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Bibliography

Published online by Cambridge University Press:  05 June 2012

Emma Smith
Emma Smith
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University of Oxford
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The Cambridge Introduction to Shakespeare , pp. 157 - 161
Publisher: Cambridge University Press
Print publication year: 2007

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References

Adamson, Sylvia et al. (eds.), Reading Shakespeare's Dramatic Language: A Guide (London: Thomson, 2001)Google Scholar
Adelman, Janet, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, ‘Hamlet’ to ‘The Tempest’ (London: Routledge, 1992)Google Scholar
Alexander, Gavin (ed.), Sidney's ‘The Defence of Poesy’ and Selected Renaissance Literary Criticism, edited by Alexander, Gavin (London: Penguin, 2004)Google Scholar
Altman, Joel D., ‘“Vile Participation”: The Amplification of Violence in the Theatre of Henry V’, Shakespeare Quarterly 42 (1991)CrossRefGoogle Scholar
Amussen, Susan Dwyer, ‘The Family and the Household’, in Kastan, David Scott (ed.), A Companion to Shakespeare (Oxford: Blackwell, 1999)CrossRefGoogle Scholar
Aughterson, Kate (ed.), The English Renaissance: An Anthology of Sources and Documents (London: Routledge, 1998)Google Scholar
Barton, John, Playing Shakespeare (London: Methuen, 1984)Google Scholar
Bate, Jonathan, The Genius of Shakespeare (London: Picador, 1997)Google Scholar
Bate, W. Jackson, The Burden of the Past and the English Poet (London: Chatto and Windus, 1971)Google Scholar
Belsey, Catherine, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Routledge, 1991)Google Scholar
Bennett, Andrew, The Author (London: Routledge, 2005)Google Scholar
Bennett, Andrew and Royle, Nicholas, Introduction to Literature, Criticism and Theory (3rd edn, Harlow: Pearson Longman, 2004)Google Scholar
Berry, Cicely, The Actor and his Text (London: Virgin, 1993)Google Scholar
Bloom, Harold, Shakespeare: The Invention of the Human (London: Fourth Estate, 1999)Google Scholar
Bloom, HaroldThe Anxiety of Influence (2nd edn, Oxford: Oxford University Press, 1997)Google Scholar
Bradley, A. C., Shakespearean Tragedy (London: Macmillan, 1904)Google Scholar
Bullough, Geoffrey, Narrative and Dramatic Sources of Shakespeare (London: Routledge and Kegan Paul, 1957–75)
Burke, Seán (ed.), Authorship, from Plato to the Postmodern: A Reader (Edinburgh: Edinburgh University Press, 2000)Google Scholar
Burt, Richard, and Lynda, E. Boose (eds.), Shakespeare the Movie II: Popularising the Plays on Film, TV, Video, and DVD (London: Routledge, 2003)Google Scholar
Callaghan, Dympna, Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage (London: Routledge, 1999)CrossRefGoogle Scholar
Callow, Simon, Henry IV Part 1 and Part II: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Cartmell, Deborah, Interpreting Shakespeare on Screen (Basingstoke: Macmillan, 2000)CrossRefGoogle Scholar
Cerasano, S. P. (ed.), The Merchant of Venice: A Sourcebook (London: Routledge, 2004)Google Scholar
Cerasano, S. P. and Wynne-Davies, Marion (eds.), Gloriana's Face: Women, Public and Private, in the English Renaissance (London: Harvester Wheatsheaf, 1992)Google Scholar
Chambers, E. K., The Elizabethan Stage (Oxford: Clarendon Press, 1923)Google Scholar
Clare, Janet, ‘Art made Tongue-Tied by Authority’: Elizabethan and Jacobean Dramatic Censorship (2nd edn, Manchester: Manchester University Press, 1999)Google Scholar
