Lisa Hopkins is Professor of English and head of the Graduate School. She read English at King’s College, Cambridge and then did a PhD on John Ford at the University of Warwick. She is a co-editor of Shakespeare, the journal of the British Shakespeare Association, of the Arden Early Modern Drama Guides, and of Arden Studies in Early Modern Drama. She has published extensively on Renaissance drama, principally Marlowe, Shakespeare and Ford, and is also interested in literature on screen and the work of Bram Stoker. She co-organises the annual Othello’s Island conference.
Lisa Hopkins is Professor of English and head of the Graduate School. She read English at King’s College, Cambridge and then did a PhD on John Ford at the University of Warwick. She is a co-editor of Shakespeare, the journal of the British Shakespeare Association, of the Arden Early Modern Drama Guides, and of Arden Studies in Early Modern Drama. She has published extensively on Renaissance drama, principally Marlowe, Shakespeare and Ford, and is also interested in screen adaptation and the work of Bram Stoker. She co-organises the annual Othello’s Island conference.
She has supervised 16 PhD students to completion and has acted as external examiner for 14 PhD theses and 3 MPhil theses. She won a university award for inspirational research supervision in 2011 and was also nominated 2013 and 2014, and nominated for inspirational teaching in 2011, 2012, 2013, 2014 and 2015. In 2015 she won the Ben Jonson Discoveries Award Essay for an essay on ‘A Matter of Life and Death: The Fourth Act in Shakespearean Tragedy’ and in 1994 she was joint winner of the Hoffman Prize for Distinguished Publication on Marlowe for an essay on ‘Lear, Lear, Lear! Marlowe, Shakespeare and the Third’. She is the faculty lead on the Heritage Consortium and NECAH.
She is a member of the editorial boards of Marlowe Studies and Early Modern Literary Studies. She is currently editing The Broken Heart and The Fancies Chaste and Noble for the Oxford Collected Works of John Ford and working on a monograph called From the Romans to the Normans on the English Renaissance Stage, as well as directing a university-funded project on Literary Cultures of the Cavendish Family.
Literature on screen Bram Stoker
Department Of Humanities
Development and Society
- Humanities Research Centre
From the Romans to the Normans on the English Renaissance Stage
Shakespearean Allusion in Detective Fiction: DCI Shakespeare (Palgrave, forthcoming 2016)
Renaissance Drama on the Edge (Ashgate, 2014)
Drama and the Succession to the Crown, 1561-1633 (Ashgate, 2011)
Relocating Shakespeare and Austen on Screen (Palgrave, 2009)
Shakespeare’s The Tempest: The Relationship between Text and Film (New Mermaids, 2008)
Christopher Marlowe, Dramatist (Edinburgh University Press, 2008)
The Cultural Uses of the Caesars on the English Renaissance Stage (Ashgate, 2008)
HOPKINS, Lisa (2017). I am Ìyálóde of tì still: A Yoruba Duchess of Malfi. Journal of Adaptation in Film & Performance, 10 (2), 111-125.
HOPKINS, Lisa (2017). From the Romans to the Normans on the English Renaissance Stage. Medieval Institute Publications. (Unpublished)
HOPKINS, Lisa (2016). Moving Marlowe: The Jew of Malta on the Caroline Stage. Marlowe Studies. (In Press)
HOPKINS, Lisa (2016). Love and war on Venus’ Island: Othello and the lover’s melancholy. Journal of Mediterranean Studies, 25 (1), 51-63.
HOPKINS, Lisa (2016). The concealed fancies and Cavendish identity. In: EDWARDS, Peter and GRAHAM, Elpseth, (eds.) Authority, authorship and aristocratic identity in Seventeenth-Century England: William Cavendish, Ist Duke of Newcastle, and his political, social and cultural connections. Rulers & Elites (9). Leiden, Brill, 111-128.
