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Tanya Pollard
Position: Professor of English, Brooklyn College
Campus Affiliation: Brooklyn College
Phone: (212)-817-8322
Room Number: 4409.02
Office Hours: By appointment
Degrees/Diplomas: Ph.D., Comparative Literature, Yale University
Research Interests: Shakespeare; early modern drama; Greek drama; comparative drama; audience response; genre theory; history of medicine, the body, and emotions; classics and reception theory; feminism; cultural studies.
Specialization: Affect Studies|Cultural Studies|Early Modern Literature|Gender, Sexuality, and Feminist/Queer Theory|Poetics and Aesthetic Theory

Selected Publications:


  • Reader in Tragedy, co-edited with Marcus Nevitt. London: Bloomsbury, 2019. 
  • Greek Tragic Women on Shakespearean Stages. Oxford: Oxford University Press, 2017.
  • Milton, Drama, and Greek Texts, co-edited with Tania Demetriou (London: Routledge, 2017; previously published as a special issue of The Seventeenth-Century Journal 31:2 (2016).
  • Shakespearean Sensations: Experiencing Literature in Early Modern England. Co-editor, with Katharine Craik. Cambridge: Cambridge University Press, 2013.
  • Drugs and Theater in Early Modern England. Oxford: Oxford University Press, 2005.
  • Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.

Edited collections:

  • Homer and Greek Tragedy in Early Modern England’s Theatres, co-edited with Tania Demetriou; special issue of Classical Receptions Journal 9:1 (2017).


  • “Acting Like Greeks,” in Thomas Heywood and the Classical Tradition, ed. Tania Demetriou and Janice Valls-Russell (Manchester: Manchester University Press, 2021), 229-243.
  • “Other Epic Afterlives: Achilles’ Female Genealogies,” Modern Language Notes special issue, ed. Rocco Rubini, Ayesha Ramachandran, and Sarah Van der Laan (2021), 1052-1062.
  • “Playhouses,” in Shakespeare and Emotion, ed. Katharine Craik (Cambridge: Cambridge University Press, 2020), 109-121.
  • “Playhouses,” in Shakespeare and Emotion, ed. Katharine Craik (Cambridge: Cambridge University Press, 2020), 109-121.
  • “The Classical Tradition,” in Shakespeare/Sense, ed. Simon Smith (London: Bloomsbury, 2020), 62-81.
  • “Translating and Transgendering Orestes in Early Modern England,” Translation and Literature 29.1 (2020), 101-116.
  • “Knowing Kin and Kind in The Winter’s Tale,” in Blind Spots of Knowledge in Shakespeare and his World, ed. Subha Mukherji (Kalamazoo: Medieval Institutes Publications, 2019, 123-132). 
  • “Encountering Homer through Greek Plays in Sixteenth-century Europe,” in Epic Performances: from the Middle Ages into the Twenty-first Century, ed. Fiona Macintosh and Justine McConnell (Oxford: Oxford University Press, 2018), 63-75.
  • “Tragicomic Conceptions: The Winter’s Tale as response to Amphitryo,” co-written with Beatrice Bradley, English Literary Renaissance 47:2 (2017), 251-269.
  • “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).
  • “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.
  • "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, (2015)
  • ​“Teaching Petrarch and Shakespeare,” in Approaches to Teaching Petrarch’s “Canzoniere” and Petrarchism, ed. Christopher Kleinhenz and Andrea Dini (New York: MLA, 2014), 230-233.
  • ​"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.
  • ​“Introduction: Imagining Audiences” (co-written with Katharine Craik), in Shakespearean Sensations (Cambridge: Cambridge University Press, 2013), 1-25.
  • ​"Conceiving Tragedy,” in Shakespearean Sensations (Cambridge: Cambridge University Press, 2013), 85-100.
  • ​“Audience reception,” in The Oxford Handbook to Shakespeare, ed. Arthur Kinney (Oxford: Oxford University Press, 2012), 452-467.
  • “What’s Hecuba to Shakespeare?,” Renaissance Quarterly 65:4 (winter 2012), 1060-1093.
  • ​“Drugs, Remedies, Poisons, and the Theatre,”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 Inhabiting the Body, Inhabiting the World. 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.
  • ​“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 théâtre au dix-septième siècle en Angleterre,” La Beauté et Ses Monstres. Eds. Line Cottegnies, Tony Gheeraert et Gisèle Venet. Paris: Presses de la Nouvelle Sorbonne, 2002, 231-241.
  • “Beauty’s Poisonous Properties,” Shakespeare Studies 27 (1999), 187-210.