Bulman, James C. Introduction. Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 1–11.Google Scholar

Kidnie, Margaret Jane. Shakespeare and the Problem of Adaptation. London: Routledge, 2009.Google Scholar

Lanier, Douglas. “Drowning the Book: Prospero’s Books and the Textual Shakespeare.” Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 187–209.Google Scholar

Massai, Sonia. “Defining Local Shakespeares.” World-Wide Shakespeares: Local Appropriations in Film and Performances. Ed. Massai, Sonia. London: Routledge, 2005. 3–11.Google Scholar

Sanders, Julie. Adaptation and Appropriation. London: Routledge, 2006. Rpt. 2008.Google Scholar

Smith, Jeff. “Movie Music as Moving Music: Emotion, Cognition, and the Film Score.” Passionate Views: Film, Cognition, and Emotion. Ed. Plantinga, Carl and Smith, Greg. Baltimore: Johns Hopkins UP, 1999. 146–67.Google Scholar

Styan, J. L. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century. Cambridge: Cambridge University Press, 1977.Google Scholar

Willems, Michèle. “Verbal-Visual, Verbal-Pictorial or Textual- Televisual? Reflections on the BBC Series.” Shakespeare and the Moving Image: The Plays on Film and Television. Ed. Davies, Antony and Wells, Stanley. Cambridge: Cambridge University Press, 1995. 69–85.Google Scholar

Worthen, W. B. Shakespeare and the Force of Modern Performance. Cambridge: Cambridge University Press, 2003.Google Scholar

Dionne, Craig. “The Shatnerification of Shakespeare. Star Trek and the Commonplace Tradition.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 173–91.Google Scholar

Donaldson, Peter S. “‘In Fair Verona’: Media, Spectacle, and Performance in William Shakespeare’s Romeo + Juliet.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 59–82.CrossRefGoogle Scholar

Hatchuel, Sarah. Shakespeare, from Stage to Screen. Cambridge: Cambridge University Press, 2004. Rpt. 2005.CrossRefGoogle Scholar

Hogdon, Barbara. “Looking for Mr. Shakespeare after ‘The Revolution.’” Shakespeare, Theory, and Performance. Ed. Bulman, James C.. London: Routledge, 1996. 68–91.Google Scholar

Houlahan, Mark. “Hekepia? The Mana of the Maori Merchant.” World Wide Shakespeares: Local Appropriations in Film and Performance. Ed. Massai, Sonia. London: Routledge, 2005. 140–44.Google Scholar

Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006.CrossRefGoogle Scholar

Kliman, Bernice W., and Santos, Rick J., eds. Latin American Shakespeares. Madison: Fairleigh Dickinson UP, 2005.Google Scholar

Lanier, Douglas. “WSHX: Shakespeare and American Radio.” Shakespeare after Mass Media. Ed. Burt, Richard. New York: Palgrave, 2002. 195–219.Google Scholar

Modenessi, Alfredo Michel. “Meaning by ‘Shakespeare’ South of the Border.” Ed. Massai, Sonia. World Wide Shakespeares: Local Appropriations in Film and Performance. London: Routledge, 2005. 104–11.Google Scholar

Resende, Aimara da Cunha. “Text, Context and Audience: Two Versions of Romeo and Juliet in Brazilian Popular Culture.” Latin American Shakespeares. Ed. Kliman, Bernice W. and Santos, Rick J.. Teaneck: Fairleigh Dickinson UP, 2005. 270–89.Google Scholar

Wayne, Valerie. “Shakespeare: Wallah and Colonial Specularity.” Shakespeare the Movie I: Popularizing the Plays on Film, TV, and Video. Ed. Boose, Lynda E. and Burt, Richard. London: Routledge, 1997. 95–102.Google Scholar

Albright, Daniel. Shakespeare and Opera: A Conflict of Theatres. Rochester: U of Rochester P, 2007.CrossRefGoogle Scholar

Clements, Andrew. Review of Thomas Adès’s “The Tempest.” The Guardian [London] 11 February 2004.Google Scholar

Hepokoski, James. Otello. Cambridge: Cambridge UP, 1987.Google Scholar

Knight, G. Wilson. The Wheel of Fire: Interpretations of Shakespearian Tragedy. London: Routledge, 2001.Google Scholar

Robinson, Paul. Opera and Ideas: From Mozart to Strauss. Ithaca: Cornell UP, 1986.Google Scholar

