2017

Prace licencjackie
  • Contemporary Monsters: Consumerism and Greed in Chuck Palahniuk's Haunted
  • The Postmodern Vampire in Suzy McKee Charnas' "The Unicorn Tapestry"
  • A Motive of the Feline Avenger in Edgar Allan Poe's "The Black Cat" and Stephen King's "The Cat from Hell"
  • Imaginative Empathy and Postmodern Satire in George Saunders' Selected Stories
  • Witches and Feminism: Modern-Day Witches in John Updike's The Witches of Eastwick
  • Portraits of Depression in Sylvia Plath's The Bell Jar and Elizabeth Wurtzel's Prozac Nation
  • Cat as an Allegory in "The White Cat" by Joyce C. Oates and "The Black Cat" by Edgar A. Poe
  • Between Reality and Fiction - the Autobiographical Elements in Stephen King's Selected Works
  • Carnivalesque Spaces in E. A. Poe's "The Cask of Amontillado" and Thomas Ligotti's "The Last Feast of Harlequin"

2016

Prace licencjackie
  • The Theme of Manipulation in Orson Scott Card's "Ender's Game"
  • Replacing reality with simulation in Don DeLillo's "White Noise"
  • Feminine Madness in Charlotte Perkins Gilman’s The Yellow Wallpaper and Shirley Jackson’s We Have Always Lived in The Castle
  • When the past haunts the present - the heritage of slavery in Toni Morrison's "Beloved"
  • "And whatever walked there, walked alone": The evil image of the house in Shirley Jackson's "The Haunting of Hill House"
  • The Southern Grotesque in Carson McCullers' The Ballad of The Sad Cafe: A new approach
  • The Glamorous Gatsby: Baz Luhrmann's adaptation of F.S. Fitzgerald's novel
  • The African-American bildungsroman in Claude Brown's "Manchild in the Promised Land"
  • The Lovecraftian Gothic in Thomas Ligotti's "Nethescurial"
  • Gothic Landscapes in "Metzengerstein" by E. A. Poe, "The Dunwich Horror" by H. P. Lovecraft and "Crouch End" by S. King
  • (Un)homely spaces in selected poems of W.S. Merwin