-
Adelman, Janet, Suffocating Mothers: Fantasies of Maternal Origin on
Postcolonial Rewritings of the Tempest,
(1992).
-
Barbar, C. L., Shakespeare’s Festive Comdey,
1959.
-
Barton, Anne, The Tempest, ed. (New Penguin Shakespeare),
1968.
-
Bate, Jonathan,Shakespeare and Ovid,
1993.
-
Bate, Jonathan, “Caliban and Ariel
Write Back”. S. Sur.
48, 1995, 155–62.
-
Berry, Ralph,
Shakespeare’s Comedy: Explorations in Form,
(1972).
-
Brooks, Harold. “The Tempest: What Sort
of Play?”, Proceedings of the
British Academy, 64 (1978), 27–54; p.
37.
-
Burnett, Thornton. & Wray,
Romana, Shakespeare and Ireland:
History, Politics, Culture,
(1997).
-
Callaghan, Dympna, Shakespeare without Women,
2000.
-
Chedgzoy, Kate, Shakespeare’s Queer Children: Sexaul Politics and
Contemporary
Culture, 1995, ch. 5.
-
Chickering, Howell, “Hearing Ariel’s
Songs”, Journal of Medieval and
Renaissance Studies, 1994,
131–72.
-
Clark, Stewart. Thinking with Demons,
(1997).
-
Clubb, Louise George, Italian Drama in Shakespeare’s
time, 1989.
-
Clulee, Nicholas H, John Dee’s Natural Philosophy: Between
Science and Religion, 1998, p.
134.
-
Dollimore, John and Alan Sinfield, eds,
Political Shakespeare: New
Essays in Cultural Materialism,
(1985).
-
Dusinberre, Juliet, Shakespeare and the Nature of
Women, 1975.
-
Dymkowski, The
Tempest, (Cambridge Shakespeare in Production
Series), 2000, p. 27.
-
Flethcher, Angus, Allegory: The Theory of a Symbolic
Mode, 1964.
-
Fox-Good, Jacquelyn, “Other Voices: The
Sweet, Dangerous Air (s) of Shakespeare’s Tempest”, S. St. (1996),
241–74.
-
Frey, Charles, “The Tempest and the New World”, S. Q., 30 (1979), 29–41.
-
Frye, Northrop, A Natural Perspective,
1965.
-
Fuchs, Barbara, “Conquering islands:
Contextualizing The Tempest,
S.Q., 48 (1997),
45–62.
-
Gilman, Ernest B, “All
eyes”: Prospero’s inverted masque” Ren Q, 33 (1980), 214–30, p.
218
-
Grazia, Margareta,
“The Tempest:
gratuitous movement or action without kibes and
pinches”. S. St., 14 (1981),
249–65.
-
Greenblatt, Stephen.
Shakespearean Negotiations: The
Criculations of Social Energy in Renaissance
England, University of California Press,
1988.
-
Griffiths, Trevor. R,
“This island’s mine”: Caliban and Colonialism”,
The Yearbook of English
Studies, 13 (1983),
159–80.
-
Gurr, Andrew. “The Tempest’s temptest at
Blackfriars”, S.
Sur., 41 (1989), pp.
91–102.
-
Halpern, Richard, “The
Picture of Nobody”: White Eannibalism in The Tempest, in David Lee
Miller, Sharon O’Dair and Harold Weber, eds., The Production of English Renaissance
Culture, 1994, pp.
262–92.
-
Hamilton, Donna B,
Virgil and The Tempest: The
Politics of Imitation,
1995.
-
Henke, Robert, Italian Tragicomedy and Shakespeare’s Late
Plays,
1997.
-
Hunter, G. K. “Italian
Tragicomedy on the English Stage”, Renaissance Drama, NS. 6
(1975), pp.
123–48.
-
James, Heather,
Shakespeare’s Troy: Drama,
Politics and The Translation of Empire,
1997.