Sadie, Stanley, ed. The New Grove Dictionary of Opera. London: Macmillan, 1997.Google Scholar

Smith, Bruce R. “Simultaneous Consciousness in Ot(h)ello.” Unpublished paper, 2011.Google Scholar

Stendhal, . Life of Rossini. Trans. Coe, Richard. New York: Criterion, 1957.Google Scholar

Wilson, Christopher R. “William Shakespeare.” The New Grove Dictionary of Opera. Ed. Sadie, Stanley. London: Macmillan, 1997. 338–47.Google Scholar

Schmidgall, Gary. Shakespeare and Opera. New York: Oxford UP, 1990.Google Scholar

Wills, Garry. Verdi’s Shakespeare: Men of the Theater. New York: Viking, 2011.Google Scholar

Banes, Sally. Dancing Women: Female Bodies on Stage. London: Routledge, 1998.Google Scholar

Bennett, Karen. “‘Star-Cross’d Lovers’ in the Age of AIDS: The Intermediality of Rudolf Nureyev’s Romeo and Juliet.” Literary Intermediality: The Transit of Literature through the Media Circuit. Ed. Punzi, Maddalena Pennacchia. Bern: Peter Lang, 2007. 127–44.Google Scholar

Brissenden, Alan. “Ballet.” Oxford Companion to Shakespeare. Ed. Dobson, Michael and Wells, Stanley. Oxford: Oxford UP, 2001. 34–35.Google Scholar

Desmond, Jane C., ed. Meaning in Motion: New Cultural Studies of Dance. Durham: Duke UP, 1997.CrossRefGoogle Scholar

Foster, Susan L. Choreography and Narrative: Ballet’s Staging of Story and Desire. Bloomington: Indiana UP, 1996.Google Scholar

Garafola, Lynn, ed. Rethinking the Sylph: New Perspectives on the Romantic Ballet. Hanover: Wesleyan UP, 1997.Google Scholar

Hamlet Ballet. Kultur Video, 1994.Google Scholar

Howard, Skiles. The Politics of Courtly Dancing in Early Modern England. Amherst: U of Massachusetts P, 1998.Google Scholar

Isenberg, Nancy. “Accommodating Shakespeare to Ballet: John Cranko’s Romeo and Juliet (Venice, 1958).” Shifting the Scene: Shakespeare in European Culture. Ed. Engler, Balz and Bezzola, Ladina. Newark: U of Delaware P, 2004. 129–39.Google Scholar

Isenberg, Nancy. “Beyond the Black and White Paradigm: The Casting of Othello and Desdemona on the Ballet Stage.” Shakespeare Postcoloniale. Ed. D’Amico, Masolino and Corso, Simona. Roma: Edizioni di Storia e Letteratura, 2009. 157–69.Google Scholar

Isenberg, Nancy. “Dancing with the Stars in Antony and Cleopatra.” Questioning Bodies in Shakespeare’s Rome. Ed. Del Sapio, Maria, Isenberg, Nancy, and Pennacchia, Maddalena. Goettingen: Vandenhoeck and Ruprecht, 2010.Google Scholar

Isenberg, Nancy. “Dramatic Leaps and Political Falls: Russian Hamlet Ballet in 1991.” The Hamlet Zone: Reworking Hamlet in European Cultures. Ed., Owen, Ruth. Cambridge: Cambridge Scholars Publishing, 2012. 17–30.Google Scholar

Isenberg, Nancy. “Feminist Movement and the Balance of Power in John Cranko’s Ballet, The Taming of the Shrew (Stuttgart, 1969).” Shakespeare and European Politics. Ed. Delabastita, Dirk, De Vos, Jozef, and Franssen, Paul. Newark: U of Delaware P, 2008. 69–178.Google Scholar

Isenberg, Nancy. “Latino Spider Bites: Shifting Vocabularies of Otherness for Bianca in a Recent Othello Ballet.” Forms of Migration. Migration of Forms. Ed. Intonti, V., Troisi, F., and Vitale, M.. Bari: Progedit, 2009. 13–121.Google Scholar

Krasovskaya, Vera. “Ballet Changes, Shakespeare Endures.” Trans. Cohen, Selma Jeanne. Ballet Review 19.2 (summer 1991): 71–80.Google Scholar

Sanders, Julie. “‘Shall We Dance?’ Shakespeare at the Ballet.” Shakespeare and Music: Afterlives and Borrowings. Cambridge: Polity, 2007. 59–72.Google Scholar

