Titles of BA, MA, and PhD Theses |
2011iH23j”N“x | ||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ60‰ñ¶j | ||
1 | ‰œ‘º@–ƒ–¢ | A Study on J. K. Rowling's Harry Potter Series: Viewed from the Idea of Fantasy |
2 | ¬“c^¹Žq | Personal Links through Coincidence: Paul Auster's Moon Palace |
3 | ‹v•Û@—F”ü | "But I'm Here": Celie's Suffering Process of Independence in The Color Purple |
4 | Ë’Ã@ˆºŽq | Creation of Fictional Reality: Daniel Defoe's Narrative Technique in Robinson Crusoe |
5 | ‰ºŒ´@—Rˆß | How Capote's Depiction of Sanctuary Reflects Holly's Liberty in Breakfast at Tiffany's |
6 | ’†’¬@—R‰À | Significance of Pearl's Role in The Scarlet Letter |
7 | ’·‰ª@ŽW | The Structure of Mitch Albom's The Five People You Meet in Heaven |
8 | ‘ì@—R•P | "See More Glass" to Look Twice at Oneself in "A Perfect Day for Bananafish" |
9 | ¼”ö@–¢—ˆ | Figurative Expressions in the Gospels |
10 | X‰ª@Œõ | A Streetcar Named Desire: Blanche DuBois between Text and Theater |
11 | ŽR“c—eއŽq | The Existence of the Author in Truman Capote's In Cold Blood as a Nonfiction Novel |
12 | ŽR–{@‰ÄŽÀ | Women's Solitude in Truman Capote's "Miriam" and Breakfast at Tiffany's |
13 | ‹g“c@—L—¢ | Truman Capote's Relation to Perry Smith in In Cold Blood |
14 | Ž…£@—F”Ž | Animal Farm: What Is Benjamin Seeking for? |
15 | ’¬@®Œá | "Star Equilibrium" in Women in Love: D. H. Lawrence's Quest for the Tripodic State in Paradise |
”ŽŽm˜_•¶‘è–ڈꗗ | ||
1 | Έä@—eŽq | ŒF–{—m›{Z‹³ŽtCapt. L. L. JanesŒ¤‹†F‘«Õ‚ÆŒ÷Ñ |
2010 (H22) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ59‰ñ¶j |
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1 |
¡‘º@—R•zŽq@ | Harry Potter and the Goblet of Fire: Creatures in Western Art |
|
“à“c@‚±‚Ì‚Ý
|
Poverty and Children in Oliver Twist |
3 |
ŒÜ“ˆ@”ü¹Žq | "To Face the End of the Red Notebook": The Act of Writing in Paul Auster's City of Glass |
4 |
⌳@ŒöŽ} | The Influence of Loneliness on Self-Reflection in Sula by Toni Morrison |
5 |
“c’†@—R^ | D. H. Lawrence's View of Religion in Lady Chatterley's Lover |
6 |
’JŒû@LŒ« | Perfective Aspect in British English |
7 |
çX˜a@”ü | "Life Itself Is Only a Vision, a Dream": The Concept of Dreams in Mark Twain's No. 44, The Mysterious Stranger |
8 |
•x“c@ËŽq | The Two Senses of Guilt in Tess of the D'Urbervilles |
9
|
”_è@—R‰À
|
The Complete Tales of Peter Rabbit: Beatrix Potter's Messages in the Description of Cruel Reality |
10
|
•Ÿ–{@—z | The Psychology of Alcohol in Selected Raymond Carver Short Stories |
11
|
ŒÃ¯@’q”ü
|
Mother-Daughter Relationship in Toni Morrison's Beloved |
12
|
ŽRŒû@–¢—ˆ | Lewis Carroll's Definition of Dreams in Alice's Adventures in Wonderland and Through the Looking-Glass |
13
|
ŒF–{@“Žq | The Usage of the Verb "Get" in British English |
14
|
‘O“c@’qŽq | The Picture of Dorian Gray: Wilde's Views in Text Structure |
15 | ‘O“c‚¿‚È‚Ý |
Heart of Darkness: How Can Humanity Fall? |
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CŽm˜_•¶‘è–ڈꗗi‘æ37‰ñ¶j |
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1 |
‰H“c@—L‰Ô |
A Classificatory Study on the Types of Irish Folktales |
”ŽŽm˜_•¶‘è–ڈꗗ |
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1 | ˆÉ“Œ@—T‹N | The Double War: Yeats's Philosophy and Sense of National Identity in Evolution, from John Sherman |
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2009 (H21) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ58‰ñ¶j |
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1 |
ˆä‰º@@ç | Fairiesf Involvement with People in Irish Folk Tales |
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‘å’Ø@—R“Þ
|
The Social Circumstances of Victorian Fallen Women in Ruth |
3 |
‘呺@ËŽq | Peter and Wendy: The Protagonistfs Raison Dfêtre in Terms of Charactersf Frequency of Appearance |
4 |
–k—Ñ@^—RŽq | The Picture of Dorian Gray: Wildefs View of Art and the Cause of Dorianfs Ruin |
5 |
¬•½@“Þ—Ú”ü | Julietfs View of Love in Shakespearefs Romeo and Juliet |
6 |
´…@ˆ»”T | The Represented Speech in K. Mansfieldfs Novels (sic) |
7 |
š¹@@”ü•ä | Authorial Intention in Theodore Dreiserfs Portrayal of Carrie in Sister Carrie |
8 |
“¿‰i@ŽÑŠó | gI Know That He Existsh: Emily Dickinsonfs Poems on God |
9
|
–ì“c@‰hŒÜ
|
The Transfiguration of Humanity: Prophetic Vision in William Gibsonfs Neuromancer in Relation to Contemporary Reality |
10
|
–ìç³@çŽq | The Conflict Between the Two Main Psychological Characteristics of Holden Caulfield in The Catcher in the Rye by J. D. Salinger |
