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Alison Findlay supervises 4 postgraduate research students. Some of the students have produced research profiles, these are listed below:

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Professor Alison Findlay


Alison Findlay


Tel: +44 1524 592194

Office Hours:

Mondays 11-1

Research overview

My main research interests are in early modern drama and women's writing of the sixteenth and seventeenth centuries.

Current Teaching

Alison Findlay is Professor of Renaissance Drama and Director of the Shakespeare Programme in the Department of English and Creative Writing. She specialises in sixteenth and seventeenth century drama and early modern women's writing.

At Undergraduate level she supervises final year dissertations and teaches on the Part II Shakespeare, Women Writers, and Renaissance and Restoration courses. She lectures on the Part I Introduction to English Literature course.

Alison has supervised postgraduate work at MA, MPhil and PhD level son Shakespeare, Renaissance drama, and early modern women's writing. She would be pleased to discuss proposals for research topics in any of these areasand can be contacted at the Department of English.


Alison Findlay 's specialist interests are in Shakespearean drama and women's writing of the sixteenth and seventeenth centuries. She is a Trustee and Deputy Chair of British Shakespeare Association and sits on the Executive of University English.

Alison is the author of Illegitimate Power: Bastards in Renaissance Drama (1994), A Feminist Perspective on Renaissance Drama (Oxford, Blackwell, 1999), Women in Shakespeare for the Shakespeare Dictionary Series published by Arden (2010 and paperback 2013), Much Ado About Nothing: a guide to the text and play in performance (2011) and Twelfth Night: Critical Essays, co-edited with Liz Oakley-Brown in the Department of English. She is currently editing and expanding Volume 9 of Bullough's Narrative and Dramatic Sources of Shakespeare on The Romances, to be published by Routledge and is editing a collection of essays Shakespeare and Greece, with Dr. Vassiliki Markidou (University of Athens), to be published by Arden.

 Alison has particular interest in feminist approaches to literature and drama in performance, including practical work on dramatic texts. She is co-author of Women and Dramatic Production 1550-1700 (Longman's Medieval and Renaissance Library; Harlow: Pearson Education, 2000), and Playing Spaces in Early Women's Drama (Cambridge University Press, 2006). She is dramatury and co-director of the all-female Rose Company Theatre http://www.rosecompanytheatre.com/ She is currently involved in editing Lady Mary Wroth's play Love's Victory (c1646-19) and disseminating work on Shakespeare's 'sisters' or female contemporaries with a focus on site-specific performance.

For several years Alison has been working on performance with the Australian Centre for the History of Emotions, giving talks and workshops centred on the New Fortune Playhouse at the University of Western Australia in Perth. She will be returning in February 2016 to speak on Merry Wives of Windsor.

In 2016-17 Alison is collaborating with colleagues from Denmark, Japan and California in an international network researching 'Trust and Risk in Literature' http://projects.au.dk/trust-and-risk-in-literature/

As Director of The Shakespeare Programme Alison co-ordinated research into the Hesketh Collection of rare books. She is a General Editor of the Revels Plays (Manchester University Press) and welcomes proposals for new scholarly editions, from established scholars or recently-completed doctoral students.

She co-directs Early Quakerism in the North West with Dr Hilary Hinds and Professor Meg Twycross, focussing on the figure of George Fox and the emergence of Quakerism in the so-called "1652 country". Drawing on the Quaker Collection in the Library, Friends House, and other sources in the Society of Friends, the Quaker Project investigates the way in which early Quakers negotiated and colonised a series of distinctive spatial networks: the landscape, alehouses, marketplaces, mountain-tops, 'steeplehouses', safe houses, and prisons. A dedicated website will interlink newly-edited versions of key texts with biographical details, images, and interactive maps, using GIS.


Video of The Concealed Fancies

Video of Mary Sidney's The Tragedy of Antonie

Video of Drama Workshop at Hoghton Tower

Video of Pastoral

Click here for a separate page on Renaissance drama at Hoghton Tower, and here for a page on Playing Spaces in Renaissance Drama.

Alison has supervised postgraduate work on Shakespeare, Renaissance drama, and early modern women's writing. She would be pleased to discuss proposals for research topics in any of these areas and can be contacted at the Department of English.

Current postgraduate students:

Imogen Felstead, 'Stage(d) Hands: represntations of the Hand in Early Modern Drama

Beth Cortese 'Women's Wit in post-Restoration Drama'

Changzhi Hu, 'John Donne: Postmodern Poet'

Belal Hamamra 'Speech, silence and gender in Renaissance tragedy' (PhD)

Rachod Nusen, 'Measure for Measure on Stage and Screen' (PhD)

Previous postgraduate students:

Vassiliki Markidou, 'Shakespeare and Greece' (PhD)

Peter Stones, 'Monsters in Shakespeare and Early Modern Culture' (MA)

Kathleen O'Leary, 'Concepts of the Soul 1590-1630 in Shakespeare and Donne', (PhD)

Hannah Cole, 'Shakespeare's Second Tetralogy and Early Modern Views of History' (MA)

Laura Kenyon, 'Shakespeare, Desire and Guilt' (MA)

Stephen Curtis (co-supervision) 'Renaissance Drama and the Poetics of Blood' (PhD)

Imogen Felstead 'Staged Hands in Early Modern Drama' (MA by research)



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