Sarah Olive (she/her they/theirs)
I am a Senior Lecturer in English Literature at Aston University (Birmingham) and Honorary Senior Research Fellow in the School of Educational Sciences (Bangor). In 2022-23, I was the Megumi Visiting Professor in the English Department at Kobe College, Japan.
I research at the intersections of Shakespeare, children's literature, and education, in and beyond the UK. For example, I have published extensively on contemporary YA vampire literature's reworkings of Shakespeare and its treatment of consent and sexual violence. A co-authored book on Shakespeare in East Asian Education was published by Palgrave, with Kohei Uchimaru, Adele Lee, and Rosalind Fielding in 2021. My first monograph, Shakespeare Valued, was published by Intellect in 2015. Full details of my research publications, including book chapters and articles, can be found on this site under the tabs 'my research' > 'research outputs'.
In 2021, I took up the Lead Editorship of the peer-reviewed international journal Jeunesse: Young People, Texts, Cultures (University of Toronto Press), having previously served as a member of the editorial team. In 2011, I became the Founding Editor of the British Shakespeare Association's Teaching Shakespeare, a cross-sector magazine for Shakespeare educators internationally. I oversaw the publication of 21 freely-available volumes, with readers in over 60 countries.
I am a co-founder of the Gothic Association of Asia (GAA) website, with Li Hsin Hsu (National Chengchi University, Taiwan), Katarzyna Ancuta (Chulalongkorn, Thailand), Samantha Landau (Tokyo), Chiho Nakagawa (Nara). In September 2022, with Li-Hsin Hsu leading as local organiser, we held the inaugural GAA event: a hybrid symposium on 'Asian folklore, folk horror and the gothic' at NCCU, Taiwan.
I created the FutureLearn Pictures of Youth MOOC, a freely-available online course, exploring children's visual culture in picturebooks, comics, television and film with Dr Clémentine Beauvais in 2018. It had over 15,000 participants in four years, with above average retention. I also enjoy researching, teaching and disseminating my work internationally, in person, with extensive experience in East Asia (Japan, Hong Kong, Korea, and China, as well as Vietnam).
What unites my diverse research interests within English literature and education are my theoretical and conceptual frameworks, and research methods. These consistently draw on literary criticism; critical theory; cultural studies; literary, content and discourse analysis to analyse texts and other qualitative data (interview transcripts, posts on social media sites, and survey data, for example).
I am interested in supervising PhDs on children's and young adult literature; Shakespeare in adaptation; Shakespeare in education in the UK and internationally; as well as the teaching of literature more generally, in and beyond the English-language environments. I am most interested supervising PhD projects where the theoretical/conceptual frameworks and research methods are drawn from literary criticism, critical theory, cultural studies, literary, content and discourse analysis. N.b. These are not funded PhD opportunities.
Employment history:
2022-23 Megumi Visiting Professor, English, Kobe College, Japan
2021-23 Senior Lecturer, Educational Sciences, Bangor University
2017-21 Senior Lecturer, Education, University of York
2010-17 Lecturer, Education, University of York
2011-19 Visiting Lecturer, Shakespeare Institute, University of Birmingham
2007-10 Associate Lecturer, Open University
I research at the intersections of Shakespeare, children's literature, and education, in and beyond the UK. For example, I have published extensively on contemporary YA vampire literature's reworkings of Shakespeare and its treatment of consent and sexual violence. A co-authored book on Shakespeare in East Asian Education was published by Palgrave, with Kohei Uchimaru, Adele Lee, and Rosalind Fielding in 2021. My first monograph, Shakespeare Valued, was published by Intellect in 2015. Full details of my research publications, including book chapters and articles, can be found on this site under the tabs 'my research' > 'research outputs'.
In 2021, I took up the Lead Editorship of the peer-reviewed international journal Jeunesse: Young People, Texts, Cultures (University of Toronto Press), having previously served as a member of the editorial team. In 2011, I became the Founding Editor of the British Shakespeare Association's Teaching Shakespeare, a cross-sector magazine for Shakespeare educators internationally. I oversaw the publication of 21 freely-available volumes, with readers in over 60 countries.
I am a co-founder of the Gothic Association of Asia (GAA) website, with Li Hsin Hsu (National Chengchi University, Taiwan), Katarzyna Ancuta (Chulalongkorn, Thailand), Samantha Landau (Tokyo), Chiho Nakagawa (Nara). In September 2022, with Li-Hsin Hsu leading as local organiser, we held the inaugural GAA event: a hybrid symposium on 'Asian folklore, folk horror and the gothic' at NCCU, Taiwan.
I created the FutureLearn Pictures of Youth MOOC, a freely-available online course, exploring children's visual culture in picturebooks, comics, television and film with Dr Clémentine Beauvais in 2018. It had over 15,000 participants in four years, with above average retention. I also enjoy researching, teaching and disseminating my work internationally, in person, with extensive experience in East Asia (Japan, Hong Kong, Korea, and China, as well as Vietnam).
What unites my diverse research interests within English literature and education are my theoretical and conceptual frameworks, and research methods. These consistently draw on literary criticism; critical theory; cultural studies; literary, content and discourse analysis to analyse texts and other qualitative data (interview transcripts, posts on social media sites, and survey data, for example).
