[1]
Adelman, J. 1992. Suffocating mothers: fantasies of maternal origin in Shakespeare’s plays, Hamlet to The Tempest. Routledge.
[2]
Adelman, J. 1992. Suffocating mothers: fantasies of maternal origin in Shakespeare’s plays, Hamlet to The Tempest. Routledge.
[3]
Aebischer, P. 2004. Shakespeare’s violated bodies: stage and screen performance. Cambridge University Press.
[4]
Alfar, C.L. 2003. Looking for Goneril and Regan. Privacy, domesticity, and women in early modern England. Ashgate. 167–9.
[5]
Archer, J.E.G. 2011. Intellectual and cultural world ofthe early modern Inns of Court. Manchester University Press.
[6]
Bloom, H. 1988. William Shakespeare’s Antony and Cleopatra. Chelsea House.
[7]
Chernaik, W.L. 2013. The myth of Rome in Shakespeare and his contemporaries. Cambridge University Press.
[8]
Chernaik, W.L. 2013. The myth of Rome in Shakespeare and his contemporaries. Cambridge University Press.
[9]
Colie, R.L. and Flahiff, F.T. 1974. Some facets of ‘King Lear’: essays in prismatic criticism. Heinemann Educational.
[10]
Cook, A.J. 2014. Making a Match: Courtship in Shakespeare and His Society. Princeton University Press.
[11]
Cook, A.J. 2014. Making a Match: Courtship in Shakespeare and His Society. Princeton University Press.
[12]
Cook, C. 1986. ‘The Sign and Semblance of Her Honor’: Reading Gender Difference in Much Ado about Nothing. PMLA. 101, 2 (Mar. 1986). DOI:https://doi.org/10.2307/462403.
[13]
Cook, C. 1986. ‘The Sign and Semblance of Her Honor’: Reading Gender Difference in Much Ado about Nothing. PMLA. 101, 2 (Mar. 1986). DOI:https://doi.org/10.2307/462403.
[14]
Cousins, A.D.; D. 2018. Shakespeare and the soliloquy in early modern English drama. Cambridge University Press.
[15]
Cousins, A.D. and Derrin, D. eds. 2018. Shakespeare and the soliloquy in early modern English drama. Cambridge University Press.
[16]
David McCandless 1994. Helena’s Bed-trick: Gender and Performance in All’s Well That Ends Well. Shakespeare Quarterly. 45, 4 (1994), 449–468.
[17]
Deborah Willis 2002. ‘The Gnawing Vulture’: Revenge, Trauma Theory, and ‘Titus Andronicus’. Shakespeare Quarterly. 53, 1 (2002), 21–52.
[18]
Deborah Willis 2002. ‘The Gnawing Vulture’: Revenge, Trauma Theory, and ‘Titus Andronicus’. Shakespeare Quarterly. 53, 1 (2002), 21–52.
[19]
Ellis, A. 2009. Old age, masculinity, and early modern drama: comic elders on the Italian and Shakespearean stage. Ashgate.
[20]
Erne, L. 2013. Shakespeare as Literary Dramatist. New York.
[21]
Franssen, P. 2016. Shakespeare’s literary lives : theauthor as character in fiction andfilm. Cambridge University Press.
[22]
Gabriel Egan 27AD. The New Oxford Shakespeare: Complete Set: Modern Critical Edition, Critical Reference Edition, Authorship Companion. OUP Oxford; Critical edition.
[23]
Greenblatt, S. 2013. Hamlet in purgatory (electronic resource). Princeton University Press.
[24]
Howard, J.E. and Rackin, P. 1997. Engendering a nation: a feminist account of Shakespeare’s English histories (electronic resource). Routledge.
[25]
Kahn, C. 1997. Roman Shakespeare: warriors, wounds, and women. Routledge.
[26]
Kahn, C. 1997. Roman Shakespeare: warriors, wounds, and women. Routledge.
