I received my BA from the University of Oxford in 2004, after which I spent time teaching English in France, before returning to Oxford to do post-graduate work. I was awarded my DPhil in 2010 and have since taught Old and Middle English and the English Language at a variety of institutions and colleges, including Corpus Christi College, Oxford, Trinity College, Oxford and University College, London. Between 2011 and 2016 I was Lecturer in Medieval English Literature at Brasenose College, Oxford. Research Interests: Manuscripts and printed books, especially pre-1500 printed material, in France, the Low Countries and England; Intervernacular translation in the Middle Ages, esp. French to English; Medieval play scripts and the performance contexts of medieval drama; Researching and developing strategies for using translation and creative writing as a method of teaching medieval English texts to beginners.
- Helen Brookman and Olivia Robinson, 'Creative Translation and Teaching Old English Poetry', Translation and Literature 25 (2016), 275–97;
- Olivia Robinson, 'Creation or Replication? Rethinking Creativity in Late Medieval Franco-English Translation’, forthcoming in Scrinium Friburgense (Wiesbaden: Reichert Verlag, 2016);
- Olivia Robinson, ‘Feminizing the Liturgy in the N-Town Mary Play and Fifteenth-Century Convent Drama’, Swiss Papers in English Language and Literature 31 (2015), 71–88;
- Chantilly, Musée Condé MS 617: Les Mystères as Convent Drama, in: Essays on Les Mystères: Texts, Theatricality and Urban Drama, ed. Peter Happé and Wim Husken, Amsterdam: Rodopi 2012, pp. 93–118;
- The Manuscript and Print Tradition, in: Alain Chartier (c. 1385–1430): Père de l'éloquence française, ed. Emma Cayley, Daisy Delogu and Joan E. McRae, Leiden: Brill, 2015;
- The Provenance of BNF Rés D.862, a Collection of Colard Mansion Print', in: Journal of the Early Book Society 16 (2013), pp. 249–59;
- Contest, Translation and the Chaucerian Text (Turnhout, Brepols, forthcoming 2015);
- 'Le Roman de la Rose (The Romance of the Rose)' in The Greatest Books You'll Never Read (London: Quarto, forthcoming). A piece aimed at the general reader for a section of the book on unfinished literary works.