Bevington, David ed., The Complete Works of Shakespeare, Third Edition. Glenview, IL, 1980. 
Baldwin, T. W. The Organization and Personnel of the Shakespearean Company. Princeton, 1927. 
Berek, Peter. “Text, Gender, and Genre in The Taming of the Shrew.” In “Bad” Shakespeare: Revaluations of the Shakespeare Canon, ed. by Maurice Charney, 91-104. London, 1988. 
Boose, Lynda E. “Scolding Brides and Bridling Scolds: Taming the Woman’s Unruly Member.” Shakespeare Quarterly 42 (1991) 179-213. 
Fineman, Joel. “The Turn of the Shrew.” In Shakespeare and the Question of Theory, ed. by Patricia Parker, et al, 138-59. New York, 1985. 
Haring-Smith, Tori. From Farce to Metadrama: A Stage History of “The Taming of the Shrew,” 1594-1983 (Contributions in Drama and Theatre Studies, 16). Westport, CT, 1985. 
Hodgdon, Barbara. “Katherina Bound; or, Play(K)ating the Strictures of Everyday Life.” Publications of the Modern Language Association of America 107 (1992) 538-53. 
Holderness, Graham. “Production, Reproduction, Performance: Marxism, History, Theatre.” In Uses of History: Marxism, Postmodernism and the Renaissance, ed. by Francis Barker, et al, 153-78. Manchester, 1991. 
Howard, Jean. “Women as Spectators, Spectacles, and Paying Customers.” In Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama, ed. by Kastan and Stallybrass, 68-74. New York, 1991.  A longer version of this article entitled “Scripts and/versus Playhouses: Ideological Production and the Renaissance Public Stage,” appears in Renaissance Drama 20 (1989) 31-49. 
Howard-Hill, T. H., ed. The Taming of the Shrew: A Concordance to the Text of the First Folio (The Oxford Shakespeare Concordances). Oxford, 1969. 
Huston, J. Dennis. “‘To make a puppet’: Play and Play-Making in The Taming of the Shrew.” Shakespeare Studies 9 (1976) 73-87. 
Levine, Laura. “Men in Women’s Clothing: Anti-theatricality and Effeminization from 1579 to 1642.” Criticism 28 (1986) 121-43. 
Mikesell, Margaret. “‘Love wrought these miracles’: Marriage and Genre in The Taming of the Shrew.” Renaissance Drama 20 (1990) 141-67. 
Moison, Thomas. “‘Knock me here soundly’: Comic Misprision and Class Consciousness in Shakespeare.” Shakespeare Quarterly 42 (1991) 276-90. See esp. 276-82. 
Newman, Karen. “Renaissance Family Politics and Shakespeare’s The Taming of the Shrew.” English Literary Renaissance 16 (1986) 86-100. 
Orgell, Stephen. “Nobody’s Perfect: Or Why Did the English Stage Take Boys for Women?” The South Atlantic Quarterly 88 (1989) 7-29. 
Perret, Marion D. “Petruchio: The Model Wife.” Studies in English Literature, 1500-1900 23 (1983) 223-35. 
Sirluck, Katherine A. “Patriarchy, Pedagogy, and the Divided Self in The Taming of the Shrew.” University of Toronto Quarterly 60 (1990-91) 417-34. 
Traub, Valerie. “The (In)significance of ‘lesbian’ desire in early modern England.” In Erotic Politics: Desire on the Renaissance Stage, ed. by Susan Zimmerman, 150-69. New York, 1992. 
Weller, Barry. “Induction and Inference: Theatre, Transformation, and the Construction of Identity in The Taming of the Shrew.” In Creative Imitation: New Essays on Renaissance Literature, ed. by David Quint, et al, 297-329. Binghamton, 1992. 
Wells, Stanley and Gary Taylor. “No Shrew, a Shrew, and the Shrew: Internal Revision in The Taming of the Shrew.” In Shakespeare: Text, Language, Criticism, ed. by Bernhard Fabian, et al, 351-70. New York, 1987. 
Wentersdorf, Karl P. “The Original Ending of The Taming of the Shrew: A Reconsideration.” Studies in English Literature, 1500-1900 18 (1978) 201-15. 
Berry, Ralph. "The Rules of the Game." In Shakespeare's Comedies: Explorations in Form, pp. 54-71. Princeton, NJ: Princeton University Press, 1972.
Argues that while The Taming of the Shrew may be, in essence, a "brutal sex farce," it is also a subtle portrayal of two people coming to terms on the rules of the games played between men and women.
Boose, Linda "The Taming of the Shrew, Good Husbandry, and Enclosure." Shakespeare Reread: The Texts in New Contexts, edited by Russ McDonald, pp. 193-225. Ithaca Cornell, 1994.
Relates the play's treatment of social and sexual hierarchy to socioeconomic changes and class conflict in early modern England.
Bradbrook, Muriel C. "Dramatic Role as Social Image: A Study of The Taming of the Shrew." Shakespeare Jahrbuch 94, (1958): 132-50.
Examines Shakespeare's adaptation of the traditional roles associated with characters in earlier treatments of the shrew story, focusing in particular on his development of the characters of Katherina and Petruchio.
Brooks, Charles. "Shakespeare's Romantic Shrews." Shakespeare Quarterly 11, No. 3 (Summer, 1960): 351-6. Compares Katherina and Bianca with other Shakespearean female characters.
