Works Cited

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Abel, Lionel, Metatheatre: A New View of Dramatic Form (New York: Hill, 1963).

Allman, Eileen Jorge, Player-King and Adversary: Two Faces of Play in Shakespeare (Baton Rouge: Louisiana State University Press, 1980).

Bacon, Francis, "Of Anger," The Essays or Counsels, Civil and Moral. The Works of Francis Bacon, ed. James Spedding, Robert Leslie Ellis, and Douglas Denon Heath, 1857-74, vol. 6 (New York: Garrett, 1968) pp. 510-12, 14 vols.

Barker, Francis, The Tremulous Private Body: Essays on Subjection (London: Methuen, 1984).

Battenhouse, Roy [W.], Shakespearean Tragedy: Its Art and Its Christian Premises (Bloomington: Indiana University Press, 1969).

Belsey, Catherine, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Methuen, 1985).

Booth, Stephen, "On the Value of Hamlet," Reinterpretations of Elizabethan Drama, ed. Norman Rabkin (Selected Papers from the English Institute, New York: Columbia University Press, 1969) pp. 137-76.

Bradley, A. C, Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth, 2nd ed. (1905; New York: St Martin's; London: Macmillan, 1966).

Burns, Edward, Character: Acting and Being on the Pre-Modern Stage (New York: St Martin's, 1990).

Burton, Robert, The Anatomy of Melancholy (New York, 1847).

Buzacott, Martin, The Death of the Actor: Shakespeare on Page and Stage (London: Routledge, 1991).

Calderwood, James L., "Hamlet's Readiness," Shakespeare Quarterly, 35 (1984): 267-73.

Calderwood, James L., To Be and Not to Be: Negation and Metadrama in Hamlet (New York: Columbia University Press, 1983).

Calhoun, Jean S., "Hamlet and the Circumference of Action," Renaissance News, 15 (1962): 281-98.

Cartwright, Kent, Shakespearean Tragedy and Its Double: The Rhythms of Audience Response (University Park: Pennsylvania State University Press, 1991).

Charney, Maurice, Hamlet's Fictions (New York: Routledge, 1988).

Charney, Maurice, Style in Hamlet (Princeton: Princeton University Press, 1969).

Cole, David, Acting as Reading: The Place of the Reading Process in the Actor's Work (Ann Arbor: University of Michigan Press, 1992).

Coleridge, Samuel Taylor, Coleridge on Shakespeare, ed. Terence Hawkes (1959) (Harmondsworth: Penguin, 1969).

Cruttwell, Patrick, "The Morality of Hamlet—'Sweet Prince' or 'Arrant Knave'?," Hamlet, ed. John Russell Brown and Bernard Harris (Stratford-upon-Avon Studies 5, London: Arnold, 1963), pp. 110-28.

Danson, Lawrence, Tragic Alphabet: Shakespeare's Drama of Language (New Haven: Yale University Press, 1974).

Desmet, Christy, Reading Shakespeare's Characters: Rhetoric, Ethics, and Identity, ed. Arthur F. Kinney (Massachusetts Studies in Early Modern Culture, Amherst: University of Massachusetts Press, 1992).

Draper, John W., The Humors and Shakespeare's Characters (Durham: Duke University Press, 1945).

Eagleton, Terence, Shakespeare and Society: Critical Studies in Shakespearean Drama (New York: Schocken, 1967).

Eagleton, Terry, William Shakespeare (Oxford: Blackwell, 1986).

Ellrodt, Robert, "Self-Consciousness in Montaigne and Shakespeare," Shakespeare Survey, 28 (1975): 37-50.

Ferry, Anne, The "Inward" Language: Sonnets of Wyatt, Sidney, Shakespeare, Donne (Chicago: University of Chicago Press, 1983).

Friedman, Donald, "Bottom, Burbage, and the Birth of Tragedy," Reconsidering the Renaissance: Papers from the Twenty-First Annual Conference, ed. Mario A. Di Cesare (Medieval and Renaissance Texts and Studies 93, Binghamton: Medieval and Renaissance Texts and Studies, 1992) pp. 315-26.

