After completing her undergraduate English degree at the University of Ulster in Northern Ireland and a Masters in the Diversity of Contemporary Writing at Swansea University, Alexia undertook a P.G.C.E. in Secondary Education, before returning to full-time study at Swansea.
Her doctoral thesis, ‘“Desert of the Real”: Simulation and Assimilation in Contemporary Cinema’, analyses science fiction cinema’s relationship to technology, utilising Jean Baudrillard’s theories on technology, cinema and the disappearance of the ‘real’.
Alexia is part-time tutor in the English Literature and Language Department and an Associate Tutor with DACE. She teaches on the undergraduate modules ALE120 Studying the English Language; ALE116 A History of English; ALE218 Discourse Analysis, and the Humanities (literature/ film) programme within DACE.
Alexia is currently admissions tutor for the language section within the English Literature and Language department.

Publications

  1. & (2014). The Representation of Science and Scientists in Film, ’Science Café' contributor, BBC Radio 3 Wales.
  2. (2013). 'Film and Female Consciousness: Irigaray, Cinema and Thinking Women' (by Lucy Bolton). (FWSA Blog).
  3. Towards a New Sexual Conservatism in Postfeminist Romantic Comedy. In Nadine Muller and Joel Gwynne (Ed.), Postfeminism and Contemporary Hollywood Cinema. (pp. 185-203). London: Palgrave Macmillan.
  4. (2013). Review of 'Fifty Shades of Feminism' (by Susie Orbach, Lisa Appignaneisi and Rachel Holmes [eds.]). (FWSA Website). : FWSA.
  5. (2011). Feminist Revival or Patriarchal Survival? “Hard-Dicked Bitches” in Damages. Presented at The Futures of Feminism: New Directions in Feminist, Women’s and Gender Studies, FWSA, Brunel.,

See more...

Teaching

  • ALE116 A History of the English Language

    This module covers the history of the English language, tracing its development from its beginnings as part of the Indo-European family of languages, through its various changes through Old, Middle and Modern English. You will examine the processes through which a standard (English) evolves and you will be introduced to selected texts from different periods of the English language. The module will provide a foundation for further study into language variation and change, as well as the social, cul-tural and political conditions/contexts for linguistic development and evolution.

  • ALE120 Studying the English Language

    How did English becoma a global language? What exactly is Standard English? What do slips of the tongue reveal about language? ALE120 Studying the English Language answers these questions and many more. The module is an introduction to the diversity and history of English, and to relevant contemporary and classic work in linguistics. Other topics discussed in the lectures and accompanying course-book include the effects of dialect and accent on identity, swearing and offensive names in English, language and gender, language planning and theories about the origin of language. The course-book, Studying the English language, by Rob Penhallurick (Palgrave, 2010, 2nd edition), is the backbone to the module:the weekly lectures add further detail and discussion, and are supplemented by some seminar-class meetings.

  • DAD024 Introduction to Academic Writing and IT Skills

    This module introduces students to the writing and IT skills relevant for HE study and other (professional) contexts. Students will learn how to write texts and how to present them.

  • DAD1030 Tales of Terror: Ghosts, Monsters and Other Anxieties in Literature, Film and Culture (i)

    Do you wonder how and why particular novels such as Dracula or The Haunting of Hill House continue to have a wide and critical appeal? Do you think about why films such as Stanley Kubrick¿s The Shining or Ridley Scott¿s Alien, continue to send shivers down your spine, even on repeat viewings? What do these `tales of terror¿ tell us about ourselves and the world in which we live? Do they shed a light on cultural anxieties and particular periods in history, or are they pure escapism? How do they tap into our most intimate fears and desires, and how are they expressed and represented in our literary and cinematic culture? In this module you will study range of literature (including poetry, novels and short stories) and cinematic texts, which focus on and explore the shadowy worlds created through figures of fear, feelings of excess and paranoia, and texts that test the limits of reason, or `what we know¿, creating blurred boundaries between what is real and what is imagined. The module will examine representations of cultural anxiety, repressed desires and fantasies, debating the genre conventions and historical traditions of the literature and film of the uncanny. We will explore some pertinent concepts such as `terror and transgression¿, `the Other¿, `the Uncanny¿, and `the Sublime¿, as well as issues such as the body, gender, space and place, the figure of the child, and the relationship between man and science.