Cloud, Random, ‘“The Very Names of the Persons”: Editing and the Invention of Dramatick Character’, in Kastan, David Scott and Stallybrass, Peter (eds), Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama (London: Routledge, 1991)Google Scholar
Cloud, Random‘The Marriage of Good and Bad Quartos’, in Shakespeare Quarterly 33 (1982)CrossRefGoogle Scholar
Cordner, Michael, ‘Actors, Editors, and the Annotation of Shakespearean Playscripts’, Shakespeare Survey 55 (2002)CrossRefGoogle Scholar
Cox, John (ed.), Shakespeare in Production: Much Ado About Nothing (Cambridge: Cambridge University Press, 1997)Google Scholar
Crystal, David, The Cambridge Encyclopedia of the English Language (Cambridge: Cambridge University Press, 1999)Google Scholar
de Grazia, Margreta, ‘The Scandal of Shakespeare's Sonnets’, Shakespeare Studies 46 (1993), reprinted in Shakespeare and Sexuality, ed. Alexander, Catherine (Cambridge: Cambridge University Press, 2001)Google Scholar
Grazia, MargretaHamlet without ‘Hamlet’ (forthcoming, Cambridge: Cambridge University Press, 2007)Google Scholar
Grazia, Margreta and Wells, Stanley (eds.), The Cambridge Companion to Shakespeare (Cambridge: Cambridge University Press, 2001)CrossRefGoogle Scholar
Grazia, Margreta, and Stallybrass, Peter, ‘The Materiality of the Shakespearean Text’, in Shakespeare Quarterly 44 (1993)CrossRefGoogle Scholar
di Gangi, Mario, The Homoerotics of Early Modern Drama (Cambridge: Cambridge University Press, 1997)CrossRefGoogle Scholar
Duncan-Jones, Katherine, Ungentle Shakespeare: Scenes from his Life (London: Arden Shakespeare, 2001)Google Scholar
Dutton, Richard, Mastering the Revels: The Regulation and Censorship of English Renaissance Drama (Basingstoke: Macmillan, 1991)CrossRefGoogle Scholar
Dymkowski, Christine (ed.), Shakespeare in Production: The Tempest (Cambridge: Cambridge University Press, 2000)Google Scholar
Edelman, Charles (ed.), Shakespeare in Production: The Merchant of Venice (Cambridge: Cambridge University Press, 2002)Google Scholar
Fielding, Emma, Twelfth Night: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Fitter, Chris, ‘Historicising Shakespeare's Richard II: Current Events, Dating, and the Sabotage of Essex’, Early Modern Literary Studies 11. 2 (September, 2005) at http://purl.oclc.org/emls/11-2/fittric2.htmGoogle Scholar
Frances, Shirley (ed.), Shakespeare in Production: Troilus and Cressida (Cambridge: Cambridge University Press, 2005)Google Scholar
Goldberg, Jonathan, Sodometries: Renaissance Texts, Modern Sexualities (Stanford Calif.: Stanford University Press, 1992)Google Scholar
Greenblatt, Stephen, Will in the World: How Shakespeare Became Shakespeare (London: Jonathan Cape, 2004)Google Scholar
Griffiths, Trevor, Shakespeare in Production: A Midsummer Night's Dream (Cambridge: Cambridge University Press, 1996)Google Scholar
Hadfield, Andrew (ed.), Othello: A Sourcebook (London: Routledge, 2003)Google Scholar
Hankey, Julie (ed.), Shakespeare in Production: Othello (2nd edn, Cambridge: Cambridge University Press, 2005)Google Scholar
Hapgood, Robert (ed.), Shakespeare in Production: Hamlet (Cambridge: Cambridge University Press, 1999)Google Scholar
Holderness, Graham, Shakespeare Recycled: The Making of Historical Drama, (London: Harvester Wheatsheaf, 1992)Google Scholar
Holmes, Jonathan, Merely Players? Actors' Accounts of Performing Shakespeare (London: Routledge, 2004)Google Scholar
