Relevant bibliographies by topics / Shakespeare in the classroom

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Shakespeare in the classroom'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Shakespeare in the classroom"

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Farris, Anelise. "Visual Rhetoric as Performance." Pedagogy 19, no. 3 (October 1, 2019): 558–73. http://dx.doi.org/10.1215/15314200-7615587.

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This article examines the use of comic adaptations of Shakespeare in the college classroom. After theorizing the class offering based upon performance pedagogy and inclusive learning practices, the author describes her experience coteaching a Shakespeare class that used three Shakespeare plays in both their traditional and graphic format. The success of the course revealed that comic adaptations of Shakespeare plays offer an accessible, rewarding means of understanding Shakespeare’s plays as both texts to be read and works to be performed.
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Meyer, Allison Machlis. "Bringing Down the Bard’s House." Pedagogy 20, no. 3 (October 1, 2020): 549–58. http://dx.doi.org/10.1215/15314200-8544603.

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This article examines student experiences of studying Shakespeare’s first tetralogy through viewing and writing about Seattle Shakespeare Company’s 2017 Bring Down the House, a successful two-part adaptation of Henry VI parts 1, 2, and 3 directed by Rosa Joshi and the upstart crow collective, a Seattle theater company dedicated to producing classical works with diverse all-female and nonbinary casts for contemporary audiences. Through reflection on students’ responses to the adaptation’s all-female cast, as well as the analytical work they produced for an upper-level course titled Shakespeare: Context and Theory, this article articulates the pedagogical value of students’ experiences of representation in live theater performances of Shakespeare. The author argues for both the ethical imperative of introducing students to radical, inclusively cast productions and the enlivened learning that emerges in the literature classroom from students’ creative and analytical engagements with the diverse voices of modern all-female and cross-gender cast Shakespearean performance.
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Uchimaru, Kohei. "“Wisely, and slow. They stumble that run fast”: Learner-Friendly Shakespeare in an EFL Classroom." Early Modern Culture Online 7 (January 26, 2020): 66–86. http://dx.doi.org/10.15845/emco.v7i1.2831.

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This paper discusses a learner-friendly and student-centred approach to introducing Shakespeare for less advanced English language learners in the university-level EFL classroom. Shakespeare becomes welcome material when the input is comprehensible and enjoyable. In this light, the teaching should first start with the story rather than the language. After hooking students by recounting stories from Shakespeare, the teacher needs to familiarise them with the authentic language through activities carefully designed to initiate them into the language. In approaching the content of Shakespeare’s plays, the students are asked to relate themselves to the world of Shakespeare through active methods advanced by the RSC and the world that students already know. Raising language awareness in learners rather than being taught the language, the students become less frustrated while learning to appreciate Shakespeare.
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Voth, Grant L., Bertram Joseph, and Kenneth S. Rothwell. "Shakespeare In the Classroom." Shakespeare Quarterly 36, no. 2 (1985): 245. http://dx.doi.org/10.2307/2871208.

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Paran, Amos. "Shakespeare in the EFL Classroom." ELT Journal 70, no. 4 (July 22, 2016): 461–63. http://dx.doi.org/10.1093/elt/ccw052.

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Cox, Brian, Ronald E. Salomone, James E. Davis, and Helen Vendler. "Shakespeare in and out the Classroom." Hudson Review 51, no. 2 (1998): 440. http://dx.doi.org/10.2307/3853081.

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Casey, Jim. "Digital Shakespeare Is Neither Good Nor Bad, But Teaching Makes It So." Humanities 8, no. 2 (June 9, 2019): 112. http://dx.doi.org/10.3390/h8020112.

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Digital Shakespeare is all around us: mobile apps, YouTube videos, online “participatory cultures,” electronic playtexts, web-based educational materials, even Shakespeare-themed videogames. But how do these resources intersect with the teaching of Shakespeare in the university classroom? In particular, how might digital technologies aid or impede the effective teaching of close reading and critical interpretation in relation to Shakespeare? Rather than discussing the various creative and interactive platforms and media available to the Shakespeare instructor, this essay focuses on recent studies exploring the consequences of using e-readers and other digital devices on individual brains in order to present (1) the demonstrably negative impact of “multitasking” on student learning, (2) the potentially damaging effects of using e-readers and e-texts in the Shakespeare classroom, and (3) suggestions regarding the best practices for teaching students to engage with complex texts like the works of Shakespeare.
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Pande-Rolfsen, Marthe Sofie, and Anne-Lise Heide. "Sounding Shakespeare: An Interdisciplinary Educational Design Project in English and Music." Early Modern Culture Online 7 (January 26, 2020): 87–104. http://dx.doi.org/10.15845/emco.v7i1.2830.