San Francisco Ballet. Lars Lubovitch’s “Othello.” 2001. Kultur Video, 2003.Google Scholar

Buckland, Theresa. “All Dances Are Ethnic, But Some Are More Ethnic Than Others: Some Observations on Dance Studies and Anthropology.” Dance Research: The Journal of the Society for Dance Research 17.1 (summer 1999): 3–21.Google Scholar

Burt, Ramsay. The Male Dancer: Bodies, Spectacle, Sexualities. London: Routledge, 1995.Google Scholar

Carter, Alexandra, ed. The Routledge Dance Studies Reader. London: Routledge, 1998.Google Scholar

Fisher, Jennifer, and Anthony, Shay, eds. When Men Dance: Choreographing Masculinities across Borders. New York: Oxford, 2009.Google Scholar

Goellner, Ellen, and Murphy, Jacqueline Shea, eds. Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers UP, 1994.Google Scholar

Gottschild, Brenda Dixon. The Black Dancing Body: A Geography from Coon to Cool. New York: Palgrave Macmillan, 2003.Google Scholar

Hanna, Judith Lynne. Dance, Sex and Gender: Signs of Identity, Dominance, Defiance, and Desire. Chicago: U of Chicago P, 1988.Google Scholar

Kant, Marion, ed. The Cambridge Companion to Ballet. Cambridge: Cambridge University Press, 2007.Google Scholar

Martin, Randy. Critical Moves: Dance Studies in Theory and Politics. Durham: Duke UP, 1998.Google Scholar

Thomas, Helen. The Body, Dance and Cultural Theory. Houndmills: Palgrave Macmillan, 2003.Google Scholar

Abbott, George, Hart, Lorenz, and Rodgers, Richard. The Boys from Syracuse. Unpublished typescript. Library of Congress, Washington, D.C.Google Scholar

Carlton, Bob. Return to the Forbidden Planet. New York: Samuel French, 1998.Google Scholar

Comden, Betty, and Green, Adolph. The Band Wagon. London: Lorrimer, 1986.Google Scholar

Doran, Gregory, Englishby, Paul, and Bolt, Ranjit. Merry Wives – The Musical. London: Oberon Books, 2006.Google Scholar

Driver, Donald, and Valenti, Michael. Oh, Brother! New York: Samuel French, 1982.Google Scholar

Fink, Bert. Liner notes to Shakespeare on Broadway. CD.Google Scholar

Hischak, Thomas. The Oxford Companion to the American Musical. New York: Oxford UP, 2008.Google Scholar

Rich, Frank. “‘Oh, Brother!,’ A Musical.” New York Times, 11 November 1981.Google Scholar

Richards, Stanley, ed. Great Rock Musicals. New York: Stein and Day, 1979. Contains scripts of Two Gentlemen of Verona and Your Own Thing.Google Scholar

Buhler, Stephen M. “Musical Shakespeare: Attending to Ophelia, Juliet, and Desdemona.” The Cambridge Companion to Shakespeare and Popular Culture. Ed. Shaughnessy, Robert. Cambridge: Cambridge University Press, 2007.Google Scholar

Dash, Irene G. Shakespeare and the American Musical. Bloomington: Indiana UP, 2010.Google Scholar

Richards, Stanley, ed. Ten Great Musicals of the American Theatre. Radnor: Chilton, 1973. Contains scripts of Kiss Me, Kate and West Side Story.Google Scholar

Teague, Frances. Shakespeare and the American Popular Stage. Cambridge: Cambridge University Press, 2006.Google Scholar

Bloom, Harold. Shakespeare: The Invention of the Human. London: Fourth Estate, 1998.Google Scholar

Dowden, Edward. Shakspere: A Critical Study of His Mind and Art. London: Henry S. King, 1875.Google Scholar

Elgar, Edward. “Falstaff.” Musical Times 54.847 (1913): 575–79. DOI:10.2307/908045.Google Scholar

Hepokoski, James A., and Darcy, Warren. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford UP, 2006.Google Scholar

Hoffmann, E. T. A. “Beethoven’s Instrumental Music.” Trans. Locke, Arthur Ware. The Musical Quarterly 3.1 (1917): 123–33. http://www.jstor.org/stable/738009.Google Scholar

Morgann, Maurice. An Essay on the Dramatic Character of Sir John Falstaff. London: T. Davies, 1777.Google Scholar

Nuttall, A. D. A New Mimesis: Shakespeare and the Representation of Reality. London: Methuen, 1983.Google Scholar