11
|
•½“‡@”ü—å
|
The Use of Relative Clauses in British English |
12
|
¯Žq@‰p”ü | Meanings of Family in Little House in the Big Woods |
13
|
–{‘½@’©Ÿ | gNobody Knowsh: Some Aspects of the gGrotesqueh in Winesburg, Ohio |
14
|
˜eŽR@•¶Œb | The Use of gInh and gAth in British English |
15 |
“¡“c@^¶
|
Willyfs Will in Death of a Salesman |
16 |
²“¡@—S‘å |
A Comprehensive Analysis of English Present-Perfect Aspect |
17 |
•Ä—Ç@^—T |
A Comparative Study of Female Characterization in Notable Young-Adult Fiction: The Wonderful Wizard of Oz, The Tombs of Atuan, and Dragon of the Lost Sea |
18 | –ì“c@’qŽk | The Use of Colors in S. Fitzgeraldfs The Great Gatsby |
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CŽm˜_•¶‘è–ڈꗗi‘æ36‰ñ¶j |
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1 |
Œã“¡@—CŽq |
The Reporting Clause in K. Mansfieldfs Novels (sic): A Stylistic Study |
”ŽŽm˜_•¶‘è–ڈꗗ |
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1 |
“팳@ŽÀŽq |
Daughters Searching for Their Identity: A Study on Ethnic American Literature Women |
2 |
‚–Ø@’©Žq |
A Study on Fairies in Irish Folktales |
|
2008 (H20) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ57‰ñ¶j |
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1 |
|
The Image of "Heaven" in Emily Dickinson's Poetry |
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|
A Study on the Progressive Aspect in British English |
3 |
|
What Do the Jews Believe in?: Bernard Malamud's The Assistant |
4 |
|
The Development of Self-Esteem in Legally Blonde by Amanda Brown |
5 |
|
Frederic Henry's In-Betweenness in A Farewell to Arms |
6 |
|
Manliness in Hemingway's The
Sun Also Rises |
7 |
|
Harry Potter and the
Philosopher's Stone: The
Secret of Its Popularity in Japan |
8 |
|
Character Analysis of the March Sisters in Little Women |
9
|
|
The Absurdity of Purity in The
Catcher in the Rye |
10
|
|
The Meaning of Family in Arthur Miller's Death of a Salesman |
11
|
|
"House" of Yoknapatawpha: The Structure of Racism in Light in August |
12
|
|
The Poetic Techinque of "Enjambment" in Chaucer's The Pardoner's Tale |
13
|
|
The Symbolism of the Treehouse in Truman Capote's The Grass Harp |
14
|
|
The Role and Meaning of "Satan" in Mar‚‹
Twain's The Mysterious Stranger |
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CŽm˜_•¶‘è–ڈꗗi‘æ35‰ñ¶j |
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1 |
ꎖØ@ˆ¤Žq |
Gaskell's Narrative Technique of Visualization in Sylvia's Lovers |
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2007 (H19) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ56‰ñ¶j |
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1 |
‘å‹È@ŒiŽq |
Life as a Fisherman in The Old Man and the Sea |
2 |
ìŒû@ÊŽq |
Characterization of Andy Dufresne in "Rita Hayworth and Shawshank Redemption"
by Stephen King |
3 |
–Ø‘º@—Yˆê |
Shine On: Character Development and Self-Sacrifice in Stephen King's The
Shining |
4 |
•–{@Ê |
The Keys to the Sherlock Homes Series' Popularity |
5 |
“c’†@Œb˜Y |
The Artistic Desire and the Intellectual Desire in Robert Browning's Paracelsus |
6 |
Ž›ŽR@ãÄ‘¾ |
Sutpen's "Innocence" in Absalom, Absalom! |
7 |
‰H“c@—L‰Ô |
Unseen Things in Irish Folk Tales: The Variety of Fairies, Ghosts, and
Devils |
8 |
Œ´@—D—œŽq |
The Use of "Any," "No," "Each," and
"Every" in the Present-Day English |
9 |
“¡–ì@m”ü |
The War of Good and Evil in the His Dark Materials Trilogy:
Philip Pullman's View of Christianity |
10 |
–{‘½@‚ ‚ä‚Ý |
Caddy's Voice in Compson Brothers' Monologues in The Sound and the
Fury |
11 |
¼ŠÛ@—T”ü |
The Heroine's Identity and Function in Pirates of the Caribbean |
12 |
‘ºã@‹ªŽ¡ |
A Study on English Modern Lyrics |
13 |
ŽR“à@ˆê¶ |
The Socio-Cultural Context of the Lyrics of Bob Marley |
14 |
‹g“c@¹D |
A Study on Lewis Carroll's Word Play |
15 |
ìŒû@_Žj |
The Epistemological Meaning of Ghosts in The Turn of the Screw |
16 |
–{“c@—[ŠóØ |
Holly's Symbolic Journey in Truman Capote's Breakfast at Tiffany's |
17 |
ŒË‚@Œ«Ž¡ |
Anarchism in Paul Auster's Leviathan |
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|
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CŽm˜_•¶‘è–ڈꗗi‘æ34‰ñ¶j |
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1 |
‘åÎ@Œd |
The Diagrams of Characters in Great Expectations and David
Copperfield |
2 |
â—œ@—F”ü |
Metaphors of Joseph Campbell's "Monomyth" in Hunter S.
