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Coles J. The common property of us all? IN Teaching English, Issue 1. Teaching English 2013;:58–62.https://contentstore.cla.co.uk/secure/link?id=c2d977f3-3845-e711-80cb-005056af4099
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Kok Su Mei. ‘”What’s past is prologue”: postcolonialism, globalisation, and the              demystification of Shakespeare in Malaysia’. 2017.
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British Council. All the World’s: a report into Shakespeare’s popularity across the globe. 2016.https://www.britishcouncil.org/organisation/policy-insight-research/research/all-worlds
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Gibson R. Principles. In: Teaching Shakespeare. Cambridge: : Cambridge UP 1998. 7–25.https://contentstore.cla.co.uk/secure/link?id=bd45cfb5-99fb-e711-80cd-005056af4099
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James Stredder. Chapter 1: ‘Why use active methods to teach the plays? In: The north face of Shakespeare: activities for teaching the plays. Cambridge: : Cambridge University Press 2009. 3–22.https://contentstore.cla.co.uk/secure/link?id=7c0288f9-3845-e711-80cb-005056af4099
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Terry Eagleton. Chapter 1: Versions of culture. In: The idea of culture. Oxford: : Blackwell 2000. 1–31.https://contentstore.cla.co.uk/secure/link?id=333b3ece-66e2-e711-80cd-005056af4099
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Lanier D. Chapter 2: Unpopularising Shakespeare: a short history. In: Shakespeare and modern popular culture. Oxford: : Oxford University Press 2002. 21–49.https://contentstore.cla.co.uk/secure/link?id=7b0288f9-3845-e711-80cb-005056af4099
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George Orwell. Lear, Tolstoy and the Fool. 1947.http://www.orwell.ru/library/essays/lear/english/e_ltf
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Rose J. The People’s Bard. In: The intellectual life of the British working classes. New Haven: : Yale Nota Bene 2002. 122–5.http://libproxy.ucl.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780300148350
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Taylor G. Chapter 7: Singularity. In: Reinventing Shakespeare: a cultural history from the Restoration to the present. London: : Hogarth 1990. 376–411.https://contentstore.cla.co.uk/secure/link?id=7d0288f9-3845-e711-80cb-005056af4099
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Haddon J. Chapter 1: Admitting the difficulty. In: Teaching reading Shakespeare. London: : Routledge 2009. 3–14.http://www.tandfebooks.com/ISBN/9780203870754
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Haddon J. Chapter 2: ‘All these old words’. In: Teaching reading Shakespeare. London: : Routledge 2009. http://www.tandfebooks.com.libproxy.ucl.ac.uk/isbn/9780203870754
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Yandell J. Chapter 11: Mind the gap. In: The social construction of meaning: reading literature in urban English classrooms. Abingdon: : Routledge 2014. 161–74.http://www.tandfebooks.com/ISBN/9780203728338
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Yandell J, Brady M. English and the politics of knowledge. English in Education 2016;50:44–59. doi:10.1111/eie.12094
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Gilbert M. A test of character. In: Teaching Shakespeare: Passing It On. Oxford, England: : Wiley-Blackwell 2009. 91–105. doi:10.1002/9781444303193
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Maguire L, Smith E. Chapter 29: Shakespeare’s characters are like real people. In: 30 great myths about Shakespeare. Hoboken, NJ: : Wiley-Blackwell 2013. 190–5. doi:10.1002/9781118326770
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Sinfield A. 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. Oxford: : Clarendon Press 1992. 55–79.https://contentstore.cla.co.uk/secure/link?id=800288f9-3845-e711-80cb-005056af4099
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Bradley AC. Lecture 1: The substance of Shakespearean tragedy. In: Shakespearean tragedy: lectures on Hamlet, Othello King Lear, Macbeth. London: : Macmillan 1904. 1–29.http://www.gutenberg.org/ebooks/16966#download
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Coles J. Teaching Shakespeare with film adaptations. In: MasterClass in English education: transforming teaching and learning. London: : Bloomsbury Academic 2015. 72–83. doi:10.5040/9781474235709.ch-006
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John Russell Brown. Chapter 1: Playgoing and Participation. In: Shakespeare and the theatrical event. Houndmills, Basingstoke, Hampshire: : Palgrave Macmillan 2002. 7–29.http://ucl.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=4012945760004761&institutionId=4761&customerId=4760
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Fiona Banks. Chapter 6: Performance. In: Creative Shakespeare: the Globe education guide to practical Shakespeare. London: : Bloomsbury Arden Shakespeare 2014. 169–204.http://www.dramaonlinelibrary.com/context-and-criticism/creative-shakespeare-iid-137982
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Stephen Orgel. Chapter 9: What is a text. In: Staging the Renaissance: reinterpretations of Elizabethan and Jacobean drama. New York: : Routledge 1991. 83–7.http://www.tandfebooks.com/ISBN/9781315862804
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Anthony Jackson. Afterword. In: Theatre, education and the making of meanings: art or instrument? Manchester: : Manchester University Press 2007. 264–73.https://contentstore.cla.co.uk/secure/link?id=810288f9-3845-e711-80cb-005056af4099
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Burn A, Durran J. Chapter 15: Digital Anatomies: analysis as production in media education. In: Digital generations: children, young people, and new media. Mahwah, N.J.: : Lawrence Erlbaum 2006. doi:10.4324/9780203810668
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Burn A. The Kineikonic mode: towards a Multimodal Theory of the Moving Image. 2013;A working paper for the MODE NCRM node in multimodal methodologies.http://eprints.ncrm.ac.uk/3085/1/KINEIKONIC_MODE.pdf
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Andrew Burn. From The Tempest To Tomb-Raider: Computer Games In English, Media And Drama. English drama media 2004;1:19–25.https://aburn2012.files.wordpress.com/2014/04/from-the-tempest-to-tombraider.pdf
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Andrew Burn. Playing Shakespeare: Macbeth – Narrative, Drama, Game. Teaching English 2013;February 2013.https://aburn2012.files.wordpress.com/2014/04/from-the-tempest-to-tombraider.pdf