Frye, Northrop, "The Stage is All the World," Northrop Frye: Myth and Metaphor. Selected Essays, 1974-1988, ed. Robert D. Denham (Charlottesville: University Press of Virginia, 1990) pp. 196-211.

Garber, Marjorie, Coming of Age in Shakespeare (London: Methuen, 1981).

Goldman, Michael, Acting and Action in Shakespearean Tragedy (Princeton: Princeton University Press, 1985).

Goldman, Michael, The Actor's Freedom: Toward A Theory of Drama (New York: Viking; Toronto: Macmillan, 1975).

Goldman, Michael, "Hamlet: Entering the Text," Theatre Journal, 44 (1992): 449-60.

Goldman, Michael, Shakespeare and the Energies of Drama (Princeton: Princeton University Press, 1972).

Gorfain, Phyllis, "Toward a Theory of Play and the Carnivalesque in Hamlet," Hamlet Studies, 13 (1991): 25-49.

Gottschalk, Paul A., "Hamlet and the Scanning of Revenge," Shakespeare Quarterly, 24 (1973): 155-69.

Granville-Barker, Harley, Prefaces to Shakespeare, vol. 1 (Princeton: Princeton University Press, 1947) 2 vols.

Greene, Thomas, "The Postures of Hamlet," Shakespeare Quarterly, 11 (1960): 357-66.

Hall, Joan Lord, The Dynamics of Role-Playing in Jacobean Tragedy (New York: St Martins, 1991).

Hankins, John Erskine, The Character of Hamlet (1941) (Library of Shakespearean Biography and Criticism. Freeport, NY: Books for Libraries, 1971).

Hazlitt, William, Characters of Shakespeare's Plays. The Round Table [and] Characters of Shakespear's Plays (London: Dent; New York: Dutton, 1936) pp. 171-361.

Hedrick, Donald K., " 'It is No Novelty for a Prince to be a Prince': An Enantiomorphous Hamlet," Shakespeare Quarterly, 35 (1984): 62-76.

Holland, Peter, "Hamlet and the Art of Acting," Drama and the Actor, ed. James Redmond (Themes in Drama 6. Cambridge: Cambridge University Press, 1984) pp. 39-61.

Jenkins, Harold, "Longer Notes," Hamlet, by William Shakespeare (London: Methuen, 1982) pp. 421-571.

Keble, John, ed., The Works of Richard Hooker, 2 vols (New York, 1849).

Lanham, Richard, The Motives of Eloquence: Literary Rhetoric in the Renaissance (New Haven: Yale University Press, 1976).

Levin, Harry, The Question of Hamlet (New York: Oxford University Press, 1959).

Mack, Maynard, "Engagement and Detachment in Shakespeare's Plays," Essays on Shakespeare and Elizabethan Drama in Honor of Hardin Craig, ed. Richard Hosley. (Columbia: University of Missouri Press, 1962) pp. 275-96.

Mack, Maynard, "The World of Hamlet," Yale Review, 41 (1952): 502-23.

Mann, David, The Elizabethan Player: Contemporary Stage Representation (London: Routledge, 1991).

McDonald, Charles O., "Decorum, Ethos, and Pathos in the Heroes of Elizabethan Tragedy, with Particular Reference to Hamlet," Journal of English and Germanic Philology, 61 (1962): 330-48.

Montaigne, [Michel de], "Of Diverting and Diversion," The Essayes of Michael Lord of Montaigne, trans. John Florio, 3 vols (London: Dent; New York: Dutton, n.d) 3:51-62.

Morin, Gertrude, "Depression and Negative Thinking: A Cognitive Approach to Hamlet" Mosaic, 25 (1992): 1-12.

Nardo, Anna K., The Ludic Self in Seventeenth Century English Literature (Albany: State University of New York Press, 1991).

Paris, Bernard J., "Hamlet and His Problems: A Horneyan Analysis," Centennial Review, 21 (1977): 36-66.

