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1. See Oxford English Dictionary,

Works Cited

Anonymous. 2003. King Leir (1594), edited by Tiffany Stern. New York: Routledge.

Bamber, Linda. 1982. Comic Women, Tragic Women: A Study of Gender and Genre in Shakespeare. Bloomington IN: Stanford University Press.

Boose, Lynda E. 1982. ‘The Father and the Bride in Shakespeare’. PMLA 97.3: 325-47.

Hamlet. 1990. Dir. Franco Zeffirelli. Icon.

Hamlet. 2009. Dir. Gregory Doran. BBC Wales.

Henry V. 1989. Dir. Kenneth Branagh. BBC.

Henry, V. 2012. The Hollow Crown. Dir. Thea Sharrock. Universal Pictures.

Lenker, Lagretta Tallent. 2001. Fathers and Daughters in Shakespeare and Shaw. Greenwood Press.

Luckyj, Christina. 2002. A Moving Rhetoric: Gender and Silence in Early Modern England. Manchester: Manchester University Press.

Mahoney, Maureen A. 1996. ‘The Problem of Silence in Feminist Psychology’. Feminist Studies 22.3: 603-625.

O’Brien, Ellen J. 1992. ‘Revision by Excision: Rewriting Gertrude’. Shakespeare Survey 45: 27-36.

Rose, Mary Beth. 1991. ‘Where are the Mothers in Shakespeare? Options for Gender Representation in the English Renaissance’. Shakespeare Quarterly 42.3: 291-314.

Rosenberg, Marvin. 1992. The Masks of ‘Hamlet’. London: Associated University Press.

Shakespeare, William. 2006. Hamlet: The Texts of 1603 and 1623, edited by Ann Thompson and Neil Taylor. London: Thomson.

Shakespeare, William. 2007. ‘King Lear’. In Complete Works, edited by Jonathan Bate and Eric Rasmussen. Basingstoke: Macmillan.

Vaughan, Virginia Mason. 1996. Othello: A Contextual History. Cambridge: Cambridge University Press.

Dr Anna Fraser Mackenzie completed her PhD in gender and genre in Shakespeare’s works at the University of Chester in 2015. She is a Senior Project Officer at the University of Chester, and taught in the University’s English department for five years. Dr Mackenzie is a keen poet with her poetry published in Anon, Krax, Albatross and the Cheshire Prize for Literature anthology of 2010, Still Life. She is currently preparing two monographs: the first, extending her doctoral research, interrogates the relationship between gender and genre in Shakespeare’s works in performance; the second explores links between Shakespeare’s plays and Doctor Who.

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