Ketlyn Mara Rosa is currently a postdoctoral researcher in the Film Department at Trinity College Dublin with focus on studies of the cinema of conflict in Northern Ireland and Brazil. She holds a doctorate degree in English: Linguistic and Literary Studies from the Graduate Programme in English (PPGI) at the Universidade Federal de Santa Catarina (UFSC). As a member of Núcleo de Estudos Irlandeses (NEI), she collaborated in the organization of events such as the IV Jornada do Núcleo de Estudos Irlandeses da UFSC: Where Irish Literature, Theatre and History Meet (2019). As a monitor, she participated in the events Irish Lives: The Cinema of Alan Gilsenan – Part II e Part III (2015-2016), and in the I Jornada do Núcleo de Estudos Irlandeses da UFSC – Myth and Reality in Irish Literature, Theatre and Visual Arts (2016) – where she presented the work ‘What would happen if a shell landed here now?’: Corporeal Violence in Sean O’Casey’s The Plough and the Stars and The Silver Tassie. Recently, she presented a speech entitled Making Sense of a Divided Belfast: ’71 and a Sensorial Journey of Embodiment at the V Jornada do Núcleo de Estudos Irlandeses da UFSC: Intersections of Irish Literature, Theatre and Technology (2021). She also participated in NEI’s Digital Round Tables as a guest at the panel Contemporary Irish Film Studies (2021) and as a moderator in the debate Contemporary Joyces (2022).
Some of her most recent publications includes:
•(Forthcoming 2023) Conflict Cinemas: Northern Ireland and Brazil. London: Palgrave Macmillan.
•(Forthcoming, Fall 2022) “Bodies on the Battlefield: Death and Combat in Band of Brothers”. Difficult Death: Challenging Cultural Representations of Death, Dying and the Dead in Media and Culture, edited by Sharon Coleclough, Bethan Michael-Fox, and Renske Visser. London: Palgrave Macmillan.
•(Forthcoming, Summer 2022) “Landscape and Sensorial Immersion into the Iraqi Desert in The Wall”. Wide Screen, vol 9, no. 1.
•(2021) (co-authored with Janaina Mirian Rosa) “Traces of Lesbian Existence in Adrienne Rich’s “Twenty-One Love Poems”. Rascunhos Culturais, v. 12, p. 232-247.