Thompson's Gonzo Journalism |
3 |
Šp@–œ—¢Ž} |
A Study on Amy Tan's The Joy Luck Club: Narrative Structure and
Its Meaning |
4 |
‚‹´@Œb”ü |
Re-Interpreting Hemingway's Women: An Analysis of Catherine Barkley's
Self-Will and Power-Relations |
5 |
‹|í@”Ž”ü |
Finding Our World: Gary Snyder's Ecocritical Concept of Metaphor in Regarding
Wave and The Back Country |
”ŽŽm˜_•¶‘è–ڈꗗ |
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1 |
•y‘º@Œ›‹M |
The Use of Music in Shakespearefs Plays |
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|
|
2006 (H18) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ55‰ñ¶j |
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1 |
Žsì”ü•ä |
Dickensfs
Characterization of Nancy in Oliver Twist |
2 |
œ\‰i@–] |
Why
Did Pamela Become So Popular? |
3 |
ãŒE@ˆ² |
The
Problem of Narrative Realism in W. Somerset Maughamfs The Moon and
Sixpence |
4 |
ìŒû—TŽq |
Characterization
in Jane Austenfs Pride and Prejudice: With Special Reference to the
Use of Adjectives |
5 |
‘–ì•à–¢ |
Gollum
and His Acceptance of Mortality in Lord of the Rings |
6 |
Œã“¡—CŽq |
The
Moments of Charactersf Recognitional Change in K. Mansfield's The Garden
Party and Other Stories |
7 |
ꎖ؈¤Žq |
Buddhism,
Money, and Light in Silas Marner |
8 |
–î–ì—R‰À |
Motherhood
in James M. Barriefs Peter and Wendy |
9 |
ŽR“c—F‹I |
What
Is Writing for Kazuo Ishiguro?: His Narrative Technique for The Remains of
the Day |
10 |
ì“c“Žq |
An
Examination of Catherinefs Silent Resistance in D'Arcy McNickle's The Surrounded |
11 |
ŽR“c^—Žq |
Fresh
Ground: An Examination of Allen Gisbergfs Radical Thought in His Early Poetry |
CŽm˜_•¶‘è–ڈꗗi‘æ33‰ñ¶j |
||
1 |
ˆÉ“Œ—T‹N |
Stone and Water: Self-Conflict in W. B.
Yeatsfs gMeditations in Time of Civil Warh |
2 |
‚–Ø’©Žq |
A Study on efairiesf in Irish Folktales |
3 |
¼ì•¶‰Ø |
A Study of Gerund in Jonathan Swiftfs Works |
4 |
‘º£’mŽq |
Is All You Need Love or Money?: Jane
Austenfs Authorial Intention |
@
2005 (H17) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ54‰ñ¶j |
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1 |
¶@–¾Žq |
White and Darkness in The
Bell Jar by Sylvia Plath |
2 |
ˆÉ“¡—R‹MŽq |
The
Consciousness-Deepening in The Portrait of a Lady |
3 |
Šâ‹v‚Ȃ‚± |
Possibility of Optimism
in the Decline of Mark Twainfs Life Based on The Mysterious Stranger |
4 |
‘åÎ@Œd |
Charactersf Triangles
in Great Expectations |
5 |
¬ìˆŸ‹IŽq |
Wordplay in Lewis
Carrollfs Alicefs Adventures in Wonderland |
6 |
쉺Œb—Žq |
Each Characterfs
Wrongdoing in The Scarlet Letter |
7 |
éŒË@Œb |
The Dynamic Balance Between
Love of Africa and Cultural Conflict in Ernest Hemingwayfs True at First
Light |
8 |
‹g—ÇÃ |
Difference between the
Normal and the Abnormal in Maurice |
9 |
²”öŠG—¢ |
An Examination of
Faulknerfs Ambivalent Imagery of gWomanh in As I Lay Dying |
10 |
‚–؈êŽõ |
A Study of John
Steinbeckfs Of Mice and Men |
11 |
‚‹´—TŽq |
Sense and Sensibility: Who Is the Protagonist, Elinor or Marianne? |
12 |
’|’†”üØŽq |
Shakespearefs View of
Love in Romeo and Juliet |
13 |
’†Œ´Œb—œ¹ |
Criticism and
Gloominess in One Flew Over the Cuckoofs Nest |
14 |
’†‘º—DŽq |
Steinbeckfs Consistent
View of Nature: Symbolism in gThe Chrysanthemums,h The Red Pony, and The
Pearl |
15 |
¼è’qŽq |
The Image of Christ in
the Modern Lyrics |
16 |
¼“‡“Þ”ü |
The Use of Nature in K.