Honan, Park, Shakespeare: A Life (Oxford: Oxford University Press, 2000)Google Scholar
Howard, Jean, ‘Crossdressing, the Theatre and Gender Struggle in Early Modern England’, Shakespeare Quarterly 39 (1988)CrossRefGoogle Scholar
Ingram, Martin, ‘Love, Sex and Marriage’, in Shakespeare: An Oxford Guide, eds. Wells, Stanley and Orlin, Lena Cowen (Oxford: Oxford University Press, 2003)Google Scholar
Ioppolo, Grace (ed.), King Lear: A Sourcebook (London: Routledge, 2002)Google Scholar
Jackson, Russell (ed.), The Cambridge Companion to Shakespeare on Film (Cambridge: Cambridge University Press, 2000)CrossRefGoogle Scholar
Jones, James Earl, Othello: Actors on Shakespeare (London: Faber, 2003)Google Scholar
Jorgens, Jack, Shakespeare on Film (Bloomington and London: Indiana University Press, 1977)Google Scholar
Kastan, David Scott, Shakespeare after Theory (London: Routledge, 1999)Google Scholar
Kastan, David Scott (ed.), A Companion to Shakespeare (Oxford: Blackwell, 1999)CrossRefGoogle Scholar
Kermode, Frank, Shakespeare's Language (London: Penguin, 2001)Google Scholar
Kiernan, Pauline, Staging Shakespeare at the New Globe (Basingstoke: Macmillan, 1999)CrossRefGoogle Scholar
Knights, L. C., Explorations: Essays in Criticism (London: Chatto and Windus, 1946)Google Scholar
Kott, Jan, Shakespeare our Contemporary (New York: Doubleday, 1964)Google Scholar
Kozintsev, Grigori, King Lear: The Space of Tragedy (London: Heinemann, 1977)Google Scholar
Leggatt, Alexander (ed.), Macbeth: A Sourcebook (London: Routledge, 2005)Google Scholar
Lentricchia, Frank and McLaughlin, Thomas, Critical Terms for Literary Study (2nd edn, Chicago: University of Chicago Press, 1995)CrossRefGoogle Scholar
Loehlin, James (ed.), Shakespeare in Production: Romeo and Juliet (Cambridge: Cambridge University Press, 2002)Google Scholar
Madelaine, Richard (ed.), Shakespeare in Production: Antony and Cleopatra (Cambridge: Cambridge University Press, 1998)Google Scholar
Maguire, Laurie E., ‘Feminist Editing and the Body of the Text’, in Callaghan, Dympna (ed.), A Feminist Companion to Shakespeare (Oxford: Blackwell, 2000)CrossRefGoogle Scholar
Marcus, Leah, Unediting the Renaissance: Shakespeare, Marlowe, Milton (London: Routledge, 1996)CrossRefGoogle Scholar
Marshall, Cynthia (ed.), Shakespeare in Production: As You Like It (Cambridge: Cambridge University Press, 2004)Google Scholar
Maus, Katherine, Inwardness and Theater in the English Renaissance (Chicago and London: University of Chicago Press, 1995)Google Scholar
McEvoy, Sean (ed.), Hamlet: A Sourcebook (London: Routledge, 2005)Google Scholar
Mullaney, Steven, ‘Mourning and Misogyny: Hamlet and the Final Progress of Elizabeth I’, Shakespeare Quarterly 45 (1994) and reprinted in Chedgzoy, Kate, Shakespeare, Feminism and Gender (Basingstoke: Palgrave, 2001)Google Scholar
Neill, Michael, ‘Broken English and Broken Irish: Nation, Language, and the Optic of Power in Shakespeare's Histories’, Shakespeare Quarterly 45 (1994)CrossRefGoogle Scholar
Neill, MichaelIssues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford: Oxford University Press, 1997)CrossRefGoogle Scholar
Orgel, Stephen, Impersonations: the Performance of Gender in Shakespeare's England (Cambridge: Cambridge University Press, 1996)Google Scholar
Palfrey, Simon, Doing Shakespeare (London: Arden Shakespeare, 2005)Google Scholar
Pequigney, Joseph, Such is My Love: A Study of Shakespeare's Sonnets (Chicago and London: University of Chicago Press, 1985)Google Scholar