Rushton, Julian. Berlioz, “Roméo et Juliette.” Cambridge: Cambridge University Press, 1994.Google Scholar

Burnham, Scott G. Beethoven Hero. Princeton: Princeton UP, 1995.Google Scholar

Harper-Scott, J. P. E. “Elgar’s Invention of the Human: Falstaff, op. 68.” 19th-Century Music 28.3 (2005): 230–53.Google Scholar

Hepokoski, James A. “Beethoven Reception: The Symphonic Tradition.” The Cambridge History of Nineteenth-Century Music. Ed. Samson, Jim. Cambridge: Cambridge University Press, 2002. 424–59.Google Scholar

Hepokoski, James A. “Structure and Program in Macbeth: A Proposed Reading of Strauss’s First Symphonic Poem.” Richard Strauss and His World. Ed. Gilliam, Bryan. Princeton: Princeton UP, 1992. 67–89.Google Scholar

Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002.Google Scholar

Taruskin, Richard. Music in the Nineteenth Century. Vol. 3: Oxford History of Western Music. Oxford: Oxford UP, 2010.Google Scholar

Barasch, Frances K. “Harlequin/Harlotry in Henry IV, Part One.” Italian Culture in the Drama of Shakespeare and His Contemporaries. Ed. Marrapodi, Michele. Aldershot: Ashgate, 2007. 27–38.Google Scholar

Clubb, Louise George. “Commedia Grave and The Comedy of Errors.” The Comedy of Errors: Critical Essays. Ed. Miola, Robert S.. New York: Garland, 1997.Google Scholar

Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769. Oxford: Clarendon, 1992.Google Scholar

Giffard, Henry. Harlequin Student: or, the Fall of Pantomime, with the Restoration of the Drama. London: 1741.Google Scholar

Goldoni, Carlo. The Comic Theater. Trans. Miller, John W., introd. Cheney, Donald. Lincoln: U of Nebraska P, 1969.Google Scholar

Henke, R. Performance and Literature in the Commedia Dell’Arte. Cambridge: Cambridge University Press, 2002.Google Scholar

Lea, Kathleen M. Italian Popular Comedy. New York: Russell and Russell, 1934.Google Scholar

O’Brien, John. Harlequin Britain: Pantomime and Entertainment, 1690–1760. Baltimore: Johns Hopkins UP, 2004.Google Scholar

Riccoboni, Luigi. Histoire du Theatre Italien depuis la decadence de la Comedie Latine. Paris: 1728.Google Scholar

Richards, K., and Richards, L.. The Commedia dell’Arte: A Documentary History. Oxford: Blackwell, 1990.Google Scholar

Richardson, Samuel. Letters Written to and for Particular Friends, on the most Important Occasions. London: 1741.Google Scholar

Sadlak, Antoni N. “Harlequin Comes to England: The Early Evidence of the Commedia dell’arte in England and the Formulation of English Harlequinades and Pantomimes.” PhD diss. Tufts U, 1999.Google Scholar

Salerno, Henry F. Scenarios of the Commedia dell’Arte: Flaminio Scala’s Il Teatro delle favole Rappresentative. New York: Limelight, 1967.Google Scholar

Weaver, John. An Essay Towards an History of Dancing. London: Jacob Tonson, 1712.Google Scholar

Weaver, John. The Loves of Mars and Venus. London: Mears and Browne, 1717.Google Scholar

Duchartre, Pierre L. The Italian Comedy. 1929. New York: Dover, 1966.Google Scholar

Grewar, Andrew. “Shakespeare and the Actors of the Commedia Dell’Arte.” Studies in the Commedia Dell’Arte. Ed. George, David J. and Gossip, Christopher J.. Cardiff: U of Wales P, 1993. 13–47.Google Scholar

Stott, Andrew. The Pantomime Life of Joseph Grimaldi: Laughter, Madness, and the Story of Britain’s Greatest Comedian. London: Canongate, 2010.Google Scholar

Worrall, David. Harlequin Empire: Race, Ethnicity, and the Drama of the Popular Enlightenment. London: Pickering and Chatto, 2007.Google Scholar

Barasch, Frances K. “Shakespeare and the Puppet Sphere.” English Literary Renaissance 34.2 (2004): 157–75.Google Scholar

Bell, John. Strings, Hands, Shadows: A Modern Puppet History. Detroit: Institute of Art, 2005.Google Scholar

