Tanya Pollard, Publications
Work in Progress:
Greek Plays and Dramatic Genres in Early Modern England. Examines the theory and development of popular commercial stage genres in early modern England as responses to the reception of Greek plays and genre theory.
Shakespearean Sensations. Co-edited with Katharine Craik (Cambridge University Press, 2013). This volume gathers essays from new and established critics on both sides of the Atlantic that explore the ways early modern writers imagined the effects of plays and poems on minds, bodies and souls.
Drugs and Theater in Early Modern England (Oxford University Press, 2005). Explores preoccupations with drugs and poisons in early modern English drama and culture, and identifies these concerns both with developments in pharmacy and with anxieties about literature’s power over consumers’ minds and bodies.
Shakespeare’s Theater: A Sourcebook (Blackwell Publishing, 2003). An edited volume of early modern attacks on and defenses of the theater, 1577 to 1642, directed at students and scholars of Shakespeare and early modern drama.
“Genre: Comedy and Tragedy,” in The Ashgate Research Companion to Shakespeare and Classical Literature, ed. Sean Keilen and Nicholas Moschovakis (Ashgate, forthcoming).
“'Tragicomedy,” in The Oxford History of Classical Reception in English Literature, Vol. 2: The Renaissance, eds. Patrick Cheney and Philip Hardie (Oxford: Oxford University Press, forthcoming )
“Greek Playbooks and Dramatic Forms in Early Modern England,” in Forms of Early Modern Writing, ed. Allison Deutermann and Andras Kisery. (Manchester: Manchester University Press, 2013), 99-123.
“Teaching Petrarch and Shakespeare,” in Approaches to Teaching Petrarch’s “Canzoniere” and Petrarchism, ed. Christopher Kleinhenz and Andrea Dini (New York: MLA, forthcoming).
“Introduction,” in Shakespearean Sensations (Cambridge: Cambridge University Press, 2013), 1-25.
“Conceiving Tragedy,” in Shakespearean Sensations (Cambridge: Cambridge University Press, 2013), 85-100.
"What’s Hecuba to Shakespeare?,” Renaissance Quarterly 65:4 (2012), 1060-1093.
“Audience reception,” in The Oxford Handbook to Shakespeare, ed. Arthur Kinney (Oxford: Oxford University Press, 2012), 452-467.
“Barnabe Barnes” and “Stephen Gosson,” in Encyclopedia of English Renaissance Literature, ed. Alan Stewart and Garrett Sullivan (Oxford: Blackwell Publishing, 2012), vol 1, 46-47 & 393-395.
“Drugs, Poisons, Remedies, and the Theatre,” in Middleton in Context, ed. Suzanne Gossett (Cambridge: Cambridge University Press: 2011), 287-94.
“Tragedy and Revenge,” in The Cambridge Companion to English Renaissance Tragedy, eds. Emma Smith and Garrett Sullivan (Cambridge: Cambridge University Press, 2010), 58-72.
“Enclosing the Body: Tudor Conceptions of Skin,” in A Companion to Tudor Literature and Culture, 1485-1603, ed. Kent Cartwright (Oxford: Blackwell, 2010), 111-123.
“‘A Thing Like Death’: Poisons and Sleeping Potions in Romeo and Juliet and Antony and Cleopatra,” reprinted (from Renaissance Drama, 2003) in Harold Bloom’s Modern Critical Interpretations, William Shakespeare’s Romeo & Juliet, New Edition (New York: Chelsea House, 2009), 29-54.
“Romancing the Greeks: Cymbeline’s Genres and Models,” in How To Do Things with Shakespeare, ed. Laurie Maguire (Oxford: Blackwell Publishing, 2007), 34-53.
“Spelling the Body,” in Environment and Embodiment in Early Modern England, ed. Garrett Sullivan and Mary Floyd-Wilson (Basingstoke, Palgrave: 2007), 171-86.
“A Kind of Wild Medicine: Revenge as Remedy in Early Modern England,” in Revista Canaria de Estudios Ingleses 50 (2005), 57-69. Invitational contribution to special journal issue on changing paradigms in literature and science.
"Tobacco in English Renaissance Literature," co-authored with Lucy Munro, in Tobacco in History and Culture: An Encyclopedia, ed. Jordan Goodman (Farmington Hills, MI: Charles Scribner's Sons, 2004), 223-226.