I am interested in supervising PhDs on children's and young adult literature; Shakespeare in adaptation; Shakespeare in education in the UK and internationally; as well as the teaching of literature more generally, in and beyond the English-language environments. I am most interested supervising PhD projects where the theoretical/conceptual frameworks and research methods are drawn from literary criticism, critical theory, cultural studies, literary, content and discourse analysis. N.b. These are not funded PhD opportunities.
Employment history:
2022-23 Megumi Visiting Professor, English, Kobe College, Japan
2021-23 Senior Lecturer, Educational Sciences, Bangor University
2017-21 Senior Lecturer, Education, University of York
2010-17 Lecturer, Education, University of York
2011-19 Visiting Lecturer, Shakespeare Institute, University of Birmingham
2007-10 Associate Lecturer, Open University
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Books and chapters in books by Sarah Olive (she/her they/theirs)
I'm guest editing an issue of the journal Cahiers Élisabéthains on the topic 'Hot Shakespeare, Cool Japan', with drafts due in late summer 2022*. Given that my own, first experiences of Japanese Shakespeare were through the Shakespeare Institute during my PhD studies, I plan to focus my editorial around the two-way relationship between the Shakespeare Institute & Shakespeareans in Japan.
I am interested in including some verbatim pen portraits from Japanese Shakespeareans with a connection to the Shakespeare Institute. I am equally interested in hearing from Shakespeare Institute staff & students (past & present). If you prefer, your pen portrait can be anonymous (although please remember that there is a possibility people may identify you from the details you give: if you wish to be unidentifiable, please write with that in mind).
Please feel free to answer as few, or as many, questions as you wish, before 4th July 2022. The questions are intended as prompts for reflection. This means that, if you would prefer to write about other aspects of the relationship between Japanese Shakespeare and the Shakespeare Institute, you are very welcome to do so. You can do this by using the final comments box instead of (or as well as) the questions I have written.
You can also edit your responses after submission, or email me before 4th July to tell me you no longer wish me to include part or all of your submission, if you gave a name &/or other identifying information (if your submission was anonymous, it is unlikely that I will be able to identify it to remove it).
I apologise that, at this stage, I am not able to say whether I will be able to publish every pen portrait that I receive - it depends how many are returned. However, I will be in touch by email with everyone who leaves their address (I will not be able to contact authors of anonymous contributions), to say thank you and (if applicable) to share a draft of the editorial including your pen portrait. I will delete all unused material once I receive the final proofs from the journal.
If you would like to ask me any questions or otherwise be in touch, please email me at s.olive@bangor.ac.uk.
I am grateful for your consideration of this idea and any help given to fulfil it. どうぞ よろしくおねがいします!
Many thanks and best wishes,
Dr Sarah Olive
(Megumi Visiting Professor, Kobe College, Japan; Senior Lecturer, Bangor University, UK)
Peer-reviewed articles by Sarah Olive (she/her they/theirs)
I'm guest editing an issue of the journal Cahiers Élisabéthains on the topic 'Hot Shakespeare, Cool Japan', with drafts due in late summer 2022*. Given that my own, first experiences of Japanese Shakespeare were through the Shakespeare Institute during my PhD studies, I plan to focus my editorial around the two-way relationship between the Shakespeare Institute & Shakespeareans in Japan.
I am interested in including some verbatim pen portraits from Japanese Shakespeareans with a connection to the Shakespeare Institute. I am equally interested in hearing from Shakespeare Institute staff & students (past & present). If you prefer, your pen portrait can be anonymous (although please remember that there is a possibility people may identify you from the details you give: if you wish to be unidentifiable, please write with that in mind).
Please feel free to answer as few, or as many, questions as you wish, before 4th July 2022. The questions are intended as prompts for reflection. This means that, if you would prefer to write about other aspects of the relationship between Japanese Shakespeare and the Shakespeare Institute, you are very welcome to do so. You can do this by using the final comments box instead of (or as well as) the questions I have written.
You can also edit your responses after submission, or email me before 4th July to tell me you no longer wish me to include part or all of your submission, if you gave a name &/or other identifying information (if your submission was anonymous, it is unlikely that I will be able to identify it to remove it).
I apologise that, at this stage, I am not able to say whether I will be able to publish every pen portrait that I receive - it depends how many are returned. However, I will be in touch by email with everyone who leaves their address (I will not be able to contact authors of anonymous contributions), to say thank you and (if applicable) to share a draft of the editorial including your pen portrait. I will delete all unused material once I receive the final proofs from the journal.
If you would like to ask me any questions or otherwise be in touch, please email me at s.olive@bangor.ac.uk.
I am grateful for your consideration of this idea and any help given to fulfil it. どうぞ よろしくおねがいします!
Many thanks and best wishes,
Dr Sarah Olive
(Megumi Visiting Professor, Kobe College, Japan; Senior Lecturer, Bangor University, UK)
BardFeed 5 ways in which this Richard III is totally on trend that don't involve comparing the protagonist and Michael Gove (that's soooo passé).
Its contributors range from Japanese students in the UK to British and American citizens teaching in Japan, so while some elements of their discussions are country and culturally specific, readers will find much that resonates globally in terms of the pleasures and challenges of teaching Shakespeare.
This paper focuses on two questions: ‘Is the content of Shakespeare teaching in Japan perceived by educators
to raise public issues?’ and ‘Are the processes of Shakespeare teaching perceived by educators to mirror and illuminate
forms of social and political engagement?’ Both were answered with a resounding ‘yes’, although the absence
of material suggesting an association between teaching Shakespeare and advocacy and rights was noted.