Bamber, Linda. "After Tragedy: The Tempest." In her Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare, pp. 169-91. Stanford: Stanford University Press, 1982.

Examination of the ways in which The Tempest diverges from Shakespeare's other romances in its handling of the feminine.

Berger, Karol. "Prospero's Art." Shakespeare Studies X (1977): 211-39.

Influential analysis of Prospero's magic.

Bergeron, David M. "The Tempest." In his Shakespeare's Romances and the Royal Family, pp. 178-203. Lawrence: University Press of Kansas, 1985.

Discusses the depiction of family politics in The Tempest and explores how the family of James I is represented in the play.

Brown, Paul. "'This thing of darkness I acknowledge mine': The Tempest and the discourse of colonialism." In Political Shakespeare: New essays in cultural materialism, edited by Jonathan Dollimore and Alan Sinfield, pp. 48-69. Ithaca: Cornell University Press, 1985.

Argues that repunctuating the text of The Tempest highlight's the play's interconnection with British colonialism.

James, D. G. "The New World." In his The Dream of Prospero, pp. 72-123. London: Oxford at the Clarendon Press, 1967.

Classic account of the parallels between The Tempest and the English colonization of Virginia.

Kott, Jan. "The Aeneid and the Tempest." Arion 3, No. 4 (1976): 424-51.

Discussion of the Vergilian background to The Tempest.

Levin, Harry. "Two Magian Comedies: 'The Tempest' and 'The Alchemist'." Shakespeare Survey 22, (1969): 47-58

Explores the very different treatment of magical themes in The Tempest and Ben Jonson's The Alchemist.

Lindley, David. "Music, masque, and meaning in The Tempest." In The Court Masque, edited by David Lindley, pp. 47-59. Manchester: Manchester University Press, 1984.

Places The Tempest in the context of the Jacobean court masque, with a particular emphasis on the play's musical elements.

Mincoff, Marco. "The Tempest." In his Things Supernatural and Causeless: Shakespearean Romance, pp. 93-118. Newark: University of Delaware Press, 1992.

Analysis of the genre of The Tempest, arguing that the play is more of a comedy than a romance.

Orgel, Stephen. An introduction to The Tempest, edited by Stephen Orgel, pp. 1-56. Oxford: Oxford University Press, 1987.

Excellent overview of The Tempest's major themes and characters and the major crtical interpretations of the play.

Solomon, Andrew. "A Reading of The Tempest" In Shakespeare's Late Plays, edited by Richard C. Tobias and Paul G. Zolbrod, pp. 213-34. Athens: Ohio University Press, 1974.

General discussion of The Tempest that pays particular attention to Shakespeare's handling of supernatural elements.

Summers, Joseph H. "The Anger of Prospero: The Tempest." In his Dreams of Love and Power: On Shakespeare's Plays, pp. 137-58. Oxford: Clarendon Press, 1984.

Discussion of Prospero's temperament and its evolution during the course of The Tempest.

Traister, Barbara Howard. "Prospero: Master of Self-Knowledge." In her Heavenly Necromancers: The Magician in English Renaissance Drama, pp. 125-49. Columbia: University of Missouri Press, 1984.

Examination of Prospero as a combination of the neoplatonic ideal of the magus and as a traditional stage magician deriving from medieval romance literature.

West, Robert H. "Ceremonial Magic in The Tempest." In his Shakespeare & the Outer Mystery, pp. 80-95. Lexington: University of Kentucky Press, 1968.

Important study of medieval and Renaissance magical traditions and their influence on The Tempest, focusing in particular on the characters of Ariel and Prospero.

Yates, Frances A. "Magic in the Last Plays: The Tempest." In Shakespeare's Last Plays: A New Approach, pp.87-106. London: Routledge & Kegan Paul, 1975.

Maintains that Shakespeare's incorporation of Renaissance magical traditions in his plays throughout his career culminates in The Tempest, which is described as "… the supreme expression of the magical philosophy of the Last Plays."