Burke, Peter. Popular Culture in Early Modern Europe. New York: New York UP, 1978.Google Scholar

Day, John [and Chettle, Henry]. The Blind Beggar of Bednal Green. London: 1659.Google Scholar

Dekker, Thomas, and Wilkins, George. Jests to make you Merie. London: 1607.Google Scholar

Derrida, Jacques. “The Theater of Cruelty and the Closure of Representation.” Trans. Bass, Alan. Writing and Difference. Chicago: U of Chicago P, 1978.Google Scholar

Elyot, Thomas. The dictionary of syr Thomas Eliot knight. London: n.d. [1538].Google Scholar

France, Anatole. “M. Signoret’s Marionettes.” On Life and Letters, Second Series. Trans. Evans, A. W.. The Works of Anatole France. 30 vols. New York: Gabriel Wells, 1924. 27: 137–39.Google Scholar

Greene, Robert. The Life and Complete Works in Prose and Verse of Robert Greene. Ed. Grosart, Alexander B.. 15 vols. 1881–86. Rpt. New York: Russell and Russell, 1966.Google Scholar

Hereford, C. H., and Simpson, Percy, eds. Ben Jonson. 11 vols. Oxford: Clarendon, 1935–63.Google Scholar

Magnin, Charles. Histoire des marionettes en Europe: depuis l’antiquité jusqu’à nos jours. 1861. Rpt. Paris: Slatkin, 1981.Google Scholar

Marston, John. Antonio and Mellida. Ed. Fair, W. Reavley. Manchester: Manchester UP, 1991.Google Scholar

Middleton, Thomas. A Trick to Catch the Old One. Ed. Barber, Charles. Berkeley: U of California P, 1968.Google Scholar

Plato, . The Collected Dialogues of Plato. Ed. Hamilton, Edith and Cairns, Huntington. Princeton: Princeton UP, 1961.Google Scholar

Shaw, Bernard. Shakes versus Shav. Stratford: Lanchester Marionettes, 1949.Google Scholar

Shaw, Bernard. An Unsocial Socialist. New York: Brentano’s, 1911.Google Scholar

Shershow, Scott Cutler. Puppets and “Popular” Culture. Ithaca: Cornell UP, 1995.Google Scholar

Shipley, Joseph. The Origins of English Words: A Discursive Dictionary of Indo-European Roots. Baltimore: Johns Hopkins UP, 1984.Google Scholar

Speaight, George. The History of the English Puppet Theatre. 2nd ed. London: Robert Hale, 1990.Google Scholar

Bell, John, ed. Puppets, Masks and Performing Objects. Cambridge: MIT P, 2001.Google Scholar

Blumenthal, Eileen. Puppetry: A World History. New York: Abrams, 2005.Google Scholar

Hedderwick, T. C. H. The Old German Puppet-Play of Doctor Faust. London: 1887.Google Scholar

Jurkowski, Henryk. Aspects of Puppet Theatre: A Collection of Essays. London: Puppet Centre Trust, 1988Google Scholar

Proschan, Frank. “The Semiotic Study of Puppets, Masks, and Performing Objects.” Semiotica 47.1–4 (1983): 3–46.Google Scholar

Teague, Frances. The Curious History of Bartholomew Faire. Lewisburg: Bucknell UP, 1985.Google Scholar

Tillis, Steve. Towards an Aesthetics of the Puppet: Puppetry as a Theatrical Art. Westport: Greenwood, 1992.Google Scholar

Von Boehn, Max. Dolls and Puppets. New York: Cooper Union, 1966.Google Scholar

Ardley, Neil, Carr, Ian, Gibbs, Mike, and Tracey, Stan. Will Power: A Shakespeare Birthday Celebration in Music. 1975. Vocalion, 2CDSML8412. 2005. CD.Google Scholar

Barthes, Roland. “The Grain of the Voice.” Image, Music Text. Trans. Heath, S.. London: Fontana, 1977. 179–89.Google Scholar

Bristol, Michael. Big-Time Shakespeare. London: Routledge, 1996.Google Scholar

Cunniffe, Thomas. Retro-Review: Cleo Laine. Shakespeare and All That Jazz (Fontana 5209). Jazz History Online. http://jazzhistoryonline.com/Cleo_Laine.html.Google Scholar

Eliot, Thomas S. Four Quartets. London: Faber and Faber, 1944.Google Scholar

Eliot, Thomas S. “The Music of Poetry.” On Poetry and Poets. London: Faber and Faber, 1957. 26–38.Google Scholar