  • DAD1031 Tales of Terror: Ghosts, Monsters and Other Anxieties in Literature, Film and Culture (ii)

    Do you wonder how and why particular novels such as Dracula or The Haunting of Hill House continue to have a wide and critical appeal? Do you think about why films such as Stanley Kubrick¿s The Shining or Ridley Scott¿s Alien, continue to send shivers down your spine, even on repeat viewings? What do these `tales of terror¿ tell us about ourselves and the world in which we live? Do they shed a light on cultural anxieties and particular periods in history, or are they pure escapism? How do they tap into our most intimate fears and desires, and how are they expressed and represented in our literary and cinematic culture? In this module you will study range of literature (including poetry, novels and short stories) and cinematic texts, which focus on and explore the shadowy worlds created through figures of fear, feelings of excess and paranoia, and texts that test the limits of reason, or `what we know¿, creating blurred boundaries between what is real and what is imagined. The module will examine representations of cultural anxiety, repressed desires and fantasies, debating the genre conventions and historical traditions of the literature and film of the uncanny. We will explore some pertinent concepts such as `terror and transgression¿, `the Other¿, `the Uncanny¿, and `the Sublime¿, as well as issues such as the body, gender, space and place, the figure of the child, and the relationship between man and science.

  • DAD1032 Fears, Fantasies and Frontiers: Writing the American Century (i)

    The 20th century is often characterised as 'the American Century', with the influence of the U.S. manifesting itself across the globe, on the political stage and inthe economic markets, but particularly in the cultural domain, as the century gathered momentum. The module explores this notion and examines fundamental issues in America through its literature and its culture - from the close of the First World War to the early 21st century at which point the transformation of American topography (both phyiscal and psychological) becomes apparent in its cultural discourses after the catastrophic events of 9/11. Using the framework of 'fears, fantasies and frontiers' as a guiding princple, we will explore key ideas, including the romanticised notions of Native American culture and myths of 'the American frontier'. We will assess the successes and failures of the 'American Dream', as well as analyse texts that deal with the nightmare of slavery and racial segregation, the avent of second wave feminism and its attendant backlash, the conflict in Vietnam and the trauma of 9/11. Indicative authors for this module may include, amongst others: Toni Morrison, N. Momaday Scott, Frank Capra, Oliver Stone, Simon Oritz, Langston Hughes and Patrick McGrath.

  • DAD1033 Fears, Fantasies and Frontiers: Writing the American Century (ii)

    The 20th century is often characterised as `the American Century¿, with the influence of the U.S. manifesting itself across the globe, on the political stage and in the economic markets, but particularly in the cultural domain, as the century gathered momentum. The module explores this notion and examines fundamental issues in America through its literature and its culture - from the close of the First World War to the early 21st century - at which point the transformation of American topography (both physical and psychological) becomes apparent in its cultural discourses after the catastrophic events of 9/11. Using the framework of `fears, fantasies and frontiers¿ as a guiding principle, we will explore key ideas, including the romanticised notions of Native American culture and myths of `the American frontier¿. We will assess the successes and failures of the `American Dream¿, as well as analyse texts that deal with the nightmare of slavery and racial segregation, the advent of second wave feminism and its attendant backlash, the conflict in Vietnam and the trauma of 9/11. Indicative authors for this module may include, amongst others: Toni Morrison, N. Momaday Scott, Frank Capra, Oliver Stone, Simon Ortiz, Langston Hughes and Patrick McGrath.

  • DAD253 Reading Contemporary Fiction (i)

    This module will explore the nature of the contemporary novel, examining six novels published since the 1970s. It will involve close readings of each novel on the course, as well as providing an overview of the distinct cultural, political, and social contexts of the fictions under scrutiny. The module aims to provide students with an awareness of what we mean when we talk about `contemporary fiction¿, examining a range of themes, subject matters, writers and literary styles that have developed in this period. We will necessarily be exploring questions of nationhood and identity, gender and sexuality, post-industrial cultures and issues of postmodernity, as we think about how contemporary fiction attempts to challenge (or rewrite) traditional boundaries.

  • DAD254 Reading Contemporary Fiction (ii)

    This module will explore the nature of the contemporary novel, examining six novels published since the 1970s. It will involve close readings of each novel on the course, as well as providing an overview of the distinct cultural, political, and social contexts of the fictions under scrutiny. The module aims to provide students with an awareness of what we mean when we talk about `contemporary fiction¿, examining a range of themes, subject matters, writers and literary styles that have developed in this period. We will necessarily be exploring questions of nationhood and identity, gender and sexuality, post-industrial cultures and issues of postmodernity, as we think about how contemporary fiction attempts to challenge (or rewrite) traditional boundaries.