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This article outlines Sounding Shakespeare, an interdisciplinary project in Music and English, carried out with student teachers in Norway. The aims of the project are to explore and develop new ways of working with Shakespeare cross-curricularly through educational design research, focusing on creative and aesthetic processes in order for student teachers to gain experience in working across subjects, and to decrease their fear factor of using Shakespeare in the classroom. The current curriculum changes in Norwegian primary and secondary education (Fagfornyelsen) focus on experimentation, exploration and creative processes, and these are guiding educational principles that also provide a foundation for the Sounding Shakespeare project. Our research into student teachers’ experiences of working with Shakespeare’s texts, constitute the starting point for this article. In the project, students worked in two different workshops with Speech and Music Composition to collaborate and devise a performance based on A Midsummer Night’s Dream as their focus text. Through voice and prosody, students explored the musicality of Shakespeare’s text, and through music composition, students experimented with soundscapes in creative processes. In the final part of the workshops, students collaborated towards performances. Based on our collected data, our main finding shows how music can become a guiding agent for a meaningful experience of literature.
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Preussner, Arnold W., Bruce McIver, and Ruth Stevenson. "Teaching with Shakespeare: Critics in the Classroom." Sixteenth Century Journal 26, no. 3 (1995): 710. http://dx.doi.org/10.2307/2543176.

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Baker, Susan, Bruce McIver, and Ruth Stevenson. "Teaching with Shakespeare: Critics in the Classroom." Shakespeare Quarterly 47, no. 2 (1996): 223. http://dx.doi.org/10.2307/2871114.

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Dissertations / Theses on the topic "Shakespeare in the classroom"

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Gross, Anna Lynn. "The Flipped Classroom: Shakespeare in the English Classroom." Thesis, North Dakota State University, 2014. https://hdl.handle.net/10365/27512.

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Bergmann and Sams? twenty-first century flipped classroom method was reviewed in depth to determine its effectiveness in improving student achievement and enjoyment of studying Hamlet by William Shakespeare, a text that is difficult to both read and comprehend. The flipped method was implemented into one of two 12th grade general English classes in rural Minnesota. The first section of 12th grade general English read the play aloud using the traditional read-aloud method and completed an in-depth passage analysis chart for homework. The second section, the intervention group, used the flipped method and read the play on their own with accompanying video podcasts and then worked together in class with both peer and teacher help to complete the passage analysis chart. After finding similar final assessment scores, the flipped classroom may prove to be successful in an English class studying difficult literature.
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Keller, Jessica. "Will's Words: Using Language-Learning Technology to Teach Shakespeare in the Classroom." Kent State University Honors College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1556983934107981.

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Blade, Jamie. "Variety is the Key: Teaching Shakespeare in Secondary English Classrooms." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_hontheses/7.

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This thesis explores the reasons teachers teach Shakespeare, especially his plays, in Secondary English classrooms, which plays teachers teach and why they teach them, and a catalog of methods of teaching Shakespeare. The catalog includes methods of introduction, literary analysis, performance, multimedia, and technology, as well as methods that integrate multiple approaches. The thesis stresses the integration of multiple approaches and the employment of a variety of methods.
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Lenahan, Patrick. "Interacting with Shakespeare's figurative language: a project in materials development for the L2 classroom." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1003463.

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This project arises from recent initiatives aimed at transforming Shakespeare studies in South African high schools, so as to make those studies more learner-centred and interactive, as well as a more useful communicative language-learning experience for second-language (L2) students. It is this interactive methodology that the present project seeks to extend to the relatively neglected area of Shakespeare's figurative language. Drawing on schema theory and response-based approaches to literature teaching, the project shows that figurative language is especially conducive to interactive treatment, whereby students might be encouraged to make sense of metaphors and similes out of their "background knowledge". Guidelines are indicated for putting this into practice in the L2 classroom; and on the basis of these guidelines, materials are developed for an interactive approach to Shakespeare's figurative language. The central phase in this development process involves trying out the materials in five African high schools and then analysing the data collected from them. The classroom try-outs were profitable in so far as they raised issues that had been overlooked in the earlier, theoretical, stage of the development process. A good overall response to the materials' learner-centred approach was indicated, although students experienced difficulties with certain essential tasks. Most seriously, while the materials were successful in accessing students' background knowledge in the form of associations, they were less successful in getting students to use this knowiedge in interpreting metaphors for themselves. Reasons for this feature, and others, are considered and solutions posited. Recommendations for implementing the materials in a larger teaching programme are made.
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Cushman, Camille. "Re-imagining Reading Instruction for English Language Learners: A Performance Ethnography of Collaborative Play, Inquiry and Drama with Shakespeare in a Third Grade Classroom." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313604713.

