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Moral Impotence in Muddy Existence
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Much Ado About Shanghai: An Analysis of Chloe Gong's Use of Shakespeare, Shanghainese History, and Postcolonialism in These Violent Delights (2020), Our Violent Ends (2021), and Foul Lady Fortune (2022).
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The Good, the Bad and the ugly Identity, Community and Acculturation in Lahiri’s the Namesake and Mirza’s a Place for us
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The God-Gaze & Dust: Different Concepts of Knowledge of Nature in His Dark Materials
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Cosmic Horror and the Revelation of the Unknown: Prophetic Dreams and Xenophobia in “The Call of Cthulhu” by H.P. Lovecraft
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The Woman Question and the Sensation Novel: A Critical Study of Wilkie Collins’ The Woman in White (1859), Mary Braddon’s Lady Audley’s Secret (1862), and Mrs Henry Wood’s East Lynne (1861)
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The Transformative Power of Liminal Spaces in Roald Dahl’s James and the Giant Peach, Ursula K. Le Guin’s The Beginning Place and Neil Gaiman’s Coraline
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Class on The Surface and Beyond: An Analysis of Normal People and My Brilliant Friend Using Pierre Bourdieu’s Theory on Capitals
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Dragons in Literature: From Medieval Hagiography to Ursula K. Le Guin
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Unraveling the Prescient Rulership of Paul and Leto Atreides in Dune
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Atonement Amongst Shadows
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Maleš1Remembering slavery –writing as filling the void of the past: agency, representation and identity in Toni Morrison’s Belovedand Nathan Harris’s The Sweetness of Water
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Rewriting Narratives: Ghosts, Trauma, and Memory in Contemporary Anglophone Vietnamese Novels
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Depictions of Fascism in 1930s American Literature
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Authentically Austen
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Looking Through an Aperture: A Sensory Reading of “Paris” by Hope Mirrlees and Nevertheless by Marianne Moore with the Concepts of the Self and the Other
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A Jungian Portrait of Stephen Dedalus' Unconscious Strife
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“Why did men drink wine and women water?”: Questions of Gender Differences in Virginia Woolf’s To the Lighthouse, Orlando: A Biography, and A Room of One’s Own
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Surviving Stratford High: Agency and Community in Young Adult Adaptations of Shakespeare’s Monarchical Tragedies
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Context is Crucial
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“Last night you made a confession ‘twould make a saint swear”: Film Dialogue as an Articulator of Fear in Robert Eggers’ The Witch and The Lighthouse
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The Feats Of the Princes of the Noldor
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‘When Last We Saw Our Heroes’
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Connected to Places and Objects: Family, Loss and Belonging in Wes Anderson's Rushmore, The Darjeeling Limited, and Moonrise Kingdom
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