-
Kastan, David Scott,
Shakespeare after
Theory, Routledge, N.Y. and London,
1999.
-
Kermode, Frank,
The Tempest, ed.,
1954 (Arden
Shakespeare).
-
Knapp, Jeffrey,
An Empire Nowhere,
1992.
-
Knight, Wilson,
The Crown of Life,
(1947), p. 255.
-
Langbaum, Robert,
The Tempest, ed.,
(Signet Classic Shakespeare),
1962.
-
Leininger, Lorie
Jerrell. “The Miranda Trap: Sexim and Racism in
Shakespeare’s Tempest, in Carolyn Lenz et al., eds., The Woman’s Part,
1980, pp. 285–94.
-
Lenz, Carolyn et al.,
eds., The Woman’s
Part, 1980, pp.
285–94.
-
Lindley, David, “Music,
Masque and Meaning in The
Tempest”, in Lindley (ed.) The Court Masque, 1984, pp.
47–59.
-
Lindley, David. ed.
The Tempest, New
Cambridge Shakespeare,
2002.
-
Magnusson, A. Lynne,
“Interruption in “The Tempest”, S.Q., Vol. 37, No. 1, (Spring, 1986),
52–65.
-
Mason, Virginia, Alden
T, Vaughan. eds. The
Tempest, The Arden Shakespeare,
1999.
-
Miola, Roberts S.
Shakespeare and Classical
Comedy: The Influence of Plautus and Terence,
1994.
-
Muir, Kenneth, The Sources of Shakespeare’s
Plays, 1977, pp.
278–83.
-
Norbrook, David, “What
cares these roarers for the name of the King?”: Language
and Utopia in The Tempest, in
Gordon’s The Politics of Tragicomdey, 1992,
pp. 21–54.
-
Nutall, A. D., Two Concepts of Allegory,
1967.
-
Orgel, Stephen,
The Jonsonian Masque,
1967.
-
Payden, Anthony,
European Encounters with the New
World: From Renaissance to Romanticism, 1993,
p. 5.
-
Porter, H. C., The Inconstant Savage: England and the
North American Indian 1500–1660,
1979.
-
Salingar, Leo, Shakespeare and the Traditions of
Comedy,
(1974).
-
Schwartz, Murray M.
& Coppelia Kahn, eds., Representing Shakespeare: New Psychoanalytic
Essays, 1980, pp.
217–43.
-
Sellers, Susan,
Feminist Criticism: Theory and
Practice, 1991, p.
54.
-
Still, Colin, Shakespeare’s Mystery Play: A Study of
“The Tempest”
(1921).
-
Sundelson, David, “So
rare a wonder’d father”: Prospero’s Tempest”, in Murray
M. Schwartz and Coppelia Kahn, eds. Representing
Shakespeare: New Psychoanalytic
Essays, 1980, pp.
33–53.
-
Thomson, Leslie. “The
meaning of Thunder and Lightning: Stage directions and
audience expectations”, Early
Theatre, 2 (1999), pp.
11–24.
-
Tudeau-Clayton,
Margaret, Jonson and Shakespeare
and Early Modern Virgil,
1998.
-
Vickers, Brian,
Appropriating Shakespeare:
Conetmporary Critical
Quarrels,
1993.
-
Wells, Robin Headlam,
“Prospero, King James and the Myth of the Musician-King”
in Elizabethan
Mythologies, 1994, pp.
63–80.
-
Wilson, J. Dover,
The meaning of “the
Tempest”
(1936).
-
Wilson, Richard, “Voyage
to Tunis: New History and the Old World of The Tempest, ELH, 64 (1997),
333–57.
-
Winn, James Anderson,
Unsuspected Eloquence: A History
of the Relations between Poetry and Music,
1981.
-
Wood Stanley & A.
Syms-Wood, eds. The
Tempest. The Oxford and Cambridge Edition,
n.d.