School of Humanities - Languages, Tourism and Hospitality
Jenny O' Connor received her PhD in 2009 from the School of English, Drama and Film at University College Dublin. Her research examined the way that film studies and Deleuzian philosophy interact. She has contributed to postgraduate publications, published a paper in the peer-reviewed online journal Rhizomes, and has had chapters in a number of books including Screening Irish-America: Representing Irish-America in Film and Television, Essays in Irish Literary Criticism, Voicing Dissent: New Perspectives in Irish Criticism, Gender and Interpersonal Violence: Language, Action and Representation and Viewpoints: Theoretical Perspectives on Irish Visual Texts. She is currently employed as a lecturer in English and Communications in the School of Humanities at Waterford Institute of Technology. She is also a member of Waterford Film For All, which promotes and screens non-mainstream film in Garter Lane Arts Centre, Waterford.
Dr. O'Connor's research to date has focused upon the impact of Deleuzian theory on film studies and upon the intersection of Deleuzian and feminist thought. Details of publications are below:
O’Connor, J. (2013) ‘Becoming-woman, becoming-mad: Transformations in the interstice in the cinema of Neil Jordan,’ in Viewpoints: Theoretical Perspectives on Irish Visual Texts, Bracken, C. & Radley, E. (eds.), Cork: Cork University Press.
O'Connor, J. (2012) 'Disobeying Gilles Deleuze: Is Quentin Tarantino the Voice of Dissent?' in Voicing Dissent: New Perspectives in Irish Criticism, Brisset, S. & Doody, N. (eds.), Dublin: Irish Academic Press.
O’Connor, J. (2009) ‘Repositioning Irish-America: Neil Jordan’s American- Irish and the Value of the Interstice’, in Screening Irish-America: Representing Irish-America in Film and Television, Barton, R. (ed.), Dublin: Irish Academic Press, pp. 356-369
O’Connor, J. (2009) ‘The Body in Pedro Almodovar’s Work: A Site of Rhizomatic Symbolic Violence’, in Essays in Irish Literary Criticism: Themes of Gender, Sexuality and Corporeality, Quinn, D & Tighe-Mooney, S (eds.), New York: The Edwin Mellen Press, pp. 211-227
O’Connor, J. (2008) ‘Slap and Tickle: Violence as fun in the movies’, in Gender and Interpersonal Violence: Language, Action and Representation, Throsby, K. & Alexander, F. (eds.), Basingstoke: Palgrave Macmillan, pp.214-228.
O’Connor, J. (2008) ‘Quentin Tarantino: Gilles Deleuze’s cinematic “falsifier”?’ in Rhizomes, vol. 16 (Summer), Ashton, D & & Callen, D. (eds.), available http://www.rhizomes.net/issue16/index.html
Dr. O'Connor teaches on a variety of modules in the B.A. Arts/Psychology course. These include:
Introduction to Literary Criticism and Composition
Shakespeare: Drama and Film
Literature and Society
Critical Theory and Beyond
Literature of the Family
In addition, she teaches on modules across a range of other courses, including Entertainment Systems (module: Narrative Construction), Health Promotion (module: Practical Media Skills), and Exercise and Health Studies (shared modules with Health Promotion: Critical Thinking and Written Communication Skills; Communication and Presentation Skills).
During her time at WIT, Dr. O'Connor has contributed to the development of the module catalogue for English as part of the B.A. in Arts. She has also been involved in module and course development in other courses in the Institute.
Dr. O'Connor has given numerous conference papers on her work. She has also collaborated with other members of the English teaching staff to deliver lectures on Leaving Certificate Shakespearean texts, as well as a collaborative series of talks on Irish literature in New Ross public library. She is a committee member of Waterford Film For All, a non-profit organisation that aims to screen non-mainstream film for audiences in the region. Regular screenings take place in Garter Lane Arts Centre (Waterford) on Sunday nights and other events have also been organised in conjunction with Waterford City Council, the Imagine Arts Festival, the Well Festival, Waterford Writers' Weekend, the Irish Film Institute, and the Harvest Festival. These screenings have taken place in venues as diverse as theatres, restaurants, car parks, churches and medical centres.