Redgrave, Vanessa, Antony and Cleopatra: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Reeves, Saskia, Much Ado About Nothing: Actors on Shakespeare (London: Faber, 2003)Google Scholar
Rice, Philip and Waugh, Patricia (eds.), Modern Literary Theory (London: Edward Arnold, 4th edn, 2001)Google Scholar
Rodenburg, Patsy, Speaking Shakespeare (London: Methuen, 2005)Google Scholar
Rose, Mary Beth, ‘Where are the Mothers in Shakespeare: Options for Gender Representation in the English Renaissance’, Shakespeare Quarterly 42 (1991)CrossRefGoogle Scholar
Schafer, Elizabeth (ed.), Shakespeare in Production: The Taming of the Shrew (Cambridge: Cambridge University Press, 2002)Google Scholar
Shapiro, James, 1599: A Year in the Life of William Shakespeare (London: Faber, 2005)Google Scholar
Sinfield, Alan, Faultlines: Cultural Materialism and the Politics of Dissident Reading (Oxford: Clarendon Press, 1992)Google Scholar
Smiley, Jane, A Thousand Acres (London: Flamingo, 1992)Google Scholar
Smith, Emma (ed.), Blackwell Guides to Criticism: Shakespeare's Tragedies (Oxford: Blackwell, 2004)CrossRefGoogle Scholar
Smith, EmmaBlackwell Guides to Criticism: Shakespeare's Histories (Oxford: Blackwell, 2004)CrossRefGoogle Scholar
Smith, EmmaShakespeare in Production: King Henry V (Cambridge: Cambridge University Press, 2002)Google Scholar
Snyder, Susan, ‘The Genres of Shakespeare's Plays’, in Grazia, Margreta and Wells, Stanley (eds.), The Cambridge Companion to Shakespeare (Cambridge: Cambridge University Press, 2001)CrossRefGoogle Scholar
Spurgeon, Caroline, Shakespeare's Imagery and What it Tells Us (Cambridge: Cambridge University Press, 1935)CrossRefGoogle Scholar
Stern, Tiffany, Making Shakespeare: From Stage to Page (London: Routledge, 2004)Google Scholar
Tillyard, E. M. W., Shakespeare's History Plays (London: Chatto and Windus, 1944)Google Scholar
Traub, Valerie, The Renaissance of Lesbianism in Early Modern England (Cambridge: Cambridge University Press, 2002)Google Scholar
Urkowitz, Steven, ‘Good News about ‘Bad’ Quartos’, in Charney, Maurice (ed.), ‘Bad’ Shakespeare: Revaluations of the Shakespeare Canon(Rutherford, NJ: Fairleigh Dickinson University Press, 1988)Google Scholar
Vaughan, Virginia Mason, Othello: A Contextual History (Cambridge: Cambridge University Press, 1994)Google Scholar
Vaughan, Virginia MasonPerforming Blackness on Renaissance Stages 1500–1800 (Cambridge: Cambridge University Press, 2005)Google Scholar
Vickers, Brian, ed., English Renaissance Literary Criticism, Oxford: Oxford University Press, 1999Google Scholar
Walter, Harriet, Macbeth: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Warner, Marina, From the Beast to the Blonde: On Fairy Tales and their Tellers (London: Chatto and Windus, 1994)Google Scholar
Warren, Michael, and Taylor, Gary, The Division of the Kingdoms: Shakespeare's Two Versions of ‘King Lear’ (Oxford: Oxford University Press, 1983)Google Scholar
Wells, Stanley and Orlin, Lena Cowen, Shakespeare: An Oxford Guide (Oxford: Oxford University Press, 2003)Google Scholar
Wilders, John (ed.), Shakespeare in Production: Macbeth (Cambridge: Cambridge University Press, 2004)Google Scholar
Worden, Blair, ‘Which Play was Performed at the Globe Theatre on 7 February 1601?’ London Review of Books (10 July 2003)Google Scholar
Adamson, Sylvia et al. (eds.), Reading Shakespeare's Dramatic Language: A Guide (London: Thomson, 2001)Google Scholar