HOPKINS, Lisa (2016). Shakespearean allusion and the detective fiction of Georgette Heyer. Palgrave Communications, 2 (16052), 1-7. (In Press)
HOPKINS, Lisa (2016). Shakespearean allusion in crime fiction: DCI Shakespeare. Palgrave Shakespeare Studies . Palgrave Macmillan. (In Press)
HOPKINS, Lisa (2015). A matter of life and death: the fourth act in Shakespearean tragedy. Ben Jonson Journal, 22 (2), 188-207.
HOPKINS, Lisa (2015). Review of Ford's Love's Sacrifice(directed by Matthew Dunster for the Royal Shakespeare Company) at the Swan Theatre, Stratford-upon-Avon, 16 May 2015. Shakespeare, 12 (1), 81-82.
HOPKINS, Lisa (2014). Bram Stoker's The lady of the shroud : supernatural fantasy, politics, Montenegro and its double. English Literature in Transition, 1880-1920, 57 (4), 519-534.
HOPKINS, Lisa and OSTOVICH, Helen, eds. (2014). Magical transformations on the early modern English stage. Studies in performance and early modern drama . Ashgate.
CONNOLLY, Annaliese and HOPKINS, Lisa (2013). Essex: the cultural impact of a Renaissance Courtier. Manchester, Manchester University Press.
HOPKINS, Lisa (2013). Point, counterpoint, needlepoint: the tapestry in Margaret Cavendish’s The Unnatural Tragedy. Women’s Writing, 20 (4), 555-566.
HOPKINS, Lisa (2013). ‘An Apple Cleft in Twain’: Shakespearean heroines and the penalty of Eve. Journal of drama studies, 7, 91-99.
HOPKINS, Lisa and MACMAHON, Barbara (2013). “Come, what, a siege?” : Metarepresentation in Lady Jane Cavendish and Lady Elizabeth Brackley’s The Concealed Fancies. Early modern literary studies, 16 (3), 1-17.
HOPKINS, L. (2010). Staging the Medici: the Medici Family in English renaissance drama, c.1590–c.1640. Sun Yat-Sen Journal of Humanities, 27, 63-74.
HOPKINS, Lisa (2010). Englishmen abroad : mobility and nationhood in Dido, Queen of Carthage and Edward II. English, 59 (227), 324-348.
HOPKINS, Lisa (2010). “Papists and poets of like conscience for fictions”: religion and responsibility in the plays of Shakespeare. In: PRAKASH, A. and DAHIYA, S. P. S., (eds.) The critic Shakespeare: essays in appreciation. Haryana, India, The Shakespeare Association, 71-91.
HOPKINS, Lisa, SIEMENS, Raymond G. and STEGGLE, Matthew (2008). EMLS : a case study in the development of an ejournal. In: BOWEN, William R. and SIEMENS, Raymond G., (eds.) New Technologies and Renaissance Studies. Medieval and Renaissance Texts and Studies . Tempe, Arizona, Iter, 144-160.
HOPKINS, Lisa (2008). Hamlet Smokes Prince: 101 Reykjavik on page and screen. Adaptation, 1 (2), 140-150.
HOPKINS, Lisa (2008). The cultural uses of the Caesars on the English Renaissance stage. Studies in performance and early modern drama . Aldershot, Ashgate.
HOPKINS, Lisa (2007). The Cardinal’s Fishpond : the symbolic landscapes of The Duchess of Malfi. Journal of Drama Studies, 1 (1), 20-34.
CONNOLLY, A. (2007). Evaluating virginity: a Midsummer Night's Dream and the iconography of marriage. In: CONNOLLY, A. and HOPKINS, L., (eds.) Goddesses and Queens: the iconography of Elizabeth I. Manchester, Manchester University Press, 136-153.
HOPKINS, Lisa (2007). ‘Gollum and Caliban: Evolution and Design’. In: CROFT, Janet Brennan, (ed.) Tolkien and Shakespeare: Essays on Shared Themes and Language. Critical explorations in science fiction and fantasy . Jefferson, N.C., McFarland, 281-293.
HOPKINS, Lisa (2006). Dorothy Dunnett’s Lymond and Niccolò series : history versus experience. Working Papers on the Web, 9.