[27]
Kahn, C. 1997. Roman Shakespeare: warriors, wounds, and women. Routledge.
[28]
Kingsley-Smith, J. 2003. ‘Hereafter, in a Better World Than This’: The End of Exile in As You Like It and King Lear. Shakespeare’s drama of exile. Macmillan. 106–136.
[29]
Kingsley-Smith, J. 2003. ‘Hereafter, in a Better World Than This’: The End of Exile in As You Like It and King Lear. Shakespeare’s drama of exile. Macmillan. 106–136.
[30]
Lawrence Danson 1983. Henry V: King, Chorus, and Critics. Shakespeare Quarterly. 34, 1 (1983), 27–43.
[31]
Leggatt, A. 1988. Shakespeare’s political drama: the history plays and the Roman plays. Routledge.
[32]
Leggatt, A. 2005. Shakespeare’s tragedies: violation and identity. Cambridge University Press.
[33]
Leggatt, A. 2005. Shakespeare’s tragedies: violation and identity. Cambridge University Press.
[34]
Loomba, A. 2002. The Imperial Romance of Anthony and Cleopatra. Shakespeare, Race, and Colonialism. Oxford University Press. 112–134.
[35]
Margreta de Grazia and Peter Stallybrass 1993. The Materiality of the Shakespearean Text. Shakespeare Quarterly. 44, 3 (1993), 255–283.
[36]
McMullan, G. 2007. Shakespeare and the idea of late writing: authorship in the proximity of death. Cambridge University Press.
[37]
Mercer, P. 1987. Hamlet and the acting of revenge. Macmillan.
[38]
Michael Neill 1994. Broken English and Broken Irish: Nation, Language, and the Optic of Power in Shakespeare’s Histories. Shakespeare Quarterly. 45, 1 (1994), 1–32.
[39]
Michael Neill 1993. ‘In Everything Illegitimate’: Imagining the Bastard in Renaissance Drama. The Yearbook of English Studies. 23, (1993), 270–292.
[40]
Miola, R.S. 1983. Shakespeare’s Rome. Cambridge University Press.
[41]
Miola, R.S. 1983. Shakespeare’s Rome. Cambridge University Press.
[42]
Muir, K. and International Shakespeare Conference 1969. Shakespeare survey: an annual survey of Shakespearian study & production, 22. Cambridge U.P.
[43]
Neely, C.T. 1993. Broken nuptials in Shakespeare’s plays. University of Illinois Press.
[44]
Neely, C.T. 1993. Broken nuptials in Shakespeare’s plays. University of Illinois Press.
[45]
Neely, C.T. 1993. Broken nuptials in Shakespeare’s plays. University of Illinois Press.
[46]
Olivier, L.O. 2003. Henry V. ITV DVD.
[47]
Palfrey, S. and Stern, T. 2007. Shakespeare in parts. Oxford University Press.
[48]
Parker, P.A. and Hartman, G.H. 1985. Shakespeare and the question of theory (electronic resource). Methuen.
[49]
Pirie, D. 1972. Hamlet without the Prince. Critical Quarterly. 14, 4 (1972), 293–314.
[50]
Ryan, K. 2002. Shakespeare. Palgrave.
[51]
Shakespeare, W. et al. 2006. Hamlet. Arden Shakespeare.
[52]
Shakespeare, W. 2008. Hamlet. Oxford University Press.
[53]
Shakespeare, W. et al. 2006. Hamlet (The First Folio, 1623) (electronic resource). Arden Shakespeare.
[54]
Shakespeare, W. et al. 2006. Hamlet (The First Quarto; 1603) (electronic resource). Hamlet: the texts of 1603 and 1623. Arden.
[55]
Shakespeare, W. et al. 2006. Hamlet (The Second Quarto, 1604–05) (electronic resource). Arden Shakespeare.
[56]
Shakespeare, W. et al. 2006. Hamlet: the texts of 1603 and 1623. Arden Shakespeare.