Mansfieldfs The Garden Party and Other Stories |
17 |
¼ŽR…ŽŸ |
Hypocrisy of Characters
in Tess of the dfUrbervilles |
18 |
‹´–{—RŠóŽq |
Narrators and Realism
in Daisy Miller and The Great Gatsby |
19 |
•Ÿ“c‰À“ÞŽq |
The Poetic Technique of
gEnjambmenth in Chaucerfs The Knightfs Tale |
20 |
“¡Œ´CŽq |
The Point of gChangingh
in Charactersf Recognition in K. Mansfieldfs The Garden Party and Other
Stories |
21 |
¯‘ºŽÑ–ë‰À |
Irishism in The
Picture of Dorian Gray |
22 |
ŠÛZˆŸˆÈ |
Characterization in
Emily Brontëfs Wuthering Heights |
23 |
‹{“໎q |
The Analysis of
Characters in Jane Austenfs Pride and Prejudice |
24 |
‹|픎”ü |
Between Nature and
Humanity: Gary Snyderfs Use of Metaphor in Regarding Wave and The
Back Country |
25 |
Œã“¡ÊŠó |
A Study of Sylviafs
Lovers |
26 |
â—œ—F”ü |
A Study of Cathedral by
Raymond Carver: The Significance and Social Relevance of gChoosing Noh |
27 |
Šp@–œ—¢Ž} |
An Analysis of
Imageries in Kazuo Ishigurofs The Remains of the Day |
28 |
‚”ö‹±•ã |
Janet Framefs Living
in the Maniototo and Her Process of Writing |
29 |
‚‹´Œb”ü |
A Study of Ernest
Hemingwayfs The Sun Also Rises: The Centrality of Brett Ashleyfs
Complex Character |
30 |
’†“‡”¹•½ |
A Study of Toni
Morrisonfs The Bluest Eye |
CŽm˜_•¶‘è–ڈꗗi‘æ32‰ñ¶j |
||
1 |
‚’ÈŸ—™ |
Huxleyfs Criticism on
Absoluteness in Point Counter Point and Brave New World |
2 |
–Â_‰ÀŽq |
Jane Austenfs Technique
of Character Description in Pride and Prejudice |
@
2004 (H16) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ53‰ñ¶j |
||
1 |
Šâ–{@Œb |
The Identity Issues Impact
on Mother-Daughter Conflicts in The Joy
Luck Club |
2 |
‰Y“c‘ãŽq |
Anne Brontëfs Intention in Agnes Grey: The Heroinefs Growth and the Significance of the
Ending |
3 |
‹à’JŒ‹Šó |
Violence, Revenge, and
Free Will in A Clockwork Orange |
4 |
‘ X—æŽq |
Hope and Anxiety for
Future in The Sketch Book of Geoffrey
Crayon, Gent |
5 |
–쌩ŽR |
A Study of Modern
American Controlled Society in Ken Keseyfs One Flew over the Cuckoofs Nest |
6 |
‹{Œ´”ü•ä |
Hope, Saving and
Warning Seen in Cathy, Heroine of East of
Eden |
7 |
‰¡“c”ü‰À |
Absurdity and Mental
Ripeness in Catch-22 |
8 |
’†‘ºŽO’q‘ã |
A Study of J. D.
