The International Bibliography of Sikh Studies brings together all books, composite works, journal articles, conference proceedings, theses, dissertations, project reports, and electronic resources produced in the field of Sikh Studies until June 2004, making it the most complete and up-to-date reference work in the field today. One of the youngest religions of the world, Sikhism has progressively attracted attention on a global scale in recent decades. An increasing number of scholars is exploring the culture, history, politics, and religion of the Sikhs. The growing interest in Sikh Studies has resulted in an avalanche of literature, which is now for the first time brought together in the International Bibliography of Sikh Studies. This monumental work lists over 10,000 English-language publications under almost 30 subheadings, each representing a subfield in Sikh Studies. The Bibliography contains sections on a wide variety of subjects, such as Sikh gurus, Sikh philosophy, Sikh politics and Sikh religion. Furthermore, the encyclopedia presents an annotated survey of all major scholarly work on Sikhism, and a selective listing of electronic and web-based resources in the field. Author and subject indices are appended for the reader’s convenience.

Articles on Sikh doctrines and polity.

Shakespearean tragedy is the classification of drama written by William Shakespeare which has a noble protagonist, who is flawed in some way, placed in a stressful heightened situation and ends with a fatal conclusion. The plots of Shakespearean tragedy focus on the reversal of fortune of the central characters which leads to their ruin and ultimately, death. Shakespeare wrote several different classifications of plays throughout his career and the labeling of his plays into categories is disputed amongst different sources and scholars. There are 10 Shakespeare plays which are always classified as tragedies and several others which are disputed; there are also Shakespeare plays which fall into the classifications of comedy, history, or romance/tragicomedy that share fundamental attributes of a Shakespeare tragedy but do not wholly fit in to the category. The plays which provide the strongest fundamental examples of the genre of Shakespearean tragedy are Hamlet, Othello, King Lear, Macbethand Antony and Cleopatra.

A metadramatic study of nine of Shakespeare's plays, focusing on aesthetic metaphors created by the union of the playwright, actor-character, and audience.

For the past five decades, Arab intellectuals have seen themselves in Shakespeare's Hamlet: their times "out of joint," their political hopes frustrated by a corrupt older generation. Hamlet's Arab Journey traces the uses of Hamlet in Arabic theatre and political rhetoric, and asks how Shakespeare's play developed into a musical with a happy ending in 1901 and grew to become the most obsessively quoted literary work in Arab politics today. Explaining the Arab Hamlet tradition, Margaret Litvin also illuminates the "to be or not to be" politics that have turned Shakespeare's tragedy into the essential Arab political text, cited by Arab liberals, nationalists, and Islamists alike. On the Arab stage, Hamlet has been an operetta hero, a firebrand revolutionary, and a muzzled dissident. Analyzing productions from Egypt, Syria, Iraq, Jordan, and Kuwait, Litvin follows the distinct phases of Hamlet's naturalization as an Arab. Her fine-grained theatre history uses personal interviews as well as scripts and videos, reviews, and detailed comparisons with French and Russian Hamlets. The result shows Arab theatre in a new light. Litvin identifies the French source of the earliest Arabic Hamlet, shows the outsize influence of Soviet and East European Shakespeare, and explores the deep cultural link between Egypt's Gamal Abdel Nasser and the ghost of Hamlet's father. Documenting how global sources and models helped nurture a distinct Arab Hamlet tradition, Hamlet's Arab Journey represents a new approach to the study of international Shakespeare appropriation.

A.C.Bradley's Shakespearean Tragedy, first published in 1904, ranks as one of the greatest works of Shakespearean criticism of all time. In his ten lectures, Bradley has provided a study of the four great tragedies - Hamlet, Othello, King Lear and Macbeth - which reveals a deep understanding of Shakespearean thought and art. This centenary edition features a new Introduction by Robert Shaughnessy which places Bradley's work in the critical, intellectual and cultural context of its time. Shaughnessy summarises the content and argumentative thrust of the book, outlines the critical debates and counter-arguments that have followed in the wake of its publication and, most importantly, prompts readers to engage with Bradley's work itself.