Curriculum

Formations et expériences professionnelles

Professeure Associée en Littérature Anglaise et Comparée, UNIL, 2013-present

Maître d’enseignement et de recherche 1,UNIL,  2003-2013

Associate Dean, Faculté des Lettres, UNIL, 2007-2010

Maître Assistante,UNIL,  2000-2003

Première Assistante,UNIL,  1998-2000

Assistante Diplômée,UNIL,  1991-1997

Ph. D (Modern English Literature, UNIL): 1997. Prix de Faculté 1998

Origin and Originality in Salman Rushdie’s Fiction (published in 1999)

Supervisor: Prof. Neil Forsyth (Lausanne).
Experts: Profs. Patricia Waugh (Durham) and Elleke Boehmer (Leeds/Oxford)

Master of Arts (Modern English Literature, University of Sussex): 1991

Licence ès Lettres (French, English, Latin), UNIL: 1981-1988
Ecriture des limites, limites de l’écriture dans la trilogie romanesque de Samuel Beckett Supervisor: Prof. Françoise Gaillard (Paris VII)

Compétences

Direction de thèses de doctorat

2017-present

Melissa A. Mullins, Fairy-tale Pantomimes in Translation

2012-present

Marie Emilie Walz, When ‘The Fairy Queene’ Enters ‘The Bloody Chamber’: Angela Carter and Edmund Spenser

2009-2014 (”avec les félicitations du jury”)

Ashley Riggs, The Translation and Reception of Angela Carter’s and Emma Donoghue’s Fairy Tale Rewritings in French

(co-direction avec Lance Hewson, ETI, UNIGE)

2006-2013

Magali Monnier, La dimension métapoétique dans les contes de fées de Mme d’Aulnoy et d’Angela Carter : étude comparative

Direction de mémoires de licence et MA

In progress

“Fairy Tales and Gaming: the case of Bluebeard” (Audrée Müllener)

“Angel Carter’s Adaptation of Wedekind’s ‘Lulu’ for the Stage” (Charlotte Mohr)

“The Translations and Reception of ‘Fitchers Vogel’ in England” (Katrin Meyfarth)

“Mother-Daughter Relations in Cinderella: Basile, Perrault, Grimm, Carter” (Simona Mazarelli)

“All will have one last chance to live happily ever after” : Bill Willingham’s Comics for Adults (Lucia Pozniak)

2016

Representing Native American Identity in Word and Image: an interdisciplinary study of cultural hybridity from Leslie Marmon Silko’s Ceremony to Indelible and Our Lives: Contemporary Life and Identities (Noémie Desarzens) co-directed with Kornelia Imesch-Oechslin

“Nelly, Will You Keep a Secret for Me?” : Writing, Secrecy and Ghosts in Jane Eyre, Wuthering Heights and Villette (Deborah Clément)

2015

Philip Pullman’s Translation Project in Grimm Tales (Julie Sirbu)

The Metamorphoses of Oscar Wilde’s Salome on the Page, Stage and Image (Juliette Loesch)

2014

Joseph Jacobs’ English Fairy Tales and Italo Calvino’s Fiabe Italiane: Collecting Folklore, Inventing National Culture (Sarah Dupertuis) expert: Niccolo Scaffai (Italian dept)

L’exposition de l’art contemporain africain dans les institutions culturelles occidentales et la théorie postcoloniale. Cas d’étude: The Global Africa Project (Sophie Rogivue) co-directed with Kornelia Imesch-Oechslin (prix de Faculté)

Exploring Women’s Empowerment in Shashi Deshpande’s A Matter of Time and Shadow Play, and Githa Hariharan’s The Thousand Faces of Night (Ankita Sinha) co-directed with Maya Burger

Representations of Marriage in Contemporary Indian Fiction: Githa Hariharan’s Thousand Faces of Night, Shashi Deshpande’s A Matter of Time, and Chitra Banerjee Divakaruni’s Arranged Marriage (Larissa Dufour) co-directed with Maya Burger