Salingerfs The Catcher in the Rye |
yŠwÛƒR[ƒXz |
||
iŒ»‘ãî•ñ•¶‰»˜_j |
||
9 |
’|–{@’q‰À |
ƒ†ƒrƒLƒ^ƒXŽÐ‰ï‚É‚¨‚¯‚é‰Û‘è |
i¢ŠE•¶‰»˜_j |
||
10 |
‰Ž“n@—T”ü |
ƒ†ƒ_ƒ„ŒnƒAƒƒŠƒJl‚É‚¨‚¯‚éNew Age
JudaismF•Ï—e‚·‚éŽÐ‰ï‚цƒ_ƒ„‹³‚ð¶‚«‚é |
11 |
•y“c@‰èˆß |
Œ»‘ãƒAƒƒŠƒJ‚É‚¨‚¯‚郆ƒ_ƒ„l‚̃AƒCƒfƒ“ƒeƒBƒeƒB‚ƃ†ƒ_ƒ„‹³‚Ì‘½—l«FwƒOƒbƒoƒCEƒRƒƒ“ƒoƒXx‚ð’Ê‚µ‚ă†ƒ_ƒ„ŒnƒAƒƒŠƒJl‚Ì“¯‰»‚É”—‚é |
CŽm˜_•¶‘è–ڈꗗi‘æ31‰ñ¶j |
||
1 |
“cç³—tŽq |
A Study on Elizabeth
Gaskellfs Verb Syntax: With Special Reference to gProgressive Aspecth |
2 |
•y‘ºŒ›‹M |
The Use of Music in
Shakespearefs Romances |
@
2003 (H15) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ52‰ñ¶j |
||
1 |
ˆ¢•”—SŽq |
A Visual Approach to A Streetcar Named Desire |
2 |
ˆäìˆè”ü |
The Dilemma for Humanity in Brave New World |
3 |
ˆäŽèˆèŽq |
Conflicts Between New Thinking and Old Thinking in Agnes Grey |
4 |
”öナƒT |
Character Differentiation in Jane Austen's Pride and Prejudice:
An Approach through "Idiolect" |
5 |
²”Œˆ» |
Pessimism in The Mysterious Stranger |
6 |
Z’J®”ü |
The Child Who Renounces Civilization in Adventures of Huckleberry
Finn |
7 |
‚’ÈŸ—™ |
Brave New World: The Struggle against Inescapable Societal Circularity |
8 |
‚‹´@K |
Elizabeth Bennet as Jane Austen's Ideal Protagonist |
9 |
¼ì•¶‰Ø |
A Study of Gerunds of Jonathan Swift's Gulliver's Travels |
10 |
‹v•x”ü‹I |
Self-Release from Chaos in Kurt Vonnegut's The Sirens of Titan |
11 |
‘º£’mŽq |
Pride and Prejudice
in Bridget Jones's Dairy:
The Problem of Parody and Originality |
12 |
—Ñ@‰ëŽq |
Different Japanese-American Identities in Yoshiko Uchida's Picture
Bride |
13 |
‰ºX‹v”üŽq |
Dual Discrimination against Black Women in The Color Purple |
14 |
–Â_‰ÀŽq |
Linguistic Characterization of Elizabeth Bennet in Jane Austen's Pride
and Prejudice |
15 |
•Ÿ“‡@Ë |
Why They Write: An Essay on George Orwell's Nineteen Eighty-Four |
16 |
‘ºã“Þ•äŽq |
T. S. Eliot's Curiosity of Indic Philosophy in The Waste Land:
Universalization, Quest and Orientalism |
17 |
¬ŽR—‰fŽq |
A Study of Margaret Drabble's The Millstone |
CŽm˜_•¶‘è–ڈꗗi‘æ30‰ñ¶j |
||
1 |
ŽRŒû^—Žq |
A Study on Link Words in English Discourse: The Usage of WELL and
ANYWAY |
2 |
¬ì—Fs |
Family and Identity: A Study of the Trilogy of Joyce Carol Oates |
3 |
’†“ˆŽõŽq |
Alice Walker's "Womanist" Philosophy in The Color Purple |
@
2002 (H14) ”N“x |
||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ51‰ñ¶j |
||
1 |
ˆî”ö‹ÅŽq |
A Study of Paraphrase in Daniel Defoe's Robinson Crusoe |
2 |
ˆäã–¢˜Ò |
A Study of Jane Austen's Sense and Sensibility |
3 |
‰Í‘º‚³‚¨‚è |
The Function of the Term "Laugh" and Laughter in Anne
Bronte's The Tenant of Wildfell Hall |
4 |
â“c’q”ü |
The Pursuit of Genuine Human Nature in Thomas Hardy's Tess of the
D'Urbervilles |
5 |
ŽÄŠ_@—t |
Between Instinct and Reason: George Orwell's Nineteen Eight-Four |
6 |
“ˆè–ƒˆß |
In Defiance of the Paradoxical Past: A Study of Julian Barnes's Flaubert's
Parrot |
7 |
“cç²—tŽq |
A Study on Gaskell's Verb Syntax: With Special Reference to
"Aspect" |
8 |
—Ñ“c‚ ‚¸‚³ |
Confirming Enclosures for Dubliners: James Joyce's Dubliners |
9 |
‘Œ³ËŽq |
Inversion in Milton's Prose Works |
10 |
“ˆä“ÖŽq |
Against Immortality [Salman Rushdie's Midnight Children] |
11 |
ŽR“c‚ ‚ä‚Ý |
Interracial and Inter-Sexual Marriage in William Shakespeare's Othello |
12 |
‹v•Û•‘ŒÎ |
Human Nature and Morality: William Golding's Lord of the Flies |
13 |
™“c—RŠó |
A Study of Toni Morrison's Beloved |
14 |
ŽR‰º’q”ü |
A Study on Chaucer's Poetic Syntax: Front-Shifting of Objectival and
Adverbial Phrases |
@ |
@ |
@ |
@ |