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Korcsolan, Judit. "Teaching Shakespeare’s Romeo and Julietin L2 adult education : A qualitative study on teachers’ and students’ opinions on Shakespeare and his language as a topic in the EFL classroom in formal and non-formal adult education." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-11576.

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This essay presents a literary study for adult students of English at English A level at Komvux (municipal adult education) and Vuxenskola (a study association for adult non-formal learning). It has its basis in the question whether reading Shakespeare in the original version is suitable for language learners as form, and is beneficial as content. The classic play Romeo and Juliet by Shakespeare features in the course book Read and Log on used by the English A group at Komvux in my chosen municipality. The primary aims of the study were to explore teachers’ attitude and views on teaching literature – the classics in general, and Shakespeare in particular – to adult language learners, and students’ reactions and opinions about a lesson on Shakespeare and Romeo and Juliet in the original language with regards to content and usefulness.
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Khan, Amir. "Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24310.

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This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror.
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Stålnacke, Klara. "Equality in the Classroom : A Norm Critical Approach to Teaching Democratic Values Using Shakespeare’s A Midsummer Night’s Dream, The Tempest and The Taming of the Shrew." Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-160125.

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The curriculum for upper secondary school clearly states that every school is obliged to ensure that teaching centres on and implements democratic values in order to prevent discrimination (Skolverket, 2013). How to do this however, is up to the local school to decide. Norm-critical pedagogy shows that in order to inculcate democratic values in education, the individual teacher must design the teaching material so that it focuses on such values (Bromseth & Darj, 2010). The purpose of this study, and the aim of this essay, is to investigate how democratic values can be implemented in classroom practice using Shakespeare’s The Tempest, A Midsummer Night’s Dream and The Taming of The Shrew. English classes in the courses English 5 and English 6 were asked to read extracts from each of the plays, and then evaluate the play of choice in terms of the socio-political reality of the late Renaissance portrayed in the extracts, through the prism of today’s democratic values. The pupils were assisted in the task by having close-reading questions to answer, and later a smaller written assessment in form of a blog-entry, in order to help develop their thinking. The results of the study show that the pupils were perfectly able to evaluate and discuss values and practices such as equality, racism or sexism based on their reading. From a normpedagogical approach to teaching, it therefore seem that Shakespeare’s The Tempest, A Midsummer Night’s Dream and The Taming of The Shrew can be utilised as teaching material in order to help foster the development of democratic values, and discussions around the same, into the classroom.
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Leonard, Alice. "Error in Shakespeare : Shakespeare in error." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72806/.

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Error is significant for Shakespeare because of its multiple, flexible meanings and its usefulness in his drama. In the early modern period it meant not only a ‘fault’ or ‘mistake’, but ‘wandering’. ‘Wandering’, through its conceptual relation with metaphor, plot and other devices, aligns error much more with the literary, which dilutes the negative connotations of mistake, and consequently error has the potential to become valuable rather than something to be corrected. Shakespeare’s drama constantly digresses and is full of complex characters who control and are controlled by error. Error is an ambiguous concept that enables language and action to become copious: figurative language becomes increasingly abstracted and wanders away from its point, or the number of errors a character encounters increases, as in The Comedy of Errors. The first chapter argues that error is problematically gendered, that women’s language is often represented as being in error despite being the defenders of the ‘mother tongue’, the guardians of the vernacular. The containment of women in this paradox is necessary for a sense of national identity, that women must pass on the unifying English. The second chapter argues that foreign language becomes English error on the early-modern stage. Shakespeare subverts this tendency, inviting in foreign language for the benefit of the play and, in the context of the history play, of the body politic. The third chapter argues that in The Comedy of Errors, textual indeterminacy and error increases the thematic error of the confusion of the twins. Error is not something to correct automatically without altering the meaning of the play. The fourth chapter argues that the setting of the wood and its wandering characters in A Midsummer Night’s Dream licenses the error of figurative language that wanders away from straightforward speech. The fifth chapter argues that the expansive category of genre falls into error in Cymbeline. The genre turns irrevocably from romance to a satire of James VI and I’s vision of the union. What emerges from the analysis of these permutations of error is that, in Shakespeare’s hands, error is not just a literary device. Error is valuable linguistically, dramatically, politically and textually; in order to understand it, we must resist the ideology of standardisation that privileges what is ‘good’ and ‘correct’. Attending to Shakespearean error demonstrates the need to think beyond the paradigm of the right, and attend to the political implications of ‘wrongness’ and its creative literary employment.
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Altindag, Zumrut. "Rereading Shakespeare." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605279/index.pdf.

