Teresa Gómez Reus

• University of Alicante

Edith Wharton was an indefatigable traveller who was drawn to Europe’s landscapes and cultural heritage. Her footsteps across France and Italy have been carefully traced by her biographers and critics. The fact, however, that the writer’s infatuation with Europe also encompassed Spain has been largely overlooked in Wharton criticism. This article d...

Esta Red abordó la posibilidad de implantar el modelo de clase invertida ("flipped classroom") en la asignatura de "Literatura norteamericana hasta fines del siglo XIX" del tercer curso del Grado en Estudios Ingleses de la Universidad de Alicante. Se trata de un modelo pedagógico alejado de la tradicional clase magistral, centrado en el desarrollo...

In her study of ‘women and auto/mobility in the era of the Great War’ Laura Doan has explored women’s ‘provocative engagement with the technologies of speed and machines’ (2006: 27) in the First World War, and has quoted Paul Virilo’s claim that in wartime ‘speed, by its violence, becomes a destiny at the same time as being a destination’ (qtd. in...

This investigative analysis bases itself on an array of documentary material from the archives of the Imperial War Museum in its effort to recover the intricate story behind the two British volunteer nurses who made their name during the First World War with the first-aid station they set up in Pervyse, a mere stone's throw away from the Belgian fi...

This essay makes use of the controversial trope of the 'invisible flaneuse' in its attempt to give critical visibility to Edith Wharton's wartime article 'The Look of Paris', and to point out the hitherto unnoticed connections that exist between this documentary text and two of her supernatural tales. What links Wharton's ghosts to her experience o...

RESUMEN: Uno de los aspectos más saludables surgidos al auspicio de las teorías poscoloniales, feministas y posestructurales es el desplazamiento de una visión exclusivamente eurocéntrica en favor de una concepción más pluralista y heterogénea del conocimiento y de la condición artística.

Tradilionally the structural analysis of a work of fiction concerns itself with elements of plotted narrative and sequence. Barthelme's fiction, however, is a fiction which lacks or subverts many of the traditional principles. This paper tries to explore Barthelme's individual use of collage and montage in Come Back, Dr. Caligari and in Unspeakable...