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Department of English and Modern Languages
Faculty of Humanities and Social Sciences
+44 (0)1865 483989
Headington Campus T4.10
I studied for my BA at the University of York and for my MA at the University of Leeds. My PhD on 'Mina Loy’s Modernist Aesthetic’ was awarded at the University of Leeds. My teaching career has taken me from Leeds to Falmouth University in Cornwall before arriving at Oxford Brookes University in 2002. I teach primarily on modernism, women's writing, technology, American literature and culture, and on twentieth-century literature. I am on the Executive Committee of the British Association for Modernist Studies.
I work in the field of modernist studies, technology and literature and on American literature and culture. I have published books and articles on Mina Loy, Djuna Barnes, Gertrude Stein, American Modernism, New York Dada, technology and literature, jewish writing, contemporary poetry, modernist drama, and radio.
Machine-Amusements: Gender, Technology and Modernist Poetry. A monograph that considers the interactions between women and the new technological leisure spaces and forms of early-twentieth-century America. Exploring a range of topics including the 'dance craze' , Hollywood, amusement parks, advertising and radio broadcasting, this book offers new insights into the study of gender, modernism and technological media.
Djuna Barnes on the Stage. My current and future research explores Djuna Barnes's writing on and for the stage, including her early drama, her theatre reviews and interviews and her late play The Antiphon.
In the years before, and at the outbreak of, the Second World War radio drama on the BBC emerged as a genre through which particular questions about nation, home, decency and morality were articulated. At the same time listener research developed, under the auspices of Reith's BBC, as a vehicle for understanding the preferences, habits and situations of the radio audience. Drama and Features were the first areas of radio output subject to targeted research. The reports that were produced by the BBC Listener Research Section provide an invaluable picture both of the nature and responses of specific communities of listener, and of how the radio listener her/himself was conceived. Such evidence can be usefully analysed alongside the types of drama that were developed and broadcast during this period. This essay examines the different kinds of listening subjects there were for radio drama in Britain in the 1930s and early 1940s, how they intersected with contemporary conceptions of the listener, and what situations (both private and political) came to be meaningful in the event of listening.