Alexander, Nigel. Poison, Play, and Duel. Lincoln: University of Nebraska Press, 1971, 212 p.

Contends that Hamlet's dilemma is caused by a dual problem: he must combat the evil that surrounds him and control the violence within himself.

Babcock, Weston. "Hamlet": A Tragedy of Errors. West Lafayette, Ind.: Purdue University Press, 1961, 134 p.

Concentrates on the characters' misconceptions and views these misconceptions as errors that lead to the catastrophe, chief among them being Hamlet's belief that Gertrude is guilty of complicity in Claudius's crime.

Battenhouse, Roy W. "Hamartia in Aristotle, Christian Doctrine, and Hamlet." In Shakespearean Tragedy: Its Art and Its Christian Premises, pp. 204-66. Bloomington: Indiana University Press, 1969.

A religious interpretation of Hamlet, describing a combination of the philosophies of Aristotle, Augustine, and Aquinas in Shakespeare's tragedies.

Braddy, Haldeen. Hamlet's Wounded Name. El Paso: Texas Western College Press, 1964, 82 p.

Compares the plot of the play "with folklore motifs and medieval conventions that justify Hamlet's course of action," claiming that Hamlet rejects Ophelia because she allows herself to be used as a pawn by Claudius.

Charney, Maurice. Style in "Hamlet. " Princeton: Princeton University Press, 1969, 333 p.

A three-part examination of Hamlet that analyzes theatrical images and style in the development of characterization.

Cox, Roger L. "Hamlet's Hamartia: Aristotle or St. Paul?" The Yale Review LV, No. 3 (Spring 1966): 347-64.

Argues that critics' attempts to illuminate Hamlet's "tragic flaw" by means of Aristotle's Poetics are misguided, mainly because Aristotle's aesthetics fail to explain Hamlet's "madness" and his inability to act, and maintains that the Christian doctrine of sin serves as a more satisfactory basis for Hamlet's dilemma.

Cruttwell, Patrick. "The Morality of Hamlet—'Sweet Prince' or 'Arrant Knave'?" Stratford-Upon-Avon Studies 5 (1963): 110-29.

Examines Hamlet as an essentially moral character who reluctantly enters a life of "action, violence, intrigue and public activity."

Doran, Madeleine. "The Language of Hamlet." Huntington Library Quarterly XXVII, No. 3 (May 1964): 259-78.

Detailed analysis of the language of the play which regards Hamlet's final feeling as one of failure, and maintains that ultimately, he remains a misunderstood figure, or worse, a "common assassin," after his tragic act.

Erlich, Avi. Hamlet's Absent Father. Princeton: Princeton University Press, 1977, 308 p.

Disputes the Freudian interpretation of Hamlet's character, stressing that Oedipal conflicts manifest themselves differently in different people.

Friedman, Neil and Richard M. Jones. "On the Mutuality of the Oedipus Complex: Notes on the Hamlet Case." In The Design Within: Psychoanalytic Approaches to Shakespeare, edited by M. D. Faber, pp. 121-46. New York: Science House, 1970.

Psychoanalytic study of Hamlet that emphasizes its "psychosocial" qualities and represents the character of Hamlet as struggling against a corrupt world.

Hardison, O. B., Jr. "The Dramatic Triad in Hamlet." Studies in Philology LXII, No. 1 (January 1960): 144-64.

Presents Fortinbras, Laertes, and Ophelia as a dramatic triad and describes their function as dramatic foils to Hamlet.

Holland, Norman N. "Hamlet: My Greatest Creation." The Journal of the American Academy of Psychoanalysis 3, No. 4 (October 1975): 419-27.

Claims that the language of the play creates a "potential space" which gives the reader or auditor a chance to create his or her own alternate meanings and dramatic possibilities.

Lupton, Julia Reinhard and Kenneth Reinhard. After Oedipus: Shakespeare in Psychoanalysis. Ithaca, N. Y.: Cornell University Press, 267 p.

Includes several chapters that investigate Hamlet in relation to the currents of psychoanalytic theory.

Morris, Harry. "Hamlet as a Memento Mori Poem." PMLA 85, No. 5 (October 1970): 1035-40.

Maintains that Shakespeare's "close and detailed concern with the plight of the soul of each character who is to die" argues for an eschatological reading of the play, and that such a reading is enhanced "by the structure of the five acts insofar as it is modeled on the memento mori-timor mortis lyric."

Nevo, Ruth. "Hamlet." In Tragic Form in Shakespeare, pp. 128-77. Princeton: Princeton University Press, 1972.

Analyzes the dramatic structure of Hamlet and identifies a mode of action characterized by "speculation, interrogation, spying into, finding out, testing, probing, observing, and discovering."

Newell, Alex. "The Dramatic Context and Meaning of Hamlet's 'To Be or Not To Be' Soliloquy." PMLA LXXX, No. 1 (March 1965): 38-50.

Suggests that Hamlet's famous soliloquy dramatically reveals "that he is grappling with a particular problem that is an outgrowth of the developing event, the presentation of the mousetrap play."

Ribner, Irving. "The Pattern of Growth: Hamlet." In Patterns in Shakespearian Tragedy, pp. 65-90. London: Methuen & Co., 1960.

Contends that Hamlet is unable to destroy the evil which surrounds him without first accepting his own human weakness and becoming, like Horatio, a stoic Christian.

Varga, Laszlo, and Bonnieta Fye. "Ghost and Antic Disposition: An Existential and Psychoanalytic Interpretation of Shakespeare's Hamlet." The Psychiatric Quarterly 40, No. 4 (October 1966): 607-27.

Explores the importance of free will and determinism in relation to Hamlet's character.