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À̱¤Áø(¼þ½Ç´ëÇб³)¡º¸ðºñµñ¡»¿¡ ³ªÅ¸³­ ¿¡ÀÌÇãºêÀÇ ¡®Ä«¸®½º¸¶Àû¡¯ ¸®´õ½ÊÀº ÁøÁ¤ Ä«¸®½º¸¶ÀûÀΰ¡?

ÀÌÁØ¿µ(¿µ³²´ëÇб³),  Áö¼ÓÀÇ ½Ã°£°ú ºñÆÇ Á¤½Å: ¡º³ªÀÇ ¾ÈÅä´Ï¾Æ¡»¿Í ¡º¹Ì±¹ÀÇ ¾Æµé¡»¿¡ ³ªÅ¸³­ ½Ã°£°ú ÀúÇ×

±èµ¿¿í(°í·Á´ëÇб³),  A Study of Lady Viviette Constantine¡¯s Tragedy in Thomas Hardy¡¯s Two on a Tower

±è¼ø¹è(ÃæºÏ´ëÇб³),  Jane Austen¡¯s Emma and the Interactive Aesthetics of English Humor in the Eighteenth Century

±èâÈñ(¿¬¼¼´ëÇб³),  Collateral Damage in the Making of the US Empire in Graham Greene¡¯s The Quiet American

¾çÇýÁø(¿¬¼¼´ëÇб³) Visually Gendering Christiana: Part Two of John Bunyan¡¯s The Pilgrim¡¯s Progress

Á¤¼­Çö(¼­¿ï´ëÇб³),  The Political Economy of Dead Children: Fiction and Female Productivity in Harriet Martineau¡¯s Garveloch Tales










   

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