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This thesis is a comparative study of how Shakespeare&rsquo
s ideas transcend the boundaries of his own time and still remain as the major sources of inspiration for modern dramatists. Arnold Wesker and Eugé
ne Ionesco explore the concept of the "
other"
leading to loss of identity and awareness of non-being embedded in Shakespeare&rsquo
s works. The main argument is that the contemporary playwrights reinterpret Shakespeare&rsquo
s works in the light of some modern issues and ideas to reveal the entrapment of the individual.
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Books on the topic "Shakespeare in the classroom"

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Leach, Susan. Shakespeare in the classroom: What's thematter? Buckingham: Open University Press, 1992.

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Leach, Susan. Shakespeare in the classroom: What's the matter? Buckingham: Open University Press, 1992.

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Frey, Charles H. Experiencing Shakespeare: Essays on text, classroom, and performance. Columbia: University of Missouri Press, 1988.

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Shakespeare, William. Scenes from Shakespeare: Fifteen cuttings for the classroom. Colorado Springs, Colo: Meriwether Pub., 1993.

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Rygiel, Mary Ann. Shakespeare among schoolchildren: Approaches for the secondary classroom. Urbana, Ill: National Council of Teachers of English, 1992.

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Shakespeare films in the classroom: A descriptive guide. Hamden, Conn: Archon Books, 1994.

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Shakespeare, William. Short scenes from Shakespeare: Nineteen cuttings for the classroom. Studio City, CA: Players Press, 1993.

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Shakespeare in the classroom: Plays for the intermediate grades. Torrance, Calif: Fearon Teacher Aids, 1995.

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Mackie, Andrew. School editions of Shakespeare: A survey of classroom texts past, present...and future? Birmingham: University of Birmingham, 1995.

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Desmet, Christy, Natalie Loper, and Jim Casey, eds. Shakespeare / Not Shakespeare. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63300-8.

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Book chapters on the topic "Shakespeare in the classroom"

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Lipowitz, Daniel G., and James M. Conley. "Why Shakespeare? “Soul of the Ages”." In Advanced Placement Classroom Macbeth, 1–6. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232858-1.

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Clement, Jennifer. "Admitting to Adaptation in the Shakespeare Classroom." In Teaching Shakespeare Beyond the Centre, 51–62. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137275073_5.

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Duggan, Timothy J. ""I shall be glad to learn": Teaching Shakespeare." In Advanced Placement Classroom Julius Caesar, 9–36. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232827-2.

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Bulman, James C., and Beth Watkins. "Acting as Ownership in the Shakespeare Classroom." In How and Why We Teach Shakespeare, 65–74. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429283192-8.

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Duggan, Timothy J. ""I shall the effect of this good lesson keep": Teaching Shakespeare." In Advanced Placement Classroom Hamlet, 7–32. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003232810-2.

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Eisenmann, Maria. "Adaptation, Creation, Transformation – Shakespeare in the EFL Classroom." In Impulse zur Fremdsprachendidaktik – Issues in Foreign Language Education, 149–70. Göttingen: V&R unipress, 2020. http://dx.doi.org/10.14220/9783737012232.149.

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Hennessey, Katherine. "Chapter 2. Sparking Debate: Shakespeare in the University Classroom." In Shakespeare on the Arabian Peninsula, 83–116. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58471-7_3.

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Lee, Adele. "Shakespeare in the Hong Kong Chinese Classroom: Exploring an Intercultural Approach to Teaching." In Shakespeare in East Asian Education, 25–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_2.

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Montini, Donatella. "Shakespeare’s Multilingual Classrooms." In The Dialects of British English in Fictional Texts, 69–90. New York : Routledge 2021. | Series: Routledge research in language and communication: Routledge, 2021. http://dx.doi.org/10.4324/9781003017431-7.

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Brady, Linzy. "‘Telling the Story my Way’: Shakespearean Collaborations and Dialogism in the Secondary School Classroom." In Storytelling: Critical and Creative Approaches, 211–21. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137349958_16.

