I am a UK-qualified teacher with a PhD in English Literature, Psychoanalysis, Theatre and Gender Studies. I have many years of experience in teaching (all ages and all levels) and doing academic research.
I also hold 2 Master's, one in English Literature and another in Education, and a Specialisation Certificate in Professional Planning, Funding and Implementing European Projects from The Institute of Leadership and Management.
I liaise with other native speakers and experts from various fields to offer the best quality service on the island.Download CV Contact Me
The Department of Education, The University of Cyprus (under the auspices of Professor Mary Koutselini, Head and Chairperson of UNESCO). Writing up and editing of research proposals. Coordination of projects by the European Commission (Horizon 2020, Daphne III).
At Department of Education, The University of Cyprus. Master's Programme (Winter Semester).
For EL1 (first-year undergraduate students at pre-honours level) at The University of Edinburgh.
At The University of Edinburgh
At Foley's School (Limassol, Cyprus).
aESL, O-level/A-Level English Lit, IELTS examinations
At Tutors Panaretos Educational Centre, Limassol, Cyprus
At The English Study Centre, Limassol, Cyprus
At The American Academy (Private), Limassol, Cyprus
My mission is to form creative synergies with people, in a mutually rewarding environment of collaboration, growth and active learning. Because learning should never stop and applied knowledge is power.
It is my aim to equip students with the necessary oral and written skills so desirable in the job market nowadays, to boost their linguistic confidence and morale, prepare them for English exams, and help them grow as learners. Teaching and learning are my two main passions. I also hope to learn from my students too, since learning is a two-way process. There can be no greater personal satisfaction than that of helping students to succeed and become socially and politically conscious citizens and the leaders of tomorrow. On a more personal note, my lifelong aim is to grow as a teacher and individual. We all learn new things everyday, and learning how to apply our new-found knowledge can be a very empowering experience.
My other mission is to help fellow researchers in academia by proofreading their work, collaborating with them on their research projects, and engaging with them in fruitful discussions.
Postgraduate Certificate Course in Academic Practice (Master's in Education with courses in how to teach at university level).
ELITE Executive Programme Award in Professional Planning and Management of European Funded Projects. Specialisation Certificate in Funding and Implementing European Projects
PhD: English Literature, Psychoanalysis, Gender Studies and Theatre Theory
Master's Degree: English Literature (with distinction), The University of Warwick. (Taught Courses: Critical Theory I and II, Modernism and Gender in Anglo-American Literature, Feminist Literary Theory, Psychoanalysis and Cultural Production.)
Bachelor's Degree: Diploma in English Language and Literature (Grade: Excellent)
This volume presents a compelling mélange of chapters focusing on the myriad ways in which performance and gender are inextricably bound to identity. It shows how gender, performance and identity play themselves out in various ways, contexts and genres, in order to illumine the very instability and fluidity of identity as a static category. As such, it is a must-read for anyone interested in gender studies, identity politics and literature in general.
This paper seeks to explore the various ways in which the 'leaky pipeline' can be addressed in HE institutions. It is already well-known that female researchers in the humanities and the sciences experience various hardships in their transitional phase from the PhD to postdoctoral research, and that when it comes to research posts and higher profile job positions the gender balance is unevenly distributed, with men hogging most academic jobs. As Curt Rice (2012) reports in the Guardian, “only 12% of third year female PhD students [in the UK] want a career in academia” because of the preexisting gender bias in HE institutions and the various difficulties female researchers know they will have to face due to their gender.
