[1]
Andrew Burn 2004. From The Tempest To Tomb-Raider: Computer Games In English, Media And Drama. English drama media. 1, 2 (2004), 19–25.
[2]
Andrew Burn 2013. Playing Shakespeare: Macbeth – Narrative, Drama, Game. Teaching English. February 2013., 1 (2013).
[3]
Anthony Jackson 2007. Afterword. Theatre, education and the making of meanings: art or instrument?. Manchester University Press. 264–273.
[4]
Bradley, A.C. 1904. Lecture 1: The substance of Shakespearean tragedy. Shakespearean tragedy: lectures on Hamlet, Othello King Lear, Macbeth. Macmillan. 1–29.
[5]
British Council 2016. All the World’s: a report into Shakespeare’s popularity across the globe.
[6]
Burn, A. 2013. The Kineikonic mode: towards a Multimodal Theory of the Moving Image. National Centre for Research Methods.
[7]
Burn, A. and Durran, J. 2006. Chapter 15: Digital Anatomies: analysis as production in media education. Digital generations: children, young people, and new media. Lawrence Erlbaum.
[8]
Coles, J. 2015. Teaching Shakespeare with film adaptations. MasterClass in English education: transforming teaching and learning. Bloomsbury Academic. 72–83.
[9]
Coles, J. 2013. The common property of us all? IN Teaching English, Issue 1. Teaching English. 1 (2013), 58–62.
[10]
Fiona Banks 2014. Chapter 6: Performance. Creative Shakespeare: the Globe education guide to practical Shakespeare. Bloomsbury Arden Shakespeare. 169–204.
[11]
George Orwell 1947. Lear, Tolstoy and the Fool.
[12]
Gibson, R. 1998. Principles. Teaching Shakespeare. Cambridge UP. 7–25.
[13]
Gilbert, M. 2009. A test of character. Teaching Shakespeare: Passing It On. Wiley-Blackwell. 91–105.
[14]
Haddon, J. 2009. Chapter 1: Admitting the difficulty. Teaching reading Shakespeare. Routledge. 3–14.
[15]
Haddon, J. 2009. Chapter 2: ‘All these old words’. Teaching reading Shakespeare. Routledge.
[16]
James Stredder 2009. Chapter 1: ‘Why use active methods to teach the plays? The north face of Shakespeare: activities for teaching the plays. Cambridge University Press. 3–22.
[17]
John Russell Brown 2002. Chapter 1: Playgoing and Participation. Shakespeare and the theatrical event. Palgrave Macmillan. 7–29.
[18]
Kok Su Mei 2017. ‘”What’s past is prologue”: postcolonialism, globalisation, and the              demystification of Shakespeare in Malaysia’. (2017).
[19]
Lanier, D. 2002. Chapter 2: Unpopularising Shakespeare: a short history. Shakespeare and modern popular culture. Oxford University Press. 21–49.
[20]
Maguire, L. and Smith, E. 2013. Chapter 29: Shakespeare’s characters are like real people. 30 great myths about Shakespeare. Wiley-Blackwell. 190–195.
[21]
Rose, J. 2002. The People’s Bard. The intellectual life of the British working classes. Yale Nota Bene. 122–125.
[22]
Sinfield, A. 1992. Chapter 3: When is a character not a character? Desdemona, Olivia, Lady Macbeth and subjectivity. Faultlines: cultural materialism and the politics of dissident reading. Clarendon Press. 55–79.
[23]
Stephen Orgel 1991. Chapter 9: What is a text. Staging the Renaissance: reinterpretations of Elizabethan and Jacobean drama. Routledge. 83–87.
[24]
Taylor, G. 1990. Chapter 7: Singularity. Reinventing Shakespeare: a cultural history from the Restoration to the present. Hogarth. 376–411.
[25]
Terry Eagleton 2000. Chapter 1: Versions of culture. The idea of culture. Blackwell. 1–31.
[26]
Yandell, J. 2014. Chapter 11: Mind the gap. The social construction of meaning: reading literature in urban English classrooms. Routledge. 161–174.
[27]
Yandell, J. and Brady, M. 2016. English and the politics of knowledge. English in Education. 50, 1 (Mar. 2016), 44–59. DOI:https://doi.org/10.1111/eie.12094.