  • DAD263 From Page to Screen and Back Again: Studies in Adaptation (i)

    Have you ever wondered how Pride and Prejudice became the eponymous Bridget Jones¿s Diary? Or considered what kinds of dialogue can be seen taking place between Charlotte Bronte¿s classic Victorian novel Jane Eyre and Jean Rhys¿s post-colonial novel Wide Sargasso Sea, or between Shakespeare¿s vision of Hamlet and contemporary re-writings/re-visioning of the moody Dane? In looking at `texts in dialogue¿, this module will consider adaptation in the diversity of its meanings, its forms, across genres, cross-media platforms and cross-cultural contexts. Among other things, we will look at the changing representation from literature to film, the relationship between `source¿ texts and their various adaptations (whether they be from novel to film/TV, from poem to play, or from novel to graphic novel). We will consider theories of the text, notions of `fidelity¿, the status of the `original¿ and the author. Questions explored will include: What do we mean when we use terms such as `adaptation¿, `appropriation¿, `allusion¿, `fidelity¿, `intertextuality¿, `sampling¿ or `assemblage¿? How do we take account of multiple adaptations, or re-writings/re-visionings, of a particular text and interpret the additions, omissions and choices made by the adapter? In doing this we will necessarily consider the impact of the cultural contexts, the ideological circumstances and historical conditions of both the new `work¿ and its `source¿ matter, finally asking whether a valuable dialogue emerges as a result of the processes of adaptation and appropriation. The module will utilize a range of materials: from novels, short stories, poems, to plays, film and graphic novels. There will be a variety of texts and media discussed and we will look at adaptations from literature to film, as well as from literature of the past to the present.

  • DAD264 From Page to Screen and Back Again: Studies in Adaptation (ii)

    Have you ever wondered how Pride and Prejudice became the eponymous Bridget Jones¿s Diary? Or considered what kinds of dialogue can be seen taking place between Charlotte Bronte¿s classic Victorian novel Jane Eyre and Jean Rhys¿s post-colonial novel Wide Sargasso Sea, or between Shakespeare¿s vision of Hamlet and contemporary re-writings/re-visioning of the moody Dane? In looking at `texts in dialogue¿, this module will consider adaptation in the diversity of its meanings, its forms, across genres, cross-media platforms and cross-cultural contexts. Among other things, we will look at the changing representation from literature to film, the relationship between `source¿ texts and their various adaptations (whether they be from novel to film/TV, from poem to play, or from novel to graphic novel). We will consider theories of the text, notions of `fidelity¿, the status of the `original¿ and the author. Questions explored will include: What do we mean when we use terms such 'adaptation', 'appropriation', 'allusion', 'fidelity', `intertextuality¿, `sampling¿ or `assemblage¿? How do we take account of multiple adaptations, or re-writings/re-visionings, of a particular text and interpret the additions, omissions and choices made by the adapter? In doing this we will necessarily consider the impact of the cultural contexts, the ideological circumstances and historical conditions of both the new `work¿ and its `source¿ matter, finally asking whether a valuable dialogue emerges as a result of the processes of adaptation and appropriation. The module will utilize a range of materials: from novels, short stories, poems, to plays, film and graphic novels. There will be a variety of texts and media discussed and we will look at adaptations from literature to film, as well as from literature of the past to the present.

  • DAD355 Reading Contemporary Fiction (iii)

    This module will explore the nature of the contemporary novel, examining six novels published since the 1970s. It will involve close readings of each novel on the course, as well as providing an overview of the distinct cultural, political, and social contexts of the fictions under scrutiny. The module aims to provide students with an awareness of what we mean when we talk about `contemporary fiction¿, examining a range of themes, subject matters, writers and literary styles that have developed in this period. We will necessarily be exploring questions of nationhood and identity, gender and sexuality, post-industrial cultures and issues of postmodernity, as we think about how contemporary fiction attempts to challenge (or rewrite) traditional boundaries..

  • DAD356 Reading Contemporary Fiction (iv)

    This module will explore the nature of the contemporary novel, examining six novels published since the 1970s. It will involve close readings of each novel on the course, as well as providing an overview of the distinct cultural, political, and social contexts of the fictions under scrutiny. The module aims to provide students with an awareness of what we mean when we talk about `contemporary fiction¿, examining a range of themes, subject matters, writers and literary styles that have developed in this period. We will necessarily be exploring questions of nationhood and identity, gender and sexuality, post-industrial cultures and issues of postmodernity, as we think about how contemporary fiction attempts to challenge (or rewrite) traditional boundaries.