@iŠwÛƒR[ƒXFŒ»‘ãî•ñ•¶‰»˜_j |
|
15 |
—L“KŽq |
î•ñŽÐ‰ï‚É‚¨‚¯‚é–|–ó |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ29‰ñ¶j |
||
1 |
Žu’ߺ‹v@ |
"Heaven's Vengeance Is Slow But Sure": An Essay on William
Shakespeare's King Richard III |
2 |
ŽíŽq“c‹IŒb |
Subverting Power: Women and Patriarchy in Mansfield Park |
3 |
ŽR‰ºŒhŽq |
The Guide for Christians: Charlotte Bronte's Religious Beliefs in Jane
Eyre |
@
2001 (H13) ”N“x |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ50‰ñ¶j |
||
1 |
‹v•Û“c˜a‘ã |
James Joyce's Ulysses |
2 |
•ì—ºŽq |
Aestheticism and Ambiguity: Oscar Wilde's The Picture of Dorian
Gray |
3 |
¬—Ñ•‡”üŽq |
Two: Mary Shelley's Frankenstein |
4 |
“cã^—Žq |
Inside the Cage: G. Orwell's Nineteen Eighty-Four |
5 |
’z“c˜a‰ÌŽq |
Faith and Mutual Understanding in Mary Barton |
6 |
t–ؽm |
The Roles and Power of Women in Ian McEwan's Enduring Love, Amsterdam |
7 |
¼–{D |
The Images of Nature and Human in Wuthering Heights |
8 |
–ž—¯ˆŸŠóŽq |
The Double in Virginia Woolf's Mrs Dalloway |
9 |
‘å’˓ޔü |
Misunderstanding Love in Pride and Prejudice |
10 |
‰Ô“c~ˆê˜Y |
A Study on the Infinitives in Chaucer's Poetical Works |
11 |
ˆÀ•”—œ‰À |
Women and Power: Salman Rushdie's Midnight Children |
12 |
ŽR“cŒõŒb |
A Study of The Adventures of Huckleberry Finn |
13 |
㌴ˆŸ—R”ü |
Laurence Sterne: The Life and Opinions of Tristram Shandy,
Gentleman |
14 |
’·—F’qŽq |
New Women: Suck Dracula's Blood |
15 |
‹g–{´‰p |
A Study of IT in Early Modern English |
@ |
@ |
@ |
@ |
@iŠwÛƒR[ƒXFŒ»‘ãî•ñ•¶‰»˜_j |
|
16 |
’†”öŒb— |
—d‰ö‰Í“¶‚ÆŒ»‘ãŽÐ‰ï |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ28‰ñ¶j |
||
1 |
—Ñ@Œ\‰î |
Life and Death in Waiting for Godot: A Dramatic Moment in Life |
@
2000 (H12) ”N“x |
||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ49‰ñ¶j |
||
1 |
ˆäã—ÁŽq |
Jane Eyre: The Struggle against Male Sexuality |
2 |
ã“c‘‰h |
A Study of The Shepherds Calendar |
3 |
•“c—ºŽq |
Virginia Woolf's To the Lighthouse: The Recognition of
Femaleness through Her Struggle for Androgyny |
4 |
Œ “¡—SŽq |
Life and Literature in Jacob's Room |
5 |
¼ŽR¹D |
Conservatism and Individualism in Pride and Prejudice |
6 |
‘OŠC‚ä‚©‚è |
The Centres and the Circumferences in Kazuo Ishiguro's Novels |
7 |
‹{Œ´ŒbŽq |
Writing Arms and Moving Bodies: The Great Orwell Shift in Nineteen
Forty-Four |
8 |
ŽR“c’qŽq |
Narrators in E. M. Forster's Works: The Reconciliation of Fiction and
Reality |
9 |
Šâ‰º—¢ŽÑ |
The Order of Being in the Works of Samuel Beckett |
10 |
›@Žõ“T |
This Way or That Way? Sounds and Spellings: Reconsideration of ME/ai? |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ27‰ñ¶j |
||
1 |
”ö“crŽq |
Frankenstein: Mary Shelly's Hideous Progeny |
2 |
•Ä‘ºˆ»Žq |
An Essay on Shakespeare's Tragic Heroes |
3 |
rì‹`O |
The Style and the Matter of Sir Thomas More's Utopia |
@
1999i•½¬11”N“xj |
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‘²‹Æ˜_•¶‘è–ڈꗗi‘æ48‰ñ¶j |
||
1 |
‘åŽRˆçŽq |
Chaucer's Double Point of View in The
Knight's Tale |
2 |
‰z’q–¾Žq |
Images of Nature in English
Literature: Renaissance, Romantic and Modern Examples of Ruskin's Pathetic
Fallacy |
3 |
–Øê“c’¼Žq |
Adverbs in Chaucer's The Book of the
Duchess: in Comparison with the ME Romance, Sir Orfeo |
4 |
Œã“¡Í—\ |
Sir Thomas's Dominion in Jane
Austen's Mansfield Park |
5 |
“¿‰i]—¢Žq |
A Study of the Imagery in Katherine
Mansfield's The Garden Party and Other Stories |
6 |
“ç@‹Õ”ü |
Patience in Paradise Regained |
7 |
¼‘º‚ ‚₱ |
The Structural Uses of Words in
Chaucer's The Clerk's Tale |
8 |
Ÿº–ì]—˜Žq |
