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.

 

"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.

 

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).

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.

 

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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