Tanya Pollard,
Publications
In Progress/ In Contract
Ben Jonson, The Alchemist, scholarly edition (in contract, Bloomsbury/ Arden Early Modern Drama).
Tragedy: A Reader in Theory and Criticism, co-edited with Marcus Nevitt (in contract, Bloomsbury).
“Playhouses,” in Shakespeare and Emotion, ed. Katharine Craik (Cambridge: Cambridge University Press, in contract).
“The Classical Tradition,” in Shakespeare/Sense, ed. Simon Smith (London: BloomsburyArden Shakespeare, in contract).
Books and Collections
Greek Tragic Women on Shakespeare’s Stages (Oxford, Oxford University Press, 2017).
Homer and Greek Tragedy in Early Modern England’s Theatres, co-edited with Tania Demetriou; special issue of Classical Receptions Journal 9:1 (2017).
Milton, Drama, and Greek Texts, co-edited with Tania Demetriou; special issue of The Seventeenth-Century Journal 31:2 (2016).
Shakespearean Sensations, co-edited with Katharine Craik (Cambridge: Cambridge University Press, 2013. Paperback edition, 2015).
Drugs and Theater in Early Modern England (Oxford: Oxford University Press, 2005). `
Shakespeare’s Theater: A Sourcebook (Oxford: Blackwell, 2003).
Articles
“Tragicomic Conceptions: The Winter’s Tale as response to Amphitryo,” co-written with Beatrice Bradley, English Literary Renaissance 47:2 (2017), 251-269.
“Genre: Comedy and Tragedy,” in The Routledge Research Companion to Shakespeare and Classical Literature, ed. Sean Keilen and Nicholas Moschovakis(New York: Routledge, 2017), 42-56.
“Staging Ford in New York, 2015: An Interview with Jesse Berger, Artistic Director of the Red Bull Theater,” Early Modern Literary Studies Special Issue 26 (2017).
“Homer and Greek Tragedy in Early Modern England’s Theatres: An Introduction,” co-written with Tania Demetriou, in Homer and Greek Tragedy in Early Modern England’s Theatres, 9:1 (2017), 1-35.
“Milton, Drama, and Greek Texts: Preface,” co-written with Tania Demetriou, in Milton, Drama, and Greek Texts 31:2 (2016), 131-137.
“'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, 2015), 419-432.
“Hecuba,” in A Dictionary of Shakespeare's Classical Mythology, ed. Yves Peyré, http://www.shakmyth.org/myth/107/hecuba(2015)
“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, 2014).
Introduction,
in Shakespearean Sensations (Cambridge: Cambridge University Press,
2013), 1-25.
Conceiving
Tragedy, in Shakespearean Sensations (Cambridge: Cambridge University
Press, 2013), 85-100.
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
Blooms Modern Critical Interpretations, William Shakespeares Romeo &
Juliet, New Edition (New York: Chelsea House, 2009), 29-54.
Romancing the
Greeks: Cymbelines 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 beaut: Maquillage et thtre au dix-septime sicle en Angleterre, La
Beaut et Ses Monstres, eds. Line Cottegnies,
Tony Gheeraert et Gisle Venet (Paris: Presses de
la Nouvelle Sorbonne, 2002), 231-241.
Beautys
Poisonous Properties,
Shakespeare Studies 27 (1999), 187-210.
Book Reviews
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).
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, Shakespeares Physic, in Social History of Medicine 15:3
(December, 2002), 505-506.
Pegasus
Shakespeare Bibliographies, in Shakespeare Studies 29 (2001), 245-248.
Theater
Reviews
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.
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