Deceptive Appearances: Faces, Mirrors
and Rivers in Our Mutual Friend |
9 |
¼‰ª@ˆ» |
Rudyard Kipling: Identity and
Imperialism in Kim |
10 |
‹{“‡—Ú”üŽq |
A Lifestyle of a Literary Young Man
in The Unclassed |
11 |
‘ºŽRŽõ˜aŽq |
Lightness and Light in the Novels of
Kazuo Ishiguro: Stevens's Journey from His Past |
12 |
ŽR‰º—R”ü |
George Orwell's Quest and the Hero's
Struggle in 1984 |
13 |
—›@–F—Ô |
Sport, Sense and Sanctuary in John
Updike's Rabbit, Run |
14 |
›“¡‰hŽq |
Sympathy, Sincerity and Skepticism in
The Great Gatsby |
15 |
“í–Ø‰ÀŽq |
A Study of Wyatt's Sonnets |
16 |
“c’†—R‹I |
The Syntactic Feature of Inversion in
Chaucer |
17 |
ŽO‘î@ˆ¤ |
Mrs Dalloway:
Variety, Unity and History |
18 |
_è–ƒˆß |
Giving and Forgiving in East of
Eden |
19 |
‘ºãáŒb |
Anxiety, Artifice and Appropriation
in The Scarlet Letter |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ26‰ñ¶j |
||
1 |
‹{è@ŒO |
Mark Twain and the English Court |
@
1998i•½¬10”N“xj |
||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ47‰ñ¶j |
||
1 |
‘Š–ì—¢”ü |
Walking with the Spirit: Struggle and Self-Possession in The Color
Purple |
2 |
“Œ@аŽq |
Suspended Adolescence: A Study of Carson McCullers's The Member of
the Wedding |
3 |
‰Yì@“µ |
Appearing and Disappearing: The Significance of Beloved in Toni
Morrison's Beloved |
4 |
•û–¢‰› |
A Study of George Eliot's Middlemarch |
5 |
¬ì²Žq |
The Artist's Artifice: Forging of Sensitivity in the Early Novels of
James Joyce |
6 |
D“cаŽq |
The Millstone:
Rosamund's Guilt and Independence |
7 |
Ÿ‰®’qŽq |
A Study of Charlotte Bronte's Villette |
8 |
ì–ì@‰~ |
The Figures in Divine Speech in Paradise Lost |
9 |
¬Œ´@½ |
The Other Side of Holden's Story in The Catcher in the Rye |
10 |
‘šoà |
A Study of Oscar Wilde's Salome |
11 |
X“cKŽq |
Elizabeth Gaskell's Sylvia's Lovers: Why Does Philip Die? |
12 |
’r㈻Žq |
The Head and Tail: Strickland's Pursuit of the Ideal and the
Persistence of the Real in The Moon and Sixpence |
13 |
ŠÝX•z”üŽq |
The Situation of Holden Caulfied in The Catcher in the Rye |
14 |
•½’ËŒ’Ži |
Lord of the Flies
and the Darkness of Man's Heart |
15 |
×ì‹IŽq |
A Study in Early Modern English: Sir Thomas Elyot's The Education
or Bringing Vp of Children |
16 |
•ŸŒ³çH |
A Study of Gerunds in The New York Times |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ25‰ñ¶j |
||
1 |
–ؒ¼„ |
A Study of Verb Syntax in Sir Thomas More's Utopia |
2 |
’r“c@–Î |
Mark Twain and the Native American |
@
1997i•½¬9”N“xj |
||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ46‰ñ¶j |
||
1 |
ˆäã’mŽq |
Flying to the Loving Breast: Winston Smith's Desire and the Desperate
Ending of Nineteen Eighty-Four |
2 |
‘å–ì“Þ’ÃŽq |
The Art of Narration in Emma |
3 |
‰Á”[—ÁŽq |
Ruth Re-Examined: "Fallen
Women" in the Victorian Age |
4 |
–Øê’qŽq |
A Study of Adventures of Huckleberry Finn: Huck Finn's
Happiness and His Ideal World |
5 |
²“¡Lˆê˜Y |
A Study of the Relative Pronoun in Modern English |
6 |
—¢Œ©—DŽq |
Studies in the Verb in Early Modern English |
7 |
ŽO‹{—DŽq |
Paul's Growth and Three Women in@Sons and Lovers |
8 |
‚‘ƒ–ƒ—¢Žq |
The Creator Contra the Created in Frankenstein: or the Modern
Prometheus |
9 |
‚¼‰ÀŽq |
Sense and Sensibility:
Observations of Didactic Aspects |
10 |
¼”ö”ü”T—¢ |
A Study of Henry David Thoreau's Ideals in Walden |
11 |
¼‘º–ƒ”ü |
An Analysis of Popularity of A. A. Milne's Children's Stories |
12 |
¼‘º“Þ’ÃŽq |
A Study of Word Association in Chaucer's The Nun's Priest's Tale |
13 |
à_@а–¾ |
A Semantic Approach to Chaucer's Merchant's Tale |
14 |
ŒÃŽsŽé”ü |