Adelman, Janet, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, ‘Hamlet’ to ‘The Tempest’ (London: Routledge, 1992)Google Scholar
Alexander, Gavin (ed.), Sidney's ‘The Defence of Poesy’ and Selected Renaissance Literary Criticism, edited by Alexander, Gavin (London: Penguin, 2004)Google Scholar
Altman, Joel D., ‘“Vile Participation”: The Amplification of Violence in the Theatre of Henry V’, Shakespeare Quarterly 42 (1991)CrossRefGoogle Scholar
Amussen, Susan Dwyer, ‘The Family and the Household’, in Kastan, David Scott (ed.), A Companion to Shakespeare (Oxford: Blackwell, 1999)CrossRefGoogle Scholar
Aughterson, Kate (ed.), The English Renaissance: An Anthology of Sources and Documents (London: Routledge, 1998)Google Scholar
Barton, John, Playing Shakespeare (London: Methuen, 1984)Google Scholar
Bate, Jonathan, The Genius of Shakespeare (London: Picador, 1997)Google Scholar
Bate, W. Jackson, The Burden of the Past and the English Poet (London: Chatto and Windus, 1971)Google Scholar
Belsey, Catherine, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Routledge, 1991)Google Scholar
Bennett, Andrew, The Author (London: Routledge, 2005)Google Scholar
Bennett, Andrew and Royle, Nicholas, Introduction to Literature, Criticism and Theory (3rd edn, Harlow: Pearson Longman, 2004)Google Scholar
Berry, Cicely, The Actor and his Text (London: Virgin, 1993)Google Scholar
Bloom, Harold, Shakespeare: The Invention of the Human (London: Fourth Estate, 1999)Google Scholar
Bloom, HaroldThe Anxiety of Influence (2nd edn, Oxford: Oxford University Press, 1997)Google Scholar
Bradley, A. C., Shakespearean Tragedy (London: Macmillan, 1904)Google Scholar
Bullough, Geoffrey, Narrative and Dramatic Sources of Shakespeare (London: Routledge and Kegan Paul, 1957–75)
Burke, Seán (ed.), Authorship, from Plato to the Postmodern: A Reader (Edinburgh: Edinburgh University Press, 2000)Google Scholar
Burt, Richard, and Lynda, E. Boose (eds.), Shakespeare the Movie II: Popularising the Plays on Film, TV, Video, and DVD (London: Routledge, 2003)Google Scholar
Callaghan, Dympna, Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage (London: Routledge, 1999)CrossRefGoogle Scholar
Callow, Simon, Henry IV Part 1 and Part II: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Cartmell, Deborah, Interpreting Shakespeare on Screen (Basingstoke: Macmillan, 2000)CrossRefGoogle Scholar
Cerasano, S. P. (ed.), The Merchant of Venice: A Sourcebook (London: Routledge, 2004)Google Scholar
Cerasano, S. P. and Wynne-Davies, Marion (eds.), Gloriana's Face: Women, Public and Private, in the English Renaissance (London: Harvester Wheatsheaf, 1992)Google Scholar
Chambers, E. K., The Elizabethan Stage (Oxford: Clarendon Press, 1923)Google Scholar
Clare, Janet, ‘Art made Tongue-Tied by Authority’: Elizabethan and Jacobean Dramatic Censorship (2nd edn, Manchester: Manchester University Press, 1999)Google Scholar
Cloud, Random, ‘“The Very Names of the Persons”: Editing and the Invention of Dramatick Character’, in Kastan, David Scott and Stallybrass, Peter (eds), Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama (London: Routledge, 1991)Google Scholar
Cloud, Random‘The Marriage of Good and Bad Quartos’, in Shakespeare Quarterly 33 (1982)CrossRefGoogle Scholar
Cordner, Michael, ‘Actors, Editors, and the Annotation of Shakespearean Playscripts’, Shakespeare Survey 55 (2002)CrossRefGoogle Scholar
Cox, John (ed.), Shakespeare in Production: Much Ado About Nothing (Cambridge: Cambridge University Press, 1997)Google Scholar