“The Pleasures and perils of smoking in early modern England,” in Smoke: A Global History of Smoking, eds. Sander Gilman and Zhou Xun (London: Reaktion Press, 2004), 38-45.
“‘No Faith in Physic’: Masquerades of Medicine Onstage and Off,” in Disease, Diagnosis and Cure on the Early Modern Stage: Praxis and Performance, eds. Stephanie Moss and Kaara Peterson (Aldershot and Burlington, VT: Ashgate Press, 2004).
“‘A Thing Like Death’: Poisons and Sleeping Potions in Romeo and Juliet and Antony and Cleopatra,” Renaissance Drama 32 (2003), 95-121.
“Les dangers de la beauté: Maquillage et théČtre au dix-septiŹme siŹcle en Angleterre,” La Beauté et Ses Monstres, eds. Line Cottegnies, Tony Gheeraert et GisŹle Venet (Paris: Presses de la Nouvelle Sorbonne, 2002), 231-241.
“Beauty’s Poisonous Properties,” Shakespeare Studies 27 (1999), 187-210.
Mary Floyd-Wilson, Occult Knowledge, Science, and Gender on the Shakespearean Stage (Cambridge: Cambridge University Press, 2013). Shakespeare Quarterly (forthcoming, 2014).
Duncan Salkeld, Shakespeare Among the Courtesans: Prostitution, Literature, and Drama, 1500-1600 (Burlington: Ashgate, 2012). Medieval and Renaissance Drama in England (forthcoming, 2014).
Gary A. Schmidt, Renaissance Hybrids: Culture and Genre in Early Modern England (Burlington: Ashgate, 2013). Renaissance Quarterly (forthcoming, 2014).
James Ker and Jessica Winston, ed, Elizabethan Seneca: Three Tragedies (London: MHRA, 2012). Renaissance Quarterly 66:4 (2013), 1513-1514.
Ton Hoenselaars, ed, The Cambridge Companion to Shakespeare and Contemporary Dramatists (Cambridge: CUP, 2012), Choice (June 2013).
Matthew Steggle, Laughing and Weeping in Early Modern Theatres (Aldershot & Burlington: Ashgate, 2007), Renaissance Quarterly 62:4 (2009), 1372–73.
Darryll Grantley, London in Early Modern English Drama: Representing the Built Environment (Palgrave Macmillan, 2008), Choice 46:2 (2009), 1096.
Charles Whitney, Early Responses to Renaissance Drama (Cambridge: Cambridge University Press, 2006), Clio 37:2 (2008), 270-274.
Gail Kern Paster, Humoring the Body: Emotions and the Shakespearean Stage (Chicago: University of Chicago Press, 2004), Shakespeare Quarterly 57:3 (2006), 356-358.
Laura Lunger Knoppers and Joan B. Landes, ed., Monstrous Bodies/ Political Monstrosities in Early Modern Europe (Ithaca and London: Cornell University Press, 2004), Modern Philology 103:4 (2006), 522-25.
Carol Thomas Neely, Distracted Subjects: Madness and Gender in Shakespeare and Early Modern Culture, in Renaissance Quarterly 58:3 (2005), 1028-1030.
Tiffany Stern, Making Shakespeare: From Stage to Page, in Shakespeare Bulletin 22:4 (2004), 131-133.
Wes Folkerth, The Sound of Shakespeare, in The Shakespeare Newsletter 53:4 (2004), 118.
Bryan Reynolds, Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England, in Renaissance Quarterly 57:2 (2004), 750-751.
Generation and Degeneration: Tropes of Reproduction in Literature and History from Antiquity to Early Modern Europe, eds. Valeria Finucci and Kevin Brownlee, in Shakespeare Studies 31 (2003), 231-236.
Matthew Wikander, Fangs of Malice: Hypocrisy, Sincerity, and Acting, in Shakespeare Bulletin 21:2 (2003), 60.
John Crawford Adams, Shakespeare’s Physic, in Social History of Medicine 15:3 (December, 2002), 505-506.
Pegasus Shakespeare Bibliographies, in Shakespeare Studies 29 (2001), 245-248.
Richard III, Globe Theater, July 2003, Shakespeare Bulletin 22:1 (2004).
Henry IV, Part Two, Brooklyn Academy of Music, October 2003, Shakespeare Bulletin 22:2 (2004), 79-81.
Much Ado About Nothing, Urban Stages, October 2003, Shakespeare Bulletin 22:2 (2004), 115-118.
Back to Tanya Pollard's web page