Thomas Austenfeld |
|
Playing the Prodigal: Walcott's Variations on a Biblical Parable |
Dennis Leavens |
|
Laughing into the Glare |
Tamás Tukacs |
|
“I Must Still Get Farther and More”: Repetition in Moll Flanders |
Tamás Vraukó |
|
Narrative: Assimilation or Integration? – The Attraction of the Middle Class |
Enikö Maior |
|
Leo Finkle’s Putative Victory |
Andreea Popescu |
|
Sacred Space, Rituals of Initiation in Herman Melville’s Moby-Dick |
Irina-Ana Drobot |
|
Musicality in Virginia Woolf’s The Waves and Graham Swift’s Ever After |
Noemi Alice Bartha |
|
Remake – An Autobiografictional Account of a Ventriloquising Self |
Yıldıray Çevik |
|
The Picaresque Revisited? Modern Picaresque Uses in Joyce Cary’s Herself Surprised |
Zsuzsanna Tóth |
|
Dreadful Monsters or Self-sacrificing Parents? Satanic Characters in Philip Pullman’s Trilogy, His Dark Materials |
Gianina Daniela Sabău |
|
A Psychoanalytic Reading of Graham Greene’s The Heart of the Matter |
Georgiana-Elena Dilă |
|
Butterflies and Voices in John Fowles’ The Collector |
Maria Camelia Dicu |
|
Love Structuring Yeats’s Artistic Creation – from Love to Poetry |
Antonia Pâncotan |
|
The “Madman” Who Cures the Psychiatrist of Sanity in Peter Shaffer’s Equus |
Mihaela Prioteasa |
|
The Paradox of Self-Inclusion in “The Purloined Letter” |
Csilla Timea Crisan |
|
Birthday Songs and Mementos A Family History in Some Lines in Robert Holdstock’s Avilion |