Coghill, Nevil. "The Basis of Shakespearian Comedy." Essays and Studies 3 (1950): 1-28.
One of the first essays to argue that Katherina, not Petruchio, is the one who succeeds in mastering "the art of practice of matrimony."
Dusinberre, Juliet. "The Taming of the Shrew: Women, Acting, and Power." Studies in the Literary Imagination 26, No. 1 (Spring, 1993): 67-84.
Points out ways in which the play calls attention to the Elizabethan practice of using boy actors in female roles and examines the effect of this practice on the play's portrayal of gender relations.
Duthie, George Ian. "Shakespeare and the Order-Disorder Antithesis" and "Comedy." Shakespeare, pp. 39-56, 57-88. London- Hutchinson's University Library, 1951. Interprets The Taming of the Shrew in terms of Elizabethan notions of a divinely ordered hierarchy of creation.
Greer, Germaine. "The Middle-Class Myth of Love and Marriage." The Female Eunuch, pp. 195-215. New York: McGraw-Hill, 1970.
Briefly discusses The Taming of the Shrew in the context of changing ideas about the nature of marriage in late sixteenth-century England.
Heffernan, Carol F. "The Taming of the Shrew: The Bourgeoisie in Love." Essays in Literature 12, No. 1 (Spring, 1985): 3-14.
Analyzes the play's portrayal of the values of the emergent middle class and its critique of the materialistic nature of Elizabethan marriage arrangements.
Heilman, Robert B. "The 'Taming' Untamed, or, The Return of the Shrew." Modern Language Quarterly 27, No. 2 (June, 1966): 147-61.
Argues against twentieth-century interpretations of The Shrew that turn this "free-swinging farce" into "a brittlely ironic comic drama."
Jayne, Sears. "The Dreaming of 'The Shrew'." Shakespeare Quarterly 17, No. 1 (Winter, 1966): 41-56.
Regards the dramatic events of The Taming of the Shrew from Act I, scene ii, onwards as Sly's wish-fulfilling dream.
Leggatt, Alexander. "The Taming of the Shrew." In Shakespeare's Comedy of Love, 41-62. London: Methuen, 1974.
Notes that although Petruchio appears to challenge orthodox notions of propriety with his eccentric behavior, he ultimately teacnes Katherina to appreciate social amenities and to value "peace ... and love, and quiet life" (V, ii, 108). In addition, the critic calls attention to the many images drawn from sport, especially such blood sports as "hunting and hawking," associated with Petruchio's taming of Katherina.
Mack, Maynard. "Engagement and Detachment in Shakespeare's Plays." Essays on Shakespeare and Elizabethan Drama in Honor of Hardm Craig, edited by Richard Hosley, pp. 275-96. Columbia: University of Missouri Press, 1962.
Newman, Karen. "Renaissance Family Politics and Shakespeare's The Taming of the Shrew." English Literary Renaissance 16, No. 1 (Winter, 1986): 86-100.
Argues that by emphasizing its own theatricality, The Taming of the Shrew undermines Elizabethan social and gender roles by revealing them to be artificial.
Novy, Marianne L. "Patriarchy and Play in The Taming of the Shrew," in English Literary Renaissance 9, No. 2 (Spring, 1979): 264-80.
Examines the relationship between game-playing and the play's reaffirmation of male authority in the play.
Ranald, Margaret Loftus. "The Performance of Feminism in The Taming of the Shrew." Theatre Research International, n.s. 19, No. 3 (Fall, 1994): 214-25.
Provides a brief review of the play's performance history, focusing in particular in how the relationship between Katherine and Petruchio has been portrayed.
Shapiro, Michael. "Framing the Taming: Metatheatrical Awareness of Female Impersonation in The Taming of the Shrew." The Yearbook of English Studies 23 (1993): 143-66.
Looks at how the Elizabethan use of boy actors in female roles might have affected audience perception of the play's female characters.
Shaw, Bernard. "Chin Chon Chino." The Saturday Review 84, No. 2193 (November 6, 1987): 488-90.
Praises the play as a "realistic comedy" but finds the final scene deplorable.
Traversi, Derek. "'The Taming of the Shrew.'" William Shakespeare: The Early Comedies, pp. 14-22. London: The British Council, 1960.
Maintains that The Taming of the Shrew defends the view that male domination of women is ordained by nature.
Ulrici, Hermann. "Criticisms of Shakspeare's Drama: 'Much Ado about Nothing'—'Taming of the Shrew'." Shakspeare's Dramatic Art: And His Relation to Calderon and Goethe, translated by A. J. W. Morrison, pp. 289-99. London: Chapman Brothers, 1839. Notes relationships between the Induction and the
main body of the play.
Webster, Margaret. "The Early Plays." Shakespeare without Tears, pp. 135-58. New York: Whittlesey House, 1942.
Sees the play as depicting an ideal couple's negotiation of a "marriage of true minds."
West, Michael. "The Folk Background of Petruchio's Wooing Dance: Male Supremacy in 'The Taming of the Shrew.'" Shakespeare Studies: An Annual Gathering of Research, Criticism, and Reviews 7 (1974): 65-73.
Examines similarities between the play and folk traditions of courtship in arguing that the principal source of the play's "imaginative appeal" is its lusty depiction of the rites of sexual initiation.