Andrew Burn. (2004). From The Tempest To Tomb-Raider: Computer Games In English, Media And Drama. English Drama Media, 1(2), 19–25. https://aburn2012.files.wordpress.com/2014/04/from-the-tempest-to-tombraider.pdf
Andrew Burn. (2013). Playing Shakespeare: Macbeth – Narrative, Drama, Game. Teaching English, February 2013.(1). https://aburn2012.files.wordpress.com/2014/04/from-the-tempest-to-tombraider.pdf
Anthony Jackson. (2007). Afterword. In Theatre, education and the making of meanings: art or instrument? (pp. 264–273). Manchester University Press. https://contentstore.cla.co.uk/secure/link?id=810288f9-3845-e711-80cb-005056af4099
Bradley, A. C. (1904). Lecture 1: The substance of Shakespearean tragedy. In Shakespearean tragedy: lectures on Hamlet, Othello King Lear, Macbeth (pp. 1–29). Macmillan. http://www.gutenberg.org/ebooks/16966#download
British Council. (2016). All the World’s: a report into Shakespeare’s popularity across the globe. https://www.britishcouncil.org/organisation/policy-insight-research/research/all-worlds
Burn, A. (2013). The Kineikonic mode: towards a Multimodal Theory of the Moving Image: Vol. A working paper for the MODE NCRM node in multimodal methodologies. National Centre for Research Methods. http://eprints.ncrm.ac.uk/3085/1/KINEIKONIC_MODE.pdf
Burn, A., & Durran, J. (2006). Chapter 15: Digital Anatomies: analysis as production in media education. In Digital generations: children, young people, and new media. Lawrence Erlbaum. https://doi.org/10.4324/9780203810668
Coles, J. (2013). The common property of us all? IN Teaching English, Issue 1. Teaching English, 1, 58–62. https://contentstore.cla.co.uk/secure/link?id=c2d977f3-3845-e711-80cb-005056af4099
Coles, J. (2015). Teaching Shakespeare with film adaptations. In MasterClass in English education: transforming teaching and learning (pp. 72–83). Bloomsbury Academic. https://doi.org/10.5040/9781474235709.ch-006
Fiona Banks. (2014). Chapter 6: Performance. In Creative Shakespeare: the Globe education guide to practical Shakespeare: Vol. The Arden Shakespeare (pp. 169–204). Bloomsbury Arden Shakespeare. http://www.dramaonlinelibrary.com/context-and-criticism/creative-shakespeare-iid-137982
George Orwell. (1947). Lear, Tolstoy and the Fool. http://www.orwell.ru/library/essays/lear/english/e_ltf
Gibson, R. (1998). Principles. In Teaching Shakespeare: Vol. Cambridge school Shakespeare (pp. 7–25). Cambridge UP. https://contentstore.cla.co.uk/secure/link?id=bd45cfb5-99fb-e711-80cd-005056af4099
Gilbert, M. (2009). A test of character. In Teaching Shakespeare: Passing It On (pp. 91–105). Wiley-Blackwell. https://doi.org/10.1002/9781444303193
Haddon, J. (2009a). Chapter 1: Admitting the difficulty. In Teaching reading Shakespeare (pp. 3–14). Routledge. http://www.tandfebooks.com/ISBN/9780203870754
Haddon, J. (2009b). Chapter 2: ‘All these old words’. In Teaching reading Shakespeare. Routledge. http://www.tandfebooks.com.libproxy.ucl.ac.uk/isbn/9780203870754
James Stredder. (2009). Chapter 1: ‘Why use active methods to teach the plays? In The north face of Shakespeare: activities for teaching the plays: Vol. Cambridge school Shakespeare (pp. 3–22). Cambridge University Press. https://contentstore.cla.co.uk/secure/link?id=7c0288f9-3845-e711-80cb-005056af4099
John Russell Brown. (2002). Chapter 1: Playgoing and Participation. In Shakespeare and the theatrical event (pp. 7–29). Palgrave Macmillan. http://ucl.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4012945760004761&institutionId=4761&customerId=4760
Kok Su Mei. (2017). ‘”What’s past is prologue”: postcolonialism, globalisation, and the              demystification of Shakespeare in Malaysia’.
Lanier, D. (2002). Chapter 2: Unpopularising Shakespeare: a short history. In Shakespeare and modern popular culture (pp. 21–49). Oxford University Press. https://contentstore.cla.co.uk/secure/link?id=7b0288f9-3845-e711-80cb-005056af4099
Maguire, L., & Smith, E. (2013). Chapter 29: Shakespeare’s characters are like real people. In 30 great myths about Shakespeare (pp. 190–195). Wiley-Blackwell. https://doi.org/10.1002/9781118326770
Rose, J. (2002). The People’s Bard. In The intellectual life of the British working classes (pp. 122–125). Yale Nota Bene. http://libproxy.ucl.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780300148350
Sinfield, A. (1992). Chapter 3: When is a character not a character? Desdemona, Olivia, Lady Macbeth and subjectivity. In Faultlines: cultural materialism and the politics of dissident reading (pp. 55–79). Clarendon Press. https://contentstore.cla.co.uk/secure/link?id=800288f9-3845-e711-80cb-005056af4099
Stephen Orgel. (1991). Chapter 9: What is a text. In Staging the Renaissance: reinterpretations of Elizabethan and Jacobean drama (pp. 83–87). Routledge. http://www.tandfebooks.com/ISBN/9781315862804
Taylor, G. (1990). Chapter 7: Singularity. In Reinventing Shakespeare: a cultural history from the Restoration to the present (pp. 376–411). Hogarth. https://contentstore.cla.co.uk/secure/link?id=7d0288f9-3845-e711-80cb-005056af4099
Terry Eagleton. (2000). Chapter 1: Versions of culture. In The idea of culture (pp. 1–31). Blackwell. https://contentstore.cla.co.uk/secure/link?id=333b3ece-66e2-e711-80cd-005056af4099
Yandell, J. (2014). Chapter 11: Mind the gap. In The social construction of meaning: reading literature in urban English classrooms (pp. 161–174). Routledge. http://www.tandfebooks.com/ISBN/9780203728338
Yandell, J., & Brady, M. (2016). English and the politics of knowledge. English in Education, 50(1), 44–59. https://doi.org/10.1111/eie.12094