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    • Shakespeare’s Unreformed Fictions (Oxford University Press, 2013) – Joint Winner of the Shakespeare’s Globe Book Award 2014.

      ‘Clear vision, acute intelligence, and literary sensitivity.’ – Helen Hackett, The Times Literary Supplement.

      ‘Woods's erudite study of a range of Shakespeare’s plays represents a necessary and important interjection into those apparently overworked fields of study: Shakespeare and religion, and Shakespeare and Catholicism . . . It is to be hoped that Woods's challenging and authoritative analysis will lead to a similar re-examination of other texts from the early modern period, a return to literary criticism as the primary method of analysis, and less dogma when addressing the question of religion and early modern drama.’ – Paul Quinn, English.

      ‘[Woods's] thoughtful readings of Shakespeare are well supported by copious annotations from tracts and sermons as well as by parallel readings from a range of dramatic works from the period.’ – Julia Reinhard Lupton, Studies in English Literature.
    • ‘Astute critical intelligence and careful scholarship’ – Paul Hammond, Seventeenth Century.

      ‘A very thoughtful account of the variegated nature of both Christianity and sectarianism’ -  Shakespeare Survey.

      ‘Her fine-grained study is an important contribution to the ongoing discussion of Shakespeare and religion’ – Arthur F. Marotti, Renaissance Quarterly.

      ‘A deeply satisfying account that feels true to the complexity of the plays written by the greatest secular poet-playwright of post-Reformation England’ – Phebe Jensen, Comparative Drama.

    • Romeo and Juliet: A Reader’s Guide to Essential Criticism (Palgrave, 2012)

Edited Collection

    • Stage Directions and Shakespearean Theatre, ed. Sarah Dustagheer and Gillian Woods (Arden, 2018)

Articles and Book Chapters

    • ‘Understanding Dumb Shows and Interpreting The White Devil’, in Stage Directions and Shakespearean Theatre, eds. Sarah Dustagheer and Gillian Woods (Arden, 2018): 287-310.
    • ‘Indulgent Representation: Theatricality and Sectarian Metaphor in The Tempest’, Literature Compass (2014): 703-14.
    • ‘Marlowe and Religion’, in Marlowe in Context, eds. Emily Bartels and Emma Smith (Cambridge University Press, 2013): 222-231.
    • ‘“Strange Discourse”: The Controversial Subject of Sir Thomas More’, Renaissance Drama 39 (2011): 3-35.
    • ‘The Confessional Identities of ’Tis Pity She’s a Whore’, in ’Tis Pity She’s a Whore, ed. Lisa Hopkins (Continuum, 2009): 114-135.
    • ‘Catholicism and Conversion in Love’s Labour’s Lost’, in How to do Things with Shakespeare, ed. Laurie Maguire (Blackwell, 2008): 101-130.
    • ‘The Contexts of The Trial of Chivalry’, Notes and Queries 252.3 (2007): 313-318.

Other Selected Publications