic edition, beginning with the observation that the majority of literary archives in electronic form within have been conceived more as digital libraries than disquisitions that utilise the medium as a site of interpretation- tracing this situation to the underlying philosophy of texts and textuality