Parker, M. D. H., The Slave of Life: A Study of Shakespeare and the Idea of Justice (London: Chatto, 1955).

Rabey, David Ian, "Play, Satire, Self-Definition, and Individuation in Hamlet," Hamlet Studies, 5 (1983): 6-26.

Righter, Anne, Shakespeare and the Idea of the Play (1962) (Harmondsworth: Penguin, 1967).

Rosenberg, Harold, Act and the Actor: Making the Self (New York: NAL and World, 1970).

Rosenberg, Marvin, The Masks of Hamlet (Newark: University of Delaware Press; London: Associated University Presses, 1992).

Scott, William 0., "The Liar Paradox as Self-Mockery: Hamlet's Postmodern Cogito," Mosaic, 24 (1991): 13-30.

Seneca, [Lucius Annaeus], "On Anger," Moral Essays, trans. Richard M. Gummere, 3 vols (The Loeb Classical Library, Cambridge: Harvard University Press; London: Heinemann, 1917-25); 1: 107-355.

Shenk, Robert, The Sinner's Progress: A Study of Madness in English Renaissance Drama (Salzburg Studies in English Literature. Elizabethan and Renaissance Studies 74, Salzburg: Institut fur Englische Sprache und Literatur, Universitat Salzburg, 1978).

Sidney, Sir Philip, The Countesse of Pembrokes Arcadia (Cambridge: Cambridge University Press, 1912); vol. 1 of The Complete Works of Sir Philip Sidney, ed. Albert Feuillerat, 4 vols, 1912-26.

Siemon, James Edward, "Disguise in Marston and Shakespeare," Huntington Library Quarterly, 38 (1975): 105-23.

Skulsky, Harold, Spirits Finely Touched: The Testing of Value and Integrity in Four Shakespearean Plays (Athens: University of Georgia Press, 1976).

Soellner, Rolf, Shakespeare's Patterns of Self-Knowledge (Columbus: Ohio State University Press, 1972). States, Bert O., Hamlet and the Concept of Character (Baltimore: Johns Hopkins University Press, 1992).

Stirling, Brents, Unity in Shakespearean Tragedy: The Interplay of Theme and Character (1956) (New York: Gordian, 1966).

Ure, Peter, "Character and Role from Richard III to Hamlet," Hamlet, ed. John Russell Brown and Bernard Harris (Stratford-upon-Avon Studies 5, London: Arnold, 1963) pp. 9-28.

Van Laan, Thomas F., Role-playing in Shakespeare (Toronto: University of Toronto Press, 1978).

Walcutt, Charles C., "Hamlet—The Plot's the Thing," Michigan Quarterly Review, 5 (1966): 15-32.

Walley, Harold R., "The Rape of Lucrece and Shakespearean Tragedy," PMLA, 76 (1961): 480-7.

Ward, David, "The King and Hamlet," Shakespeare Quarterly, 43 (1992): 280-302.

Weimann, Robert, "Mimesis in Hamlet" Shakespeare and the Question of Theory, ed. Patricia Parker and Geoffrey Hartman (London: Methuen, 1985) pp. 275-91.

Werstine, Paul, "The Textual Mystery of Hamlet" Shakespeare Quarterly, 39 (1988): 1-26.

Whitaker, Virgil K., Shakespeare's Use of Learning: An Inquiry into the Growth of His Mind and Art (San Marino, CA: Huntington, 1953).

Wilks, John S., The Idea of Conscience in Renaissance Tragedy (London: Routledge, 1990).

Wilson, Luke, "Hamlet, Hales v. Petit, and the Hysteresis of Action," ELH, 60 (1993): 17-55.

Young, David, The Action to the Word: Structure and Style in Shakespearean Tragedy (New Haven: Yale University Press, 1990).

Source: "Hamlet," in Shakespeare's Imagined Persons: The Psychology of Role-Playing and Acting, Barnes & Noble Books, 1996, pp. 57-102.

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