Berger, Harry, Jr. "Text Against Performance in Shakespeare: The Example of Macbeth." Genre XV , Nos. 1-2 (Spring/ Summer 1982): 49-79.

Contends that Macbeth "as a text to be interpreted by readers provides a critique of the play as a script—that is, as the basis of performance."

Calderwood, James L. If It Were Done: Macbeth and Tragic Action. Amherst: The University of Massachusetts Press, 1986, 156 p.

Compares and contrasts Macbeth and Hamlet; contends that Macbeth can be understood as "a tragedy about the nature of tragedy" and examines the psychological, social, and political ramifications of Macbeth's violence.

Coursen, H. R. "A Jungian Approach to Characterization: Macbeth" In Shakespeare's "Rough Magic": Essays in Honor of C. L. Barber, edited by Peter Erickson and Coppélia Kahn, pp. 230-44. Newark: University of Delaware Press, 1985.

Employs a Jungian taxonomy to describe Macbeth and Lady Macbeth with regard to their tendencies toward introversion and extroversion.

Doran, Madeleine. "The Macbeth Music." Shakespeare Studies X V I (1983): 153-73.

Analyzes Shakespeare's use of such devices as rhyme, repetition, alliteration, and assonance to argue that Macbeth is a "musical" play.

Ferrucci, Franco. "Macbeth and the Imitation of Evil." In The Poetics of Disguise, pp. 125-58. Ithaca, N.Y. : Cornell University Press, 1980.

Proposes that Macbeth is rife with Shakespeare's reflections on the transference of the English throne from Elizabeth to James.

Grene, Nicholas. "Macbeth." In Shakespeare's Tragic Imagination, pp. 193-222. Houndmills: Macmillan, 1992.

Argues that Macbeth explores the relationship between power and authority against a supernatural background that underlies the entire play.

Lawlor, John. "Natural and Supernatural." In The Tragic Sense in Shakespeare, pp. 107-46. London: Chatio & Windus, 1966.

Presents a general discussion of Macbeth, covering such subjects as free will, Shakespeare's wordplay, and the play's imagery.

Leary, William G. "The World of Macbeth." In How to Read Shakespearean Tragedy, edited by Edward Quinn, pp. 234-49. New York: Harper & Row, 1978.

Analyzes the "world" of Macbeth, dividing it into four parts: the physical, the psychological, the political, and the moral.

Long , Michael. Macbeth (Harvester New Critical Introductions to Shakespeare). Ne w York: Harvester Wheatsheaf, 1989, 124 p.

Explores general issues of language and imagery, examines Macbeth scene by scene, and compares the play to other tragedies by Shakespeare and other dramatists.

Poole, Adrian. "'The Initiate Fear': Aeschylus, Shakespeare." In Tragedy: Shakespeare and the Greek Example, pp. 15-53. Oxford: Basil Blackwell, 1987.

Compares Macbeth to Aeschylus' Oresteia, insisting that Macbeth is "Shakespeare's most Aeschylean tragedy."

Sinfield, Alan. "Macbeth: History, Ideology, and Intellectuals." CQ, Critical Quarterly XXVIII , Nos . 1-2 (Spring-Summer 1986): 63-77.

Examines Shakespeare's ambivalence toward monarchical rule in Macbeth, exploring the possible influence of Buchanan to counteract the traditional Jamesian interpretation.

Waswo, Richard. "Damnation, Protestant Style: Macbeth, Faustus, and Christian Tragedy." The Journal of Medieval and Renaissance Studies 4, No . 1 (Spring 1974): 63-99.

Examines Macbeth and Doctor Faustus in light of the Elizabethan (Protestant) conception of damnation.

Wiggins, Martin. "Macbeth and Premeditation." In The Arts, Literature, and Society, edited by Arthur Marwick, pp. 23-44. London: Routledge, 1990.

Uses Macbeth to investigate the sixteenth-century conception of murder.

Willbern, David. "Phantasmagoric Macbeth" English Literary Renaissance X V I , No . 3 (Autumn 1986): 520-49.

Investigates Macbeth's characters and their relationships according to a series of geometrical schematics that incorporate psychoanalytic perspectives.

Young, David. "Primitivism and Sophistication in Macbeth." In The Action to the Word: Structure and Style in Shakespearean Tragedy, pp. 99-130. Ne w Haven: Yale University Press, 1990.

Insists that Macbeth distorts the distinction between language and action, developing "a magical partnership" in which thoughts, prayers, and invocations "move all too smoothly into deed and actuality."