Sounding Joseph Conrad’s “Unfathomable Polishness: Echoes of Mickiewicz and Slowacki in Under Western Eyes and Lord Jim” (Magdalena Hampel), exp. Agnieszka Soltysik

Bodying Forth, Translating and Rewriting Fairy Tales: The Case of Emma Donoghue’s The Tale of the Rose (Celia Méhou-Loko), exp. Ashley Riggs 

2013

Between Words and Images: Working Out Trauma in Maurice Sendak’s Illustrations for The Juniper Tree, Dear Mili and Outside Over There (Jade Andrey), exp. Catalina Schiltknecht

Masks and Disguises: Fairy Tale as Ambivalent Discourse in Oscar Wilde’s Fiction (Emilie Pellaton), Martine Hennard Dutheil (UNIL) and Patrick Vincent (U. Neuchâtel)

‘Reborn in Unfamiliar Shapes’: Perception and Monstrosity in Angela Carter’s The Bloody Chamber and Other Stories (Clémence Cornuz), exp. Valérie Cossy

 Alasdair Gray’s Autopictographies: Self-portrait, Autofiction and Artistic Identity in Lanark and A Life in Pictures, co-directed with Kornelia Imesch-Oechslin (Ken Gardner)

 Invisible Translators in Andrew Lang’s The Blue Fairy Book (Carole Henguely)

2012

Postcolonial Approaches to Biblical Studies (Eric Butticaz, co-directed with Claire Clivaz, interdisciplinary mémoire Lettres/FTSR, Prix de Faculté)

When The Faerie Queene Enters The Bloody Chamber: Angela Carter’s Short Stories and their Spenserian Intertexts. Dir. Martine Hennard Dutheil de la Rochère, expert Rachel Falconer. (Marie Emilie Walz, Prix de Faculté)

 2011  

Angela Carter and Surrealism: The Doll in The Infernal Desire Machines of Doctor Hoffman (Catherine Burdet) (co-directed with Philippe Kaenel)

 2010  

Enchantment in Dickens: Fairy Tale Patterns and Motifs in Oliver Twist, David Copperfield and Great Expectations (Melanie Bolay)

‘The Welcome Defence of Inverted Commas’: Elizabeth Lee’s The Fairy Tales of Madame d’Aulnoy (1892) (Glen Regard), expert: Prof. Lance Hewson (ETI, UNIGE) Synthesis of the mémoire published in Féeries (2011).

Three Contemporary Illustrated Adaptations of the Grimms’ ‘Rapunzel’ for Children: ‘Rapunzel’, ‘Sugar Cane’ and Rapunzel’s Revenge’ (Sylviane Deriaz)

2009

Representations of Childhood in Brontë’s Jane Eyre and Pitzorno’s La Bambinaia Francese. (MariaChiara Bernasconi) co-directed with U. Heidmann

‘A Woman’s Voice Singing Old Songs With New Words’ : J. C. Oates’s Revisions of Perrault and Grimm (Kathleen Pauli)

2008

Sense and Nonsense: Playing with Linguistic Conventions in Carroll’s Alice Books (Anna Schlossbauer) co-directed with Adrian Pablé

‘Do you see the story? Do you see anything?’ An Un/Reliable Narrator’s Search for ‘a glimpse of truth’ in Youth, Heart of Darkness, and Lord Jim (Gabriela Kiss)

G.B. Shaw’s Intertextual Dialogue with Ovid’s Metamorphoses in Pygmalion (Christine Gil Pose)

Magic Realism in Marquez’s A Hundred Years of Solitude and Rushdie’s Midnight’s Children (Isis Giraldo)

Fairy Tales and Holocaust Literature: Yolen’s Briar Rose and Murphy’s The True Story of Hansel and Gretel. (Géraldine Viret, Prix de Faculté)