My paper draws on Derrida, Deleuze and Guattari and the work of the French multimedia performance artist Orlan in order to bring together the various theoretical strands which examine the body as a phenomenological and speculative entity that has the discursivity and potentiality to function as a performing body within a spatio-temporal framework (a bodywhich is always already scripted within performance and society at large), as well as thosetheories which move from a Western metaphysics of presence to a de-subjectified semiotics,such as was evidenced in the 1980s and 1990s, and to show what is at stake in that politico-theoretical shift, as well as the implications of this for the performing and viewed/viewing body
This Report constitutes a brief comprehensive review of the implementation of the Beijing Declaration and Platform for Action (1995) and the outcomes of the twenty-third special session of the General Assembly (2000) in the context of the twentieth anniversary of the Fourth World Conference on Women and the adoption of the Beijing Declaration and Platform for Action 2015. Apart from this appraisal, the report also aims to identify and discuss current challenges and emerging priorities for the further advancement and empowerment of women and girls in Cyprus
My paper will focus on two plays, Sophocles'Oedipus Rex and Shakespeare's Macbeth, in an effort to show how they structure and subvert traditional and stereotypical genderized roles of heteronormativity, even heterosexuality. By closely examining the main female characters in the two aforementioned plays, Jocasta and Lady Macbeth, I should like to show how they not only function as a complementary Other to the male psyche or Self, but also rewrite Judith Butler's notion of a heterosexual matrix on their own terms. For example, although traditionally – and pace Freud – the character of Oedipus has almost always been accorded primacy in Western philosophy and theory, hence marginalizing the position Jocasta occupies in the play as both mother and sexual partner, this paper attempts to show how she reclaims agency through the very real potency of her sexual power and dynamic relationship to her son-cum-lover-cum husband Oedipus.
As one watches Orlan's Carnal Art documentary (2001), in which Orlan playfully recites excerpts from literary and psychoanalytic texts in front of a camera while a group of certified surgeons jab her with needles in order to perform reconstructive cosmetic surgery on her face by slashing across her skin, slic[ing] open her lips, and, most gruesomely of all, sever[ing] her ear from the rest of her face with [a] scalpel, one is likely to experience an unsettling feeling of malaise, at the very least, or a sense of physical and/or emotional shock.
My thesis aims to partake in the controversial and theoretical debates surrounding sight which can be traced as far back as Plato. It seeks to provide an overview of the cultural history of the gaze in order to set up a triangulated and in-depth schema or triadic relationship between theatre, text and trauma through the lens of psychoanalytical, phenomenological and socio-theoretical frameworks
This paper sets out to explore the intricacies between trauma, performance and the body through an in-depth analysis of the various 'performances' and 'rehearsals' of the French performance artist Orlan and the Italian artist Franko B. Through the lens of psychoanalytical, semiological and socio-theoretical frameworks, and via recourse to trauma and performance studies, it attempts to trace the widespread and obsessive fascination with the tearing and ripping apart of skin. It also draws on Baudrillard's work on the postmodern, Derrida, and Judith Halberstam's work on the Gothic, amongst others, to cement its arguments
The Art and Politics of Orlan and Franko B's Machinic Theatre.' 13th ISSEI conference. The European Legacy: Toward New Paradigms. Journal of the International Society for the Study of European Ideas (ISSEI). Conference Proceedings. 2012
In this article I set out to explore Sophocles' classical tragedy Oedipus Rex and how this tragedy transposes the eye/I of vision from objective reality into an “inner” vision—or more metaphorically and topographically, the “mind's eye”—and how this introjection, on a performative and aesthetic level, leads to trauma for both the actors and the audience. When Oedipus, for example, is affronted with the frightful “possibility” of seeing his parents in the afterlife, such ghostly (re)visitations, which objectively mark an unseen event, manifest themselves as an interior reality in the protagonist's psyche, marking the traumatic or mimetic moment when meaning and representation break down along the axis of interpretation, and the traumatic gap or lacuna between signifier (word/gesture) and signified (message/meaning) widens. By drawing on the French psychoanalyst Jean Laplanche's reformulation of Freud's theories regarding the “enigmatic signifier,” which functions as untranslatable, hieroglyphic sign, and Cathy Caruth's theories on trauma, together with Jean-Joseph Goux's philosophic ideas on Greek tragic theatre), I would like to show how this gap between self and other, actor and audience—a gap that cannot be bridged—opens out a plenitude of interpretive possibilities for performance theory and theatre practice in general
Twilight Horror in Jean Rhys' After Leaving Mr. Mackenzie & Djuna Barnes' Nightwood. Journal of Caribbean Literatures, 7:1 (Summer 2011).
Female Self-Mutilation as Grace or Perversion?' Bodies of Work. Online Cambridge journal. 2010
The Simulation of Trauma in J.G. Ballard's Crash. Forum, The University of Edinburgh Postgraduate Journal of Culture and the Arts, Issue 8. Spring 2009