The Unrealizable Balance between "a Room" and "a
View" in E. M. Forster's A Room with a View |
15 |
•Ä‘ºˆ»Žq |
An Essay on Charlotte Bronte's Jane Eyre |
16 |
—L“•¶”T |
A Study of Charles Dickens's Oliver Twist: An Analysis of the
Hero's Character and Role |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ24‰ñ¶j |
||
1 |
‰Í–ì–FŒb |
Two Comic Heroines in Shakespeare: Disguises of Rosalind and Viola |
@
1996i•½¬8”N“xj |
||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ45‰ñ¶j |
||
1 |
–ؒ¼„ |
A Study in the Language o Surrey |
2 |
ˆÉ“¡•¶Žq |
An Essay on George Eliot's Silas Marner |
3 |
ŠŒ´KŽ} |
A Study in the English of Nicolas Grimald |
4 |
ìŒû•ü”ü |
A Study of Virginia Woolf's The Waves: Multiplicity of Human
Life and Human Beings |
5 |
–k–ìŽÀ‰Ø |
Rhetoric in Adam's and Eve's Speech in Paradise Lost |
6 |
ŒÃŠÕ’qŽq |
A Study of Elizabeth Gaskell's Cranford: Cranfordians'
Attitudes towards the Class System and Economic Rationalism |
7 |
¬a“Þ‰› |
Past Participles in Paradise Lost |
8 |
“c’†@–Î |
A Study of H. G. Wells's The Invisible Man: A Warning to
Humankind |
9 |
’Óc‰xŽq |
The Use of Do in Paradise Lost |
10 |
ûñ“cŽÀ˜aŽq |
A Study of Pride and Prejudice by Jane Austen |
11 |
“yˆä^Ž÷Žq |
A Study of Thomas Hardy's Tess of the d'Urbervilles |
12 |
•½’˘a–ç |
Correlation between Aestheticism and Morality: The Picture of
Dorian Gray Re-Examined |
13 |
‘O“c—R”üŽq |
A Study of Word-Formation in Modern English Novels |
14 |
‹{•›‰ëŽq |
A Study of Margaret Drabble's The Millstone |
15 |
‘ºã’qŽq |
Devils' Rhetoric in Pandemonium in Paradise Lost |
16 |
ŽR‰º—T”ü |
A Study of the Poetic Style of Wordsworth |
17 |
–ìŒûŽáØ |
The Theme and Style of The Grapes of Wrath |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ23‰ñ¶j |
||
1 |
ûM“c”ä˜C”ü
|
A Study of the Participles in Modern English |
2 |
‹eŠy’q•F |
Hamlet's Garrulity in the Tragedy of Self-Establishment |
1995i•½¬7”N“xj |
||
‘²‹Æ˜_•¶‘è–ڈꗗi‘æ44‰ñ¶j |
||
1 |
ã“cNŽq |
A Study in Christian Language--through a Comparison between D. Defoe's
Moll Flanders and J. Milton's Paradise Lost |
2 |
’r“c•x”ü |
Surrey's Style in The Aeneid, Book Two |
3 |
“à“c‘”ü |
A Study of To the Lighthouse: Duality of Vision |
4 |
Š—’r‹MŽq |
Personification and Figurative Language in Paradise Lost |
5 |
žÄ@”ü˜a |
A Study of the Early Modern English Vocabulary |
6 |
àV‘º–M’j |
What Makes Us Interested in a Science Fiction--in the Case of A. C.
Clarke's 2001: A Space Odyssey |
7 |
›”n”cÍŽq |
Miltonic Style in Keats's Two Versions of Hyperion |
8 |
‚‰Y‹vŽq |
The Verb Group in Sir Orfeo |
9 |
“c“‡VŽq |
An Essay on Margaret Drabble's The Waterfall |
10 |
¼@‚³‚¨‚è |
A Study in the Style of Paradise Lost, Book VI |
11 |
“ñŠÔ£ßŽq |
Verbal Artistry in Spenser's Colin Clouts Come Home Againe |
12 |
–V‰º‰€Žq |
A Study of William Golding's Lord of the Flies: Savageness in
Children |
13 |
‘O“cˆç”ü |
Theme and Structure of Spenser's Fowre Hymnes |
14 |
‘O“c–qŽq |
A Study of Jane Austen's Sense and Sensibility |
15 |
¼”öK”T |
Rhetorical Style in Wyatt's Poetry |
16 |
ˆÀ˜Q—zŽq |
The Noun Group in Sir Orfeo |
17 |
ŽR–샎q |
Versions of Fall in Paradise Lost |
@ |
@ |
@ |
CŽm˜_•¶‘è–ڈꗗi‘æ22‰ñ¶j |
||
1 |
›Œ´‚©‚¨‚è |
The Significance of@Pearl's Existence in The Scarlet Letter |
2 |
Œãì’m”ü |
James's Technical Devices and Strether's State of Mind in The
Ambassadors |
3 |
ŠÖ@Žuq |
Shakespeare's Creation in Hamlet--A Comparative Study between
Shakespeare's Hamlet and Saxo Grammaticus's Historiae Danicae |
4 |
—k@”ã”ã |
Sin, Justice and Mercy in Shakespeare's Measure for Measure |