2007

Contemporary Rewritings of Sleeping Beauty: Carter, Yolen and Donoghue (Coralie Rochat)

Unveiling Women in Hanif Kureishi’s Fiction (Fiona McHugh)

London and the Migrant Identity in Selvon’s The Lonely Londoners, Kureishi’s The Buddha of Suburbia, and Ali’s Brick Lane. (Laure Pochon)

2005

“Angela Carter’s The Bloody Chamber or Gothic Literature Revisited.” (Magali Monnier)

“Rewriting Little Red Riding Hood in the Twentieth Century : Angela Carter, Tanith Lee, Terry Pratchett and Wendy Wheeler.” (Isabelle Gris)

“Aotearoa, the Shining Bright Land : Representations of the Landscape in Three New Zealand Novels : Patricia Grace’s Potiki (1987), Keri Hulme’s The Bone People (1994), and Witi Ihimaera’s The Matriarch (1996).” (Meredith Blake)

2004

“Body Politics in Hanif Kureishi’s The Buddha of Suburbia (1990), The Black Album (1995), Intimacy (1998) and The Body (2002).” (Mathias Howald)

“Old Things Made New: Strategies of Rewriting in Coetzee’s Foe and Gray’s Poor Things.” (Marianne Tièche)

2003

“Small Things and Micropolitics: Women in Rushdie’s Midnight’s Children and Roy’sThe God of Small Things.” (Ariane Wyss, Prix de Faculté)

“Desert Island Revisited: The Heritage of Robinson Crusoe, Coral Island and Treasure Island in Hergé’s Comics.” (Andreas Fischer)

2002

“Decentering Bombay: Rushdie’s Politics of Space in The Moor’s Last Sigh and The Ground Beneath her Feet.” (Nicole Schweizer, Prix de Faculté)

“Identity in Late Colonial and Postcolonial Fiction: Conrad’s Heart of Darkness, N’Gugi Wa Thiongo’s The River Between and Bessie Head’s A Question of Power.” (José Pernas)

2000

“From Villain to Hero: Stoker’s Dracula and Rice’s The Vampire Chronicles.” (Christian Lutz)

Expertises de mémoires

2017

France’s Best-kept Secret”: Analyse pragmatique et linguistique des traductions anglaises de San-Antonio (Simon Faraud, dir. Gilles Philippe)
 
“You Takin that Dog with You?” – If He Wants to Come”: Animals as Individuals in Cormac McCarthy’s The Crossing (Sandrine Spycher, dir. Boris Vejdovsky)

2015  

Children’s Literature and the Holocaust (Philippine Jaton) Dir. Rachel Falconer

Werewolves in Contemporary Literature. (Luca Bianchetti) Dir. Agnieszka Soltysik

2014

Time in Virginia Woolf’s Fiction. Dir. Valérie Cossy (Emmanuelle Maquat)

2013  

From Rulfo to Rushdie: A Comparative Analysis of Latin American Realismo Màgico and British Magic Realism. Dir. Rachel Falconer (Tania Balderas)

 Writing Back to Colonial Patriarchy: Gender (In)Subordination in Conrad’s Heart of Darkness, Achebe’s Things Fall Apart, and Dangarembga’s Nervous Conditions. Dir. Nidesh Lawtoo (Léa Kolzer)

2012  

From the Curse to the Gift: A Journey into Double Consciousness through Toni Morrison’s The Bluest Eye and Beloved. Dir. Nidesh Lawtoo (Ann Droz)

2011

‘The Quiet Experience’ : A Comparative Study of Walter Benjamin’s and Virginia Woolf’s Reflections on the Transmission of Experience. Dir. Nidesh Lawtoo (Christine Cuénod)

2010

‘Kinder, Drachen, Schiffe, Bettler’: Bettina Hürlimann et le livre illustré pour les enfants. (Sandra Renaud). Dir. Philippe Kaenel (histoire de l’art)

