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°í¿µ¶õ(¼ö¿ø´ëÇб³),  À§´ëÇÑ °³Ã÷ºñ¡»(The Great Gatsby)ÀÇ Çö´ëÀû °¢»ö: º¯¿ëÀÇ ¾ç»ó°ú ±× ÀǹÌ

±èÀÏ¿µ(¼º±Õ°ü´ëÇб³), ¡º·¹º£Ä«¡»¿¡ ³ªÅ¸³­ ±ÝÁöµÈ Áö½Ä/½ÇÀçÀÇ ±Íȯ°ú °¡ºÎÀåÁ¦ÀÇ ºñ¹Ð

¹è°æÁø(â¿ø´ëÇб³), Ç ¸ÆÅ²ÁöÀÇ ¡º°¨¼ºÀûÀÎ ³²ÀÚ¡»¿¡ ³ªÅ¸³­ °¨Á¤ °úÀ×°ú °¨¼ºÀû ÁÖü¼ºÀÇ µµ´öÀû ÀǹÌ

Àå±âÀ±(¼­°­´ëÇб³), Å¬¸®Æ÷µåÀÇ ·Î¸Ç½º: ¡ºÀϰö ¹Ú°øÀÇ Áý¡» ´Ù½Ã Àбâ

ÁøÁÖ¿µ(¼øÃµÇâ´ëÇб³), Á¤Áö »óÅ¿¡ ´ëÇÑ °øÆ÷: ¡º»ç¶÷µéÀº ¸»À» ½ð´Ù, ±×·¸Áö ¾ÊÀº°¡?¡»¿¡ ³ªÅ¸³­ ¹Ì±¹ ´ë°øÈ²½Ã´ë ´í½º ¸¶¶óÅæÀÇ »çȸ¹®È­Àû ÇÔÀÇ

±èºÎ¼º(¼­°­´ëÇб³), The Uncanny, Normalcy, and the EnLIGHTenment: Reversing the Hegemony of Vision in H. G. Wells¡¯s ¡°The Country of the Blind¡±

±èÀ±¼­(¿¬¼¼´ëÇб³), To the Horizon: Tracing Janie Crawford¡¯s Modern Consciousness in Their Eyes Were Watching God

±èâÈñ(¿¬¼¼´ëÇб³), The US¡¯ Biopolitical Making of an Affective Empire in the Fin De Siecle and Now

ÃÖÀÚÀ±(Çѱ¹¿Ü±¹¾î´ëÇб³), Technological and Narrative Inventions in Defoe¡¯s The Consolidator

 


   

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552  2018³â [25Áý] 3È£ - ±èÈñ¿¬ - Hugh Lofting¡¯s Doctor Dolittle¡¦ 12-31 1534
551  2018³â [25Áý] 3È£ - ¿ìº¸¹Ì - The Male Body and Sensibility: ¡¦ 12-31 1365
550  2018³â [25Áý] 2È£ - ¸ñÂ÷ - 08-31 1370
549  2018³â [25Áý] 2È£ - Richard Bonfiglio - The Queerness of Fai¡¦ 08-31 2709
548  2018³â [25Áý] 2È£ - Á¶µ¿ÀÎ - The Marginalized in Light in Au¡¦ 08-31 1824
547  2018³â [25Áý] 2È£ - Áø¼ºÀº - Imperial Topography in C. S. Le¡¦ 08-31 1431
546  2018³â [25Áý] 2È£ - ±è¼Ò¿¬ - Displaced Women¡¯s Quest for Ho¡¦ 08-31 1405
545  2018³â [25Áý] 2È£ - ¿ÀºÀÈñ - Servants in Early British Novel¡¦ 08-31 1546
544  2018³â [25Áý] 2È£ - À±ÇýÁØ - ¡°How Can Money Be a Corpse¡¯s?¡¦ 08-31 1329
543  2018³â [25Áý] 1È£ - ¸ñÂ÷ - 04-30 1363
542  2018³â [25Áý] 1È£ - °í¿µ¶õ - ¡ºÀ§´ëÇÑ °³Ã÷ºñ¡»(The Great Gat¡¦ 04-30 1991
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