[57]
Shakespeare, W. 2016. Much ado about nothing. Bloomsbury Arden Shakespeare.
[58]
Shakespeare, W. 2016. Much ado about nothing. Bloomsbury Arden Shakespeare.
[59]
Shakespeare, W. 2016. The Norton Shakespeare. W.W. Norton & Company.
[60]
Shakespeare, W. et al. 2008. The Norton Shakespeare: based on the Oxford edition. W. W. Norton.
[61]
Shakespeare, W. et al. 2016. The Norton Shakespeare: Comedies. W. W. Norton.
[62]
Shakespeare, W. et al. 2016. The Norton Shakespeare: Histories. W. W. Norton.
[63]
Shakespeare, W. et al. 2016. The Norton Shakespeare: Romances and poems. W. W. Norton.
[64]
Shakespeare, W. et al. 2016. The Norton Shakespeare: Tragedies. W. W. Norton.
[65]
Shakespeare, W. and Bate, J. 2006. Titus Andronicus. The Arden Shakespeare/Thomson Learning.
[66]
Shakespeare, W. and Bate, J. 2006. Titus Andronicus. The Arden Shakespeare/Thomson Learning.
[67]
Shakespeare, W. and Foakes, R.A. 1997. King Lear (electronic resource). Nelson.
[68]
Shakespeare, W. and Neill, M. 2008. Anthony and Cleopatra. Oxford University Press.
[69]
Shakespeare, W. and Orgel, S. 1996. The winter’s tale. Oxford University Press.
[70]
Shakespeare, W. and Snyder, S. 1993. All’s well that ends well. Clarendon Press.
[71]
Shakespeare, W. and Taylor, G. 2008. Henry V. Oxford University Press.
[72]
Smith, E. 2007. Cambridge introduction to Shakespeare. Cambridge University Press.
[73]
Smith, E.J. 2016. Shakespeare’s First Folio : four centuries of an iconic book. Open University Press.
[74]
Stanton, K. 2014. Shakespeare’s ’whores’ : erotics, politics and poetics. Palgrave Macmillan.
[75]
Taylor, G. and Warren, M. 1983. The Division of the kingdoms: Shakespeare’s two versions of King Lear. Clarendon Press.
[76]
Thomas, V. 1987. The moral universe of Shakespeare’s problem plays. Croom Helm.
[77]
Thompson, A. 2016. Hamlet: A Critical Reader. Bloomsbury Publishing.
[78]
Thorne, A. 2003. Shakespeare’s romances. Palgrave Macmillan.
[79]
Thornton Burnett, M. 1994. The Heart of the Mystery: Hamlet and Secrets. New essays on Hamlet. AMS Press. 21–46.
[80]
Ure, P. 1964. William Shakespeare: the problem plays -Troilus and Cressida - all’s well that ends well - Measure for Measure - Timon of Athens. Published for The British Council and The National Book League by Longman.
[81]
Victorian Illustrated Shakespeare Archive | by Michael John Goodman: https://shakespeareillustration.org/.
[82]
Walter S. H. Lim 2001. Knowledge and Belief in ‘The Winter’s Tale’. Studies in English Literature, 1500-1900. 41, 2 (2001), 317–334.
[83]
Wells, S.W. and Orlin, L.C. 2003. Shakespeare: an Oxford guide. Oxford University Press.
[84]
Wills, G. and ebrary, Inc 2011. Rome and rhetoric: Shakespeare’s Julius Caesar. Yale University Press.
[85]
Wills, G. and ebrary, Inc 2011. Rome and rhetoric: Shakespeare’s Julius Caesar. Yale University Press.
[86]
Zander, H. 2005. Julius Caesar: new critical essays. Routledge.
[87]
Zander, H. 2005. Julius Caesar: new critical essays. Routledge.
[88]
2015. Shakespearean sensations : experiencing literature in early modern England. Cambridge University Press.