Ellington, Duke, and His Orchestra. Such Sweet Thunder. 1957. Columbia/Legacy, CK65568. 1999. CD.Google Scholar

Groves, Peter. “My Heart Dances: Rhythm and Emotion in Shakespeare’s Verse.” Conference paper given at ANZSA Conference: Shakespeare and Emotion. University of Western Australia. November 2012.Google Scholar

Hawkes, Terence. That Shakespeherian Rag: Essays on a Critical Process. London: Methuen, 1977.Google Scholar

Laine, Cleo. “Cleo’s Shakespeare Writings.” Unpublished memoir, 2011.Google Scholar

Laine, Cleo, and Dankworth, Johnny. The Collection. Spectrum, 3154 47702. 2002. CD.Google Scholar

Laine, Cleo, and Dankworth, Johnny (with special guest Jacqui Dankworth). Once Upon a Time. Qnote, QNT 10108. 2005. CD.Google Scholar

Eliot, Thomas S. Shakespeare and All That Jazz. Universal Records. 1964. Fontana, B000CSUWY4. 2006. CD.Google Scholar

Lanier, Douglas. “Minstrelsy, Jazz, Rap: Shakespeare, African American Music, and Cultural Legitimation.” Borrowers and Lenders: The Journal of Shakspeare and Appropriation 1.1 (2005): 1–29. http://www.borrowers.uga.edu/782016/display.Google Scholar

Madrigal, Jazz. Shakespeare’s Music of Love. New Age Music, CD-24016. 1998. CD.Google Scholar

Rutter, John. “Birthday Madrigals.” Feel the Spirit. Collegium Records, COLCD128. 2001. CD.Google Scholar

Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings. Cambridge: Polity, 2007.Google Scholar

Silverman, Stanley. Duke Ellington’s Incidental Music for Shakespeare’s “Timon of Athens.” Varese Records, B000024C43. 1994. CD.Google Scholar

Booth, Stephen. An Essay on Shakespeare’s Sonnets. New Haven: Yale UP, 1969.Google Scholar

Buhler, Stephen M. “Form and Character in Duke Ellington and Billy Strayhorn’s Such Sweet Thunder.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781406/display.Google Scholar

Buntin, Mat., and Fischlin, Daniel. “Shakespeare, Canada and Jazz: The Ellington Connection.” Canadian Adaptations of Shakespeare Project. http://www.canadianshakespeares.ca/multimedia/audio/m_a_jazz.cfm.Google Scholar

Callaghan, Dympna. Shakespeare’s Sonnets. Malden: Blackwell, 2007.CrossRefGoogle Scholar

Cooke, Mervyn, and Horn, David, eds. The Cambridge Companion to Jazz. Cambridge: Cambridge University Press, 2002.Google Scholar

Corrigan, Alan. “Jazz, Shakespeare and Hybridity: A Script Excerpt from Swingin’ the Dream.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1. 1 (spring–summer 2005). http://www.borrowers.uga.edu/781411/display.Google Scholar

Greenblatt, Stephen. Cultural Mobility: A Manifesto. Cambridge: Cambridge University Press, 2009.Google Scholar

Hansen, Adam. Shakespeare and Popular Music. London: Continuum, 2010.Google Scholar

Hawkes, Terence. “The Duke’s Man: Ellington, Shakespeare and Jazz Adaptation.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781405/display.Google Scholar

Lanier, Douglas. Shakespeare and Modern Popular Culture. Oxford Shakespeare Topics. Oxford: Oxford UP, 2002.Google Scholar

Newmark, Peter. “Serious Songs: Their Texts as Approximate Translations of Their Music.” Translation Quarterly 41 (2006).Google Scholar

Schalkwyk, David. “Poetry and Performance.” The Cambridge Companion to Shakespeare’s Poetry. Ed. Cheney, Patrick. Cambridge: Cambridge University Press, 2007. 241–59.Google Scholar

Teague, Francis. “Swingin’ Shakespeare from Harlem to Broadway.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781407/display.Google Scholar

Van Kampen, Claire. Sleep No More: Incidental Jazz Music Composed by Claire Van Kampen with the Shakespeare’s Globe Musicians. From Globe Theater 2001 production of Macbeth. International Globe Centre. 2001. CD.Google Scholar

Vendler, H. The Art of Shakespeare’s Sonnets. Cambridge: Harvard UP, 1999.Google Scholar