Crystal, David, The Cambridge Encyclopedia of the English Language (Cambridge: Cambridge University Press, 1999)Google Scholar
de Grazia, Margreta, ‘The Scandal of Shakespeare's Sonnets’, Shakespeare Studies 46 (1993), reprinted in Shakespeare and Sexuality, ed. Alexander, Catherine (Cambridge: Cambridge University Press, 2001)Google Scholar
Grazia, MargretaHamlet without ‘Hamlet’ (forthcoming, Cambridge: Cambridge University Press, 2007)Google Scholar
Grazia, Margreta and Wells, Stanley (eds.), The Cambridge Companion to Shakespeare (Cambridge: Cambridge University Press, 2001)CrossRefGoogle Scholar
Grazia, Margreta, and Stallybrass, Peter, ‘The Materiality of the Shakespearean Text’, in Shakespeare Quarterly 44 (1993)CrossRefGoogle Scholar
di Gangi, Mario, The Homoerotics of Early Modern Drama (Cambridge: Cambridge University Press, 1997)CrossRefGoogle Scholar
Duncan-Jones, Katherine, Ungentle Shakespeare: Scenes from his Life (London: Arden Shakespeare, 2001)Google Scholar
Dutton, Richard, Mastering the Revels: The Regulation and Censorship of English Renaissance Drama (Basingstoke: Macmillan, 1991)CrossRefGoogle Scholar
Dymkowski, Christine (ed.), Shakespeare in Production: The Tempest (Cambridge: Cambridge University Press, 2000)Google Scholar
Edelman, Charles (ed.), Shakespeare in Production: The Merchant of Venice (Cambridge: Cambridge University Press, 2002)Google Scholar
Fielding, Emma, Twelfth Night: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Fitter, Chris, ‘Historicising Shakespeare's Richard II: Current Events, Dating, and the Sabotage of Essex’, Early Modern Literary Studies 11. 2 (September, 2005) at http://purl.oclc.org/emls/11-2/fittric2.htmGoogle Scholar
Frances, Shirley (ed.), Shakespeare in Production: Troilus and Cressida (Cambridge: Cambridge University Press, 2005)Google Scholar
Goldberg, Jonathan, Sodometries: Renaissance Texts, Modern Sexualities (Stanford Calif.: Stanford University Press, 1992)Google Scholar
Greenblatt, Stephen, Will in the World: How Shakespeare Became Shakespeare (London: Jonathan Cape, 2004)Google Scholar
Griffiths, Trevor, Shakespeare in Production: A Midsummer Night's Dream (Cambridge: Cambridge University Press, 1996)Google Scholar
Hadfield, Andrew (ed.), Othello: A Sourcebook (London: Routledge, 2003)Google Scholar
Hankey, Julie (ed.), Shakespeare in Production: Othello (2nd edn, Cambridge: Cambridge University Press, 2005)Google Scholar
Hapgood, Robert (ed.), Shakespeare in Production: Hamlet (Cambridge: Cambridge University Press, 1999)Google Scholar
Holderness, Graham, Shakespeare Recycled: The Making of Historical Drama, (London: Harvester Wheatsheaf, 1992)Google Scholar
Holmes, Jonathan, Merely Players? Actors' Accounts of Performing Shakespeare (London: Routledge, 2004)Google Scholar
Honan, Park, Shakespeare: A Life (Oxford: Oxford University Press, 2000)Google Scholar
Howard, Jean, ‘Crossdressing, the Theatre and Gender Struggle in Early Modern England’, Shakespeare Quarterly 39 (1988)CrossRefGoogle Scholar
Ingram, Martin, ‘Love, Sex and Marriage’, in Shakespeare: An Oxford Guide, eds. Wells, Stanley and Orlin, Lena Cowen (Oxford: Oxford University Press, 2003)Google Scholar
Ioppolo, Grace (ed.), King Lear: A Sourcebook (London: Routledge, 2002)Google Scholar
Jackson, Russell (ed.), The Cambridge Companion to Shakespeare on Film (Cambridge: Cambridge University Press, 2000)CrossRefGoogle Scholar
Jones, James Earl, Othello: Actors on Shakespeare (London: Faber, 2003)Google Scholar
