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| Preface | |
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| Acknowledgments | |
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| Authorship | |
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| Looney and the Oxfordians | |
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| New Criticism | |
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| The Naked Babe and the Cloak of Manliness | |
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| "Honest" in Othello | |
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| "Introductory" Chapter About the Tragedies | |
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| The "New Criticism" and King Lear | |
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| Dramatic Kinds | |
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| The Argument of Comedy | |
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| Ambivalence: The Dialectic of the Histories | |
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| The Saturnalian Pattern | |
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| The Jacobean Shakespeare: Some Observations on the Construction of the Tragedies | |
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| The 1950s and 1960s: Theme, Character, Structure | |
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| Reflections on the Sentimentalist's Othello | |
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| Form and Formality in Romeo and Juliet | |
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| King Lear or Endgame | |
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| The Cheapening of the Stage | |
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| How Not to Murder Caesar | |
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| Reader-Response Criticism | |
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| On the Value of Hamlet | |
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| Rabbits, Ducks, and Henry V | |
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| Textual Criticism and Bibliography | |
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| The New Textual Criticism of Shakespeare | |
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| Revising Shakespeare | |
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| Narrative About Printed Shakespeare Texts: "Foul Papers" and "Bad Quartos" | |
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| Psychoanalytic Criticism | |
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| "Anger's my meat": Feeding, Dependency, and Aggression in Coriolanus | |
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| The Avoidance of Love: A Reading of King Lear | |
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| To Entrap the Wisest: Sacrificial Ambivalence in The Merchant of Venice and Richard III | |
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| What Did the King Know and When Did He Know It? Shakespearean Discourses and Psychoanalysis | |
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| The Turn of the Shrew | |
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| Historicism and New Historicism | |
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| The Cosmic Background | |
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| Invisible Bullets: Renaissance Authority and its Subversion, Henry IV and Henry V | |
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| The New Historicism in Renaissance Studies | |
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| "Shaping Fantasies": Figurations of Gender and Power in Elizabethan Culture | |
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| Materialist Criticism | |
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| Shakespeare's Theater: Tradition and Experiment | |
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| King Lear (ca. 1605-1606) and Essentialist Humanism | |
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| Give an Account of Shakespeare and Education, Showing Why You Think They Are Effective and What You Have Appreciated About Them. Support Your Comments with Precise References | |
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| Feminist Criticism | |
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| Egyptian Queens and Male Reviewers: Sexist Attitudes in Antony and Cleopatra Criticism | |
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| "I wooed thee with my sword": Shakespeare's Tragic Paradigms | |
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| The Family in Shakespeare Studies; or Studies in the Family of Shakespeareans; or The Politics of Politics | |
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| Disrupting Sexual Difference: Meaning and Gender in the Comedies | |
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| Studies in Gender and Sexuality | |
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| "This that you call love": Sexual and Social Tragedy in Othello | |
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| The Performance of Desire | |
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| The Secret Sharer | |
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| The Homoerotics of Shakespearean Comedy | |
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| Performance Criticism | |
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| Shakespeare and the Blackfriars Theatre | |
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| The Critical Revolution | |
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| William Shakespeare's Romeo + Juliet: Everything's Nice in America? | |
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| Deeper Meanings and Theatrical Technique: The Rhetoric of Performance Criticism | |
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| Postcolonial Shakespeare | |
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| Nymphs and Reapers Heavily Vanish: The Discursive Con-texts of The Tempest | |
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| Sexuality and Racial Difference | |
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| Discourse and the Individual: The Case of Colonialism in The Tempest | |
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| Reading Closely | |
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| Shakespeare's Prose | |
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