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Tanya Pollard
Position: Professor of English, Brooklyn College
Campus Affiliation: Brooklyn College
Phone: (212)-817-8351
Room Number: 4408
Office Hours: Thursday 3:15-4:15 and 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: Cultural Studies|Early Modern Literature|Gender, Sexuality, and Feminist/Queer Theory

Selected Publications:

Books:

  • 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.

 

Articles/Chapters:

  • ​“'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)
  • ​“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.

Works in progress

  • Greek Plays and Dramatic Genres in Early Modern England.  Examines the printing, translation, and performance of Greek plays in sixteenth-century Europe, and their consequences for the theory and practice of dramatic genres in early modern England.