- The Adaptation of a Shakespearean Genre: Othello and Ford's 'Tis Pity She's a Whore
- The Adoption of Abominable Terms: The Insults That Shape Windsor's Middle Class
- All's Well That Ends Well (Vol. 26)
- All's Well That Ends Well (Vol. 38)
- All's Well That Ends Well (Vol. 55)
- All's Well That Ends Well (Vol. 63)
- All's Well That Ends Well (Vol. 75)
- All's Well That Ends Well (Vol. 86)
- And All Things Change Them to the Contrary: Romeo and Juliet and the Metaphysics of Language
- Antony And Cleopatra (Vol. 27)
- Antony and Cleopatra (Vol. 47)
- Antony and Cleopatra (Vol. 58)
- Antony and Cleopatra (Vol. 70)
- Antony and Cleopatra (Vol. 81)
- Antony and Cleopatra (Vol. 91)
- Apparent Perversities: Text and Subtext in the Construction of the Role of Edgar in Brook's Film of King Lear1
- Appearance vs. Reality
- As Who Liked It
- As You Like It (Vol. 34)
- As You Like It (Vol. 46)
- As You Like It (Vol. 57)
- As You Like It (Vol. 69)
- As You Like It (Vol. 80)
- As You Like It (Vol. 90)
- The Authorship Controversy
- Beginnings and Endings
- Between Michelangelo and Petrarch: Shakespeare's Sonnets of Art
- Breaking the Illusion of Being: Shakespeare and the Performance of Self
- Broken English and Broken Irish: Nation, Language, and the Optic of Power in Shakespeare's Histories
- Caesar, Julius
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