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Conference papers on the topic "Shakespeare in the classroom"

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Gordon, Lucia Castro, Ramiro Delgado, Christian Ubilluz, and Silvana Yacchirema. "Incidence of Flipped Classroom model in the Learning of Differential Calculation in the William Shakespeare School, Quito-Ecuador." In 2020 15th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2020. http://dx.doi.org/10.23919/cisti49556.2020.9141141.

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Emsley, Iain, David de Roure, Pip Willcox, and Alan Chamberlain. "Performing Shakespeare." In AM'19: Audio Mostly. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3356590.3356614.

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Dudalski, Sirlei Santos. "“Você nos livrará da tirania de William Shakespeare?” - Hamlet na HQ Kill Shakespeare." In 1º Congresso Internacional de Intermidialidade 2014. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/phypro-intermidialidade2014-008.

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Viégas, Fernanda, and Martin Wattenberg. "Shakespeare, god, and lonely hearts." In the 8th ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1378889.1378914.

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Wastie, Martin L. "English: The Language of Shakespeare." In 5th Regional Workshop on Medical Writing for Radiologists. Singapore: The Singapore Radiological Society, 2006. http://dx.doi.org/10.2349/biij.2.1.e14-67.

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Williams, Douglas L., Ian C. Kegel, Marian Ursu, Pablo Cesar, Jack Jansen, Erik Geelhoed, Andras Horti, Michael Frantzis, and Bill Scott. "A Distributed Theatre Experiment with Shakespeare." In MM '15: ACM Multimedia Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2733373.2806272.

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Luttrell Briley, Rebecca. "Who was Shakespeare and Why it Matters." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31259.

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Avdonin, Alexander N., Gennady V. Bondarenko, Hanif S. Vildanov, Natalia V. Vinogradova, and Roza A. Tukaeva. "Interparadigmatic Aspect of Tolstoy’s Dispute with Shakespeare." In Proceedings of the 2019 International Conference on Management, Education Technology and Economics (ICMETE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icmete-19.2019.142.

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Owen, David. "Aristotle would have admiredBioShockwhile Shakespeare would have playedDragon Age." In the International Academic Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1920778.1920808.

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Greer, Julienne A., Kris Doelling, Ling Xu, and Noelle Fields. "Shakespeare and Robots: Participatory Performance Art for Older Adults." In 2019 28th IEEE International Conference on Robot and Human Interactive Communication (RO-MAN). IEEE, 2019. http://dx.doi.org/10.1109/ro-man46459.2019.8956469.

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Reports on the topic "Shakespeare in the classroom"

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Larabee, Mark D. The Romantics and Their Shakespeare. Fort Belvoir, VA: Defense Technical Information Center, January 1986. http://dx.doi.org/10.21236/ada418605.

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White, Jeffrey. Shakespeare for Analysts: Literature and Intelligence. Fort Belvoir, VA: Defense Technical Information Center, July 2003. http://dx.doi.org/10.21236/ada476587.

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Balkenborg, Dieter, and Todd Kaplan. Economic Classroom Experiments. The Economics Network, September 2009. http://dx.doi.org/10.53593/n835a.

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O'Donnell, Michael, Travis Rogers, and Piali Sengupta. Scientists in the Classroom. Waltham, MA: Brandeis University Materials Research Science Engineering Center, 2019. http://dx.doi.org/10.26812/scilinkreports.11.

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Griffiths, Rebecca. MOOCs in the Classroom? New York: Ithaka S+R, October 2013. http://dx.doi.org/10.18665/sr.24658.

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Sedgwick, John. Research and Classroom Teaching. Bristol, UK: The Economics Network, February 2007. http://dx.doi.org/10.53593/n629a.

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Turanova, L. M., and A. A. Stiugin. Electronic educational environment «Virtual classroom». OFERNIO, November 2020. http://dx.doi.org/10.12731/ofernio.2020.24655.

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Bardzell, Mike, Jennifer Bergner, Kathleen Shannon, Don Spickler, and Tyler Evans. PascGalois Abstract Algebra Classroom Resources. Washington, DC: The MAA Mathematical Sciences Digital Library, July 2008. http://dx.doi.org/10.4169/loci002636.

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Fisher, Michael, Mike Bardzell, and Kurt Ludwick. PascGalois Number Theory Classroom Resources. Washington, DC: The MAA Mathematical Sciences Digital Library, July 2008. http://dx.doi.org/10.4169/loci002637.

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Reynolds, Richard Jennings. Crane. Incidental Classroom Instruction 20295. Office of Scientific and Technical Information (OSTI), April 2016. http://dx.doi.org/10.2172/1245550.

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