HOPKINS, Lisa (2005). Death and the castrated : the complex psyches of Valperga. Romanticism on the Net, 40.
HOPKINS, Lisa (2005). Staging passions in Ford's The Lover's Melancholy. SEL studies in English literature 1500-1900, 45 (2), 443-459.
HOPKINS, Lisa (2003). ‘Jane C. Loudon’s The Mummy!: Mary Shelley Meets George Orwell, and They Go in a Balloon to Egypt’. Cardiff Corvey, 10.
HOPKINS, Lisa (2003). Jack London’s evolutionary hierarchies : dogs, wolves, and men. In: CUDDY, Lois A. and ROCHE, Claire M., (eds.) Evolution and Eugenics in American Literature and Culture, 1880-1940. Essays on ideological conflict and complicity . Bucknell University Press, 89-101.
HOPKINS, Lisa (2002). ‘How very like the home life of our own dear queen’: Ian McKellen’s Richard III. In: STARKS, Lisa S and LEHMANN, Courtney, (eds.) Spectacular Shakespeare : critical theory and popular cinema. Fairleigh Dickinson University Press, 47-61.
HOPKINS, Lisa (2001). Passing : the Irish and the Germans in the fiction of John Buchan and Erskine Childers. Irish Studies Review, 9 (1), 69-80.
HOPKINS, Lisa (2000). 'Ripeness is all': the death of Elizabeth in drama. Renaissance forum, 4 (2).
HOPKINS, Lisa (2000). ‘This is Venice: My house is not a grange’: Othello’s landscapes of the mind. The Upstart Crow : a Shakespeare Journal, 20, 68-78.
HOPKINS, Lisa (1998). Knowing their loves: knowledge, ignorance and blindness in ’Tis Pity She’s a Whore. Renaissance forum, 3 (1).
HOPKINS, L. (1997). 'Malta of Gold': Marlowe, The Jew of Malta, and the Siege of 1565. (Re)Soundings, 1 (2).
HOPKINS, Lisa (1997). The representation of narrative : what happens in Othello. Journal X : a journal in cinema and criticism, 1 (2), 159-174.
Bram Stoker: A Literary Life (Palgrave, 2007)
Renaissance Literature and Culture, co-authored with Matthew Steggle (Continuum, 2006)
A Christopher Marlowe Chronology (Palgrave, 2005)
Shakespeare on the Edge (Ashgate, 2005)
Screening the Gothic (University of Texas Press, 2005)
Beginning Shakespeare (Manchester University Press, 2005)
Giants of the Past: Popular Fictions and the Idea of Evolution (Bucknell UP, 2004)
Writing Renaissance Queens: Texts by and about Elizabeth I and Mary, Queen of Scots (U of Delaware P, 2002)
The Female Hero in English Renaissance Tragedy (London: Palgrave, 2002)
Christopher Marlowe: A Literary Life (London: Palgrave, 2000)
The Shakespearean Marriage: Merry Wives and Heavy Husbands (Macmillan, 1998)
John Ford’s Political Theatre (Manchester University Press, 1994)
Women Who Would Be Kings: Female Rulers of the Sixteenth Century (Vision Press, 1991) Elizabeth I and Her Court (Vision Press, 1990)
External examiner for the Early Modern period at Loughborough University
Currently supervising projects on the figure of the author on screen and on the figure of the older woman in English Renaissance drama. I am also external supervisor for a thesis on Harry Potter at the Université Stendhal, Grenoble.
Projects previously supervised include ‘Princes Set on Stages: Royal Iconography on the Early Modern Stage’, ‘Reduction and Ambiguity in the Plays of Christopher Marlowe’, ‘A Critical Edition of William Sampson’s The Vow Breaker (1636)’, ‘A Brief Chronicle of the Time: Staging Shakespeare’s Histories 2000-2010’, ‘Shakespeare Studies in Colonial Bengal: the Early Phase’, and ‘The Vampire as Eugenic Examiner’.
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