Jorgens, Jack, Shakespeare on Film (Bloomington and London: Indiana University Press, 1977)Google Scholar
Kastan, David Scott, Shakespeare after Theory (London: Routledge, 1999)Google Scholar
Kastan, David Scott (ed.), A Companion to Shakespeare (Oxford: Blackwell, 1999)CrossRefGoogle Scholar
Kermode, Frank, Shakespeare's Language (London: Penguin, 2001)Google Scholar
Kiernan, Pauline, Staging Shakespeare at the New Globe (Basingstoke: Macmillan, 1999)CrossRefGoogle Scholar
Knights, L. C., Explorations: Essays in Criticism (London: Chatto and Windus, 1946)Google Scholar
Kott, Jan, Shakespeare our Contemporary (New York: Doubleday, 1964)Google Scholar
Kozintsev, Grigori, King Lear: The Space of Tragedy (London: Heinemann, 1977)Google Scholar
Leggatt, Alexander (ed.), Macbeth: A Sourcebook (London: Routledge, 2005)Google Scholar
Lentricchia, Frank and McLaughlin, Thomas, Critical Terms for Literary Study (2nd edn, Chicago: University of Chicago Press, 1995)CrossRefGoogle Scholar
Loehlin, James (ed.), Shakespeare in Production: Romeo and Juliet (Cambridge: Cambridge University Press, 2002)Google Scholar
Madelaine, Richard (ed.), Shakespeare in Production: Antony and Cleopatra (Cambridge: Cambridge University Press, 1998)Google Scholar
Maguire, Laurie E., ‘Feminist Editing and the Body of the Text’, in Callaghan, Dympna (ed.), A Feminist Companion to Shakespeare (Oxford: Blackwell, 2000)CrossRefGoogle Scholar
Marcus, Leah, Unediting the Renaissance: Shakespeare, Marlowe, Milton (London: Routledge, 1996)CrossRefGoogle Scholar
Marshall, Cynthia (ed.), Shakespeare in Production: As You Like It (Cambridge: Cambridge University Press, 2004)Google Scholar
Maus, Katherine, Inwardness and Theater in the English Renaissance (Chicago and London: University of Chicago Press, 1995)Google Scholar
McEvoy, Sean (ed.), Hamlet: A Sourcebook (London: Routledge, 2005)Google Scholar
Mullaney, Steven, ‘Mourning and Misogyny: Hamlet and the Final Progress of Elizabeth I’, Shakespeare Quarterly 45 (1994) and reprinted in Chedgzoy, Kate, Shakespeare, Feminism and Gender (Basingstoke: Palgrave, 2001)Google Scholar
Neill, Michael, ‘Broken English and Broken Irish: Nation, Language, and the Optic of Power in Shakespeare's Histories’, Shakespeare Quarterly 45 (1994)CrossRefGoogle Scholar
Neill, MichaelIssues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford: Oxford University Press, 1997)CrossRefGoogle Scholar
Orgel, Stephen, Impersonations: the Performance of Gender in Shakespeare's England (Cambridge: Cambridge University Press, 1996)Google Scholar
Palfrey, Simon, Doing Shakespeare (London: Arden Shakespeare, 2005)Google Scholar
Pequigney, Joseph, Such is My Love: A Study of Shakespeare's Sonnets (Chicago and London: University of Chicago Press, 1985)Google Scholar
Redgrave, Vanessa, Antony and Cleopatra: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Reeves, Saskia, Much Ado About Nothing: Actors on Shakespeare (London: Faber, 2003)Google Scholar
Rice, Philip and Waugh, Patricia (eds.), Modern Literary Theory (London: Edward Arnold, 4th edn, 2001)Google Scholar
Rodenburg, Patsy, Speaking Shakespeare (London: Methuen, 2005)Google Scholar
Rose, Mary Beth, ‘Where are the Mothers in Shakespeare: Options for Gender Representation in the English Renaissance’, Shakespeare Quarterly 42 (1991)CrossRefGoogle Scholar
Schafer, Elizabeth (ed.), Shakespeare in Production: The Taming of the Shrew (Cambridge: Cambridge University Press, 2002)Google Scholar
