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2019³â [26Áý] 3È£ - ¸ñÂ÷ -
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¾ö±âµ¿(¼Û¿ø´ëÇб³), ¸®Ã³µå ¶óÀÌÆ®ÀÇ ¡ºÅä¹ÚÀÌ¡» ´Ù½Ã Àбâ: ºñ°Å Åä¸Ó½º¿Í Àé ¾ó·ÐÀÇ °ü°è¸¦ Áß½ÉÀ¸·Î

ÃÖ¼±·É(È£¼­´ëÇб³) Áø ¸®½ºÀÇ ¹ÝÆä¹Ì´ÏÁò¿¡ ´ëÇÑ ºñÆÇÀû °íÂû

±èÁöÀº(¿¬¼¼´ëÇб³), Exploration of Women Operators¡¯ Integrity in The Telegraph Girl and In the Cage

¼­Á¤Àº(¿¬¼¼´ëÇб³), Wounded Animals, Tess and the Ethics of Representation in Thomas Hardy¡¯s Tess of the D¡¯Urbervilles

Áø¼ºÀº(Á¦ÁÖ´ëÇб³), Transatlantic Connections and the Gothic Imagination in Louisa May Alcott¡¯s Flower Fables

ÇÏÀÎÇý(ÀÎõ´ëÇб³), The Sympathy Exams: Dog Narratives and the Arc of Interspecies Sympathy


   

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599  2020³â [27Áý] 2È£ - Àå±âÀ± - Àß Æȸ®´Â °í¾Æ µÇ±â: ¡ºÅ°´Ù¸® ¡¦ 08-31 453
598  2019³â [26Áý] 3È£ - ±èÁöÀº - Exploration of Women Operators¡¦ 12-31 454
597  2020³â [27Áý] 1È£ - ÀÌÇ϶÷ - ¡°The Ghost of a Fact¡±: The Cr¡¦ 04-30 456
596  2020³â [27Áý] 2È£ - ¹ÚÁÖÇö - The ¡°Almost¡± Reformers: Isabe¡¦ 08-31 456
595  2019³â [26Áý] 3È£ - ÇÏÀÎÇý - The Sympathy Exams: Dog Narrati¡¦ 12-31 467
594  2020³â [27Áý] 2È£ - À̽½¾Æ - Functions of Frontispieces and ¡¦ 08-31 468
593  2020³â [27Áý] 1È£ - Á¶±ÔÇü - ¡º¸ðºñµñ¡» ÁÖÀΰø·ÐÀÇ ºñÆò»çÀû ¡¦ 04-30 469
592  2021³â [28Áý] 2È£ - ½ÅÇý¿ø - ¡ºÁöų ¹Ú»ç¿Í ÇÏÀÌµå ¾¾¡»ÀÇ °í¡¦ 08-31 473
591  2019³â [26Áý] 3È£ - ÃÖ¼±·É - Áø ¸®½ºÀÇ ¹ÝÆä¹Ì´ÏÁò¿¡ ´ëÇÑ ºñ¡¦ 12-31 475
590  2019³â [26Áý] 3È£ - ¾ö±âµ¿ - ¸®Ã³µå ¶óÀÌÆ®ÀÇ ¡ºÅä¹ÚÀÌ¡» ´Ù½Ã¡¦ 12-31 479
589  2022³â [29Áý] 2È£ - °í¿µ¶õ - À뱂 ÁÖâÀڷμ­ÀÇ ·Î·»½º: µé·Ú¡¦ 08-31 485
588  2020³â [27Áý] 3È£ - ±èµ¿¿í - A Study of Lady Viviette Consta¡¦ 12-31 492
587  2019³â [26Áý] 3È£ - ¹ÚÇÏÁ¤ - ¡°Ã³¹ú¹ÞÁö ¾Ê°í ó¹úÇϱ⡱: ¡¦ 12-31 494
586  2020³â [27Áý] 3È£ - ¹ÚÇÏÁ¤ - ¼·Á¤ ½Ã´ë·ÎÀÇ ½Ã°£ ¿©Çà: ´ëÁß¹®¡¦ 12-31 498
585  2020³â [27Áý] 3È£ - ¾çÇýÁø - Visually Gendering Christiana: ¡¦ 12-31 510
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