| 10.5.2010 | "...A Certain Step Towards Falling in Love." Jane Austen’s Use of Dancing in Sense and Sensibility, Pride and Prejudice and Emma. |
Hildur Friðriksdóttir
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| 9.5.2012 | "Brutal only from a distance." War, sports and the limits of language in Don DeLillo's End Zone |
Ingibjörg Karlsdóttir 1971
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| 4.2.2009 | Casting a Long Shadow. A Study of Masculinity and Hard Men in Twentieth-Century Scottish Fiction |
Jóhann Axel Andersen
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| 11.1.2010 | "I am not as good a girl as I ought to be." Fallen Women in Charles Dickens' David Copperfield and Oliver Twist |
Unnur Kjartansdóttir
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| 16.10.2009 | In black and white. A study of the portrayal of racism in the book, film, and the television versions of H.G. Bissingers´s Friday Night Lights |
Heimir Berg Vilhjálmsson
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| 6.5.2010 | Maus. Graphic Art and History |
Anna Sigrún Jónsdóttir 1984
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| 7.5.2012 | Mirror, Mirror on the Wall, Who Is the Fairest of Them All? The Importance of Public Opinion in Thomas Hardy’s Far from the Madding Crowd. |
Irma Hrönn Martinsdóttir 1988
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| 4.6.2009 | The Madness of Sanity: A Study of Kurt Vonnegut's Mother Night |
Einar Steinn Valgarðsson
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| 8.5.2010 | "This is The End": Realism, Myth and Propaganda in the Vietnam War films Apocalypse Now, Platoon and The Green Berets |
Daði Óskarsson
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| 5.5.2010 | “Tomorrow is Another Day.” The Depiction of Women and Slavery in Margaret Mitchell’s Gone With the Wind and Robert Hicks’ The Widow of the South. |
Ólöf Hildur Egilsdóttir
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