Shapiro, James, 1599: A Year in the Life of William Shakespeare (London: Faber, 2005)Google Scholar
Sinfield, Alan, Faultlines: Cultural Materialism and the Politics of Dissident Reading (Oxford: Clarendon Press, 1992)Google Scholar
Smiley, Jane, A Thousand Acres (London: Flamingo, 1992)Google Scholar
Smith, Emma (ed.), Blackwell Guides to Criticism: Shakespeare's Tragedies (Oxford: Blackwell, 2004)CrossRefGoogle Scholar
Smith, EmmaBlackwell Guides to Criticism: Shakespeare's Histories (Oxford: Blackwell, 2004)CrossRefGoogle Scholar
Smith, EmmaShakespeare in Production: King Henry V (Cambridge: Cambridge University Press, 2002)Google Scholar
Snyder, Susan, ‘The Genres of Shakespeare's Plays’, in Grazia, Margreta and Wells, Stanley (eds.), The Cambridge Companion to Shakespeare (Cambridge: Cambridge University Press, 2001)CrossRefGoogle Scholar
Spurgeon, Caroline, Shakespeare's Imagery and What it Tells Us (Cambridge: Cambridge University Press, 1935)CrossRefGoogle Scholar
Stern, Tiffany, Making Shakespeare: From Stage to Page (London: Routledge, 2004)Google Scholar
Tillyard, E. M. W., Shakespeare's History Plays (London: Chatto and Windus, 1944)Google Scholar
Traub, Valerie, The Renaissance of Lesbianism in Early Modern England (Cambridge: Cambridge University Press, 2002)Google Scholar
Urkowitz, Steven, ‘Good News about ‘Bad’ Quartos’, in Charney, Maurice (ed.), ‘Bad’ Shakespeare: Revaluations of the Shakespeare Canon(Rutherford, NJ: Fairleigh Dickinson University Press, 1988)Google Scholar
Vaughan, Virginia Mason, Othello: A Contextual History (Cambridge: Cambridge University Press, 1994)Google Scholar
Vaughan, Virginia MasonPerforming Blackness on Renaissance Stages 1500–1800 (Cambridge: Cambridge University Press, 2005)Google Scholar
Vickers, Brian, ed., English Renaissance Literary Criticism, Oxford: Oxford University Press, 1999Google Scholar
Walter, Harriet, Macbeth: Actors on Shakespeare (London: Faber, 2002)Google Scholar
Warner, Marina, From the Beast to the Blonde: On Fairy Tales and their Tellers (London: Chatto and Windus, 1994)Google Scholar
Warren, Michael, and Taylor, Gary, The Division of the Kingdoms: Shakespeare's Two Versions of ‘King Lear’ (Oxford: Oxford University Press, 1983)Google Scholar
Wells, Stanley and Orlin, Lena Cowen, Shakespeare: An Oxford Guide (Oxford: Oxford University Press, 2003)Google Scholar
Wilders, John (ed.), Shakespeare in Production: Macbeth (Cambridge: Cambridge University Press, 2004)Google Scholar
Worden, Blair, ‘Which Play was Performed at the Globe Theatre on 7 February 1601?’ London Review of Books (10 July 2003)Google Scholar

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  • Bibliography
  • Emma Smith, University of Oxford
  • Book: The Cambridge Introduction to Shakespeare
  • Online publication: 05 June 2012
  • Chapter DOI: https://doi.org/10.1017/CBO9780511816970.009
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  • Bibliography
  • Emma Smith, University of Oxford
  • Book: The Cambridge Introduction to Shakespeare
  • Online publication: 05 June 2012
  • Chapter DOI: https://doi.org/10.1017/CBO9780511816970.009
Available formats
×

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  • Bibliography
  • Emma Smith, University of Oxford
  • Book: The Cambridge Introduction to Shakespeare
  • Online publication: 05 June 2012
  • Chapter DOI: https://doi.org/10.1017/CBO9780511816970.009
Available formats
×