  • DAD365 From Page to Screen and Back Again: Studies in Adaptation (iii)

    Have you ever wondered how Pride and Prejudice became the eponymous Bridget Jones¿s Diary? Or considered what kinds of dialogue can be seen taking place between Charlotte Bronte¿s classic Victorian novel Jane Eyre and Jean Rhys¿s post-colonial novel Wide Sargasso Sea, or between Shakespeare¿s vision of Hamlet and contemporary re-writings/re-visioning of the moody Dane? In looking at `texts in dialogue¿, this module will consider adaptation in the diversity of its meanings, its forms, across genres, cross-media platforms and cross-cultural contexts. Among other things, we will look at the changing representation from literature to film, the relationship between `source¿ texts and their various adaptations (whether they be from novel to film/TV, from poem to play, or from novel to graphic novel). We will consider theories of the text, notions of `fidelity¿, the status of the `original¿ and the author. Questions explored will include: What do we mean when we use terms such as `adaptation¿, `appropriation¿, `allusion¿, `fidelity¿, `intertextuality¿, `sampling¿ or `assemblage¿? How do we take account of multiple adaptations, or re-writings/re-visionings, of a particular text and interpret the additions, omissions and choices made by the adapter? In doing this we will necessarily consider the impact of the cultural contexts, the ideological circumstances and historical conditions of both the new `work¿ and its `source¿ matter, finally asking whether a valuable dialogue emerges as a result of the processes of adaptation and appropriation. The module will utilize a range of materials: from novels, short stories, poems, to plays, film and graphic novels. There will be a variety of texts and media discussed and we will look at adaptations from literature to film, as well as from literature of the past to the present.

  • DAD366 From Page to Screen and Back Again: Studies in Adaptation (iv)

    Have you ever wondered how Pride and Prejudice became the eponymous Bridget Jones¿s Diary? Or considered what kinds of dialogue can be seen taking place between Charlotte Bronte¿s classic Victorian novel Jane Eyre and Jean Rhys¿s post-colonial novel Wide Sargasso Sea, or between Shakespeare¿s vision of Hamlet and contemporary re-writings/re-visioning of the moody Dane? In looking at `texts in dialogue¿, this module will consider adaptation in the diversity of its meanings, its forms, across genres, cross-media platforms and cross-cultural contexts. Among other things, we will look at the changing representation from literature to film, the relationship between `source¿ texts and their various adaptations (whether they be from novel to film/TV, from poem to play, or from novel to graphic novel). We will consider theories of the text, notions of `fidelity¿, the status of the `original¿ and the author. Questions explored will include: What do we mean when we use terms such as `adaptation¿, `appropriation¿, `allusion¿, `fidelity¿, `intertextuality¿, `sampling¿ or `assemblage¿? How do we take account of multiple adaptations, or re-writings/re-visionings, of a particular text and interpret the additions, omissions and choices made by the adapter? In doing this we will necessarily consider the impact of the cultural contexts, the ideological circumstances and historical conditions of both the new `work¿ and its `source¿ matter, finally asking whether a valuable dialogue emerges as a result of the processes of adaptation and appropriation. The module will utilize a range of materials: from novels, short stories, poems, to plays, film and graphic novels. There will be a variety of texts and media discussed and we will look at adaptations from literature to film, as well as from literature of the

Administrative Responsibilities

  • Admissions Tutor for Linguistics - Swansea University

    2016 - Present

Career History

Start Date End Date Position Held Location
2016 Present Tutor ELL, Swansea University
2014 2015 Research Assistant to Prof. Nuria Lorenzo-Dus ELL, Swansea University
2012 Present Study Skills Tutor DACE, Swansea University
2013 2015 Visiting Lecturer Worcester University
2009 Present Associate Tutor DACE, Swansea University
2007 2016 Teaching Assistant ELL, Swansea University

External Responsibilities

  • Peer Reviewer, Adaptation (OUP)

    2009 - Present

Research Groups

  • Ordinary Member

    GENCAS (Centre for Research into Gender and Culture in Society, Swansea University)

  • Ordinary Member

    FWSA (Feminist and Women’s Studies Association)