2007

“Les contes de fées modernes: l’histoire d’un avenir. Dir. Ian MacKenzie, Jurée Mathilde Fontanet, Experte externe Martine Hennard Dutheil de la Rochère, ETI, Genève.” (Ashley Riggs)

“L’oiseau peut-il chanter seulement la chanson qu’il connaît? Analyse comparative des dialogues intertextuels dans La Belle au bois dormant de Perrault et dans The Lady of the House of Love de Carter.” (Manon Groux)

2006

“‘Prêter sa voix’: rythme et émergence du sujet dans les poèmes de William Blake et leurs traductions françaises.” Mémoire de DEA en LLEUC (Olivier Knechciak, DEA en LLEUC, Prix de Faculté)

“‘La fille des cendres’, étude comparative de deux réécritures de Cendrillon: ‘Ashputtle or the Mother’s Ghost’ (1987) de Angela Carter et ‘L’Exaucée’ (1894) de Marcel Schwob”. (Mercedes Gulin, DEA en LLEUC, Prix de Faculté)

“Victims or Accomplices ? Alienation in DonDellilo’s White Noise and Mao II.” (Marieke Ilschner)

“‘Ever after’ : The Representation of Gender Roles and Equality in George MacDonald’s Fairy Tales.” (Vanessa Haenzi)

2004

“La construction de la narration dans Frankenstein et Emile. Etude comparative de l’écriture de la création chez Mary Shelley et Jean-Jacques Rousseau.” (Roxane Granges, DEA en LLEUC).

“Quand l’agneau se couche aux côtés du tigre. Etude comparative de La Belle et la Bête de Jeanne Marie Leprince de Beaumont et de The Courtship of Mr Lyon et The Tiger’s Bride d’Angela Carter.” (Annick Panchaud, Prix de Faculté et Prix Archipel)

“The Portals of Reality: Growing Up Through Parallel Worlds in Carroll’s Alice in Wonderland and Through the Looking Glass, J.M. Barrie’s Peter

2003

“Les vases communicants du rêve et de la création littéraire chez Marguerite Yourcenar et Virginia Woolf. Etude comparative de Les Songes et les Sorts et The Waves.” (Cécile Fornerod, DEA)

“Reprises du mythe d’Orphée et d’Eurydice au XXe siècle : étude comparative de La Nouvelle Eurydice de Marguerite Yourcenar et de poèmes de Margaret Atwood, H.D., Ellen Bryant Voigt et Alta.” (Muriel Jacquod).

2002

“La fictionnalisation de l’histoire : étude comparée de «W ou le souvenir d’enfance» (Georges Perec), «Kindheitsmuster» (Christa Wolf) et «Midnight’s Children» (Salman Rushdie).” (Anja Germond)

2000

“Religion in Three Late Colonial Novels: Kim, A Passage to India and Coolie.” (Anita Duperret)

1999

“Two Postcolonial Novels of Emancipation: Tsitsi Dangarembga’s Nervous Conditions and Toni Morrison’s The Bluest Eye.” (Lorraine Roehrich)

“Public Opinion in Jane Austen’s Novels.” (Carine Ducret)

1998

“‘It Begins With Tears’: Opal Palmer Adisa.” (Gwen Bingle)

1997

“The Language of Man and Woman in Pinter’s Plays.” (Catherine Sahy)

“White Writing and the Colonial Predicament in the Novels of J.M. Coetzee.” (Louisa Gore)

“Murderous Love in Toni Morrison’s Beloved and Jazz.” (Muriel Maradan)

1994

“Creative Dialogism in Salman Rushdie’s Midnight’s Children and Haroun and the Sea of Stories.” (Jérôme Ducret)

“‘Emblems of Passage’: Unity and Division in Four Novels of India.” (Yogini Minissale-Kakar)

1993

“Naming the Unnamable: Michael Bulgakov’s The Master and Margarita and Salman Rushdie’s The Satanic Verses.” (Lilamani de Soysa)

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