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CHRISTINE'S AMNESIA IN S. J. WATSON'S BEFORE I GO TO SLEEP |
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| No. Klas | : | 00000175/SKR | ||
| Pengarang | : | WILDAN BAIHAQI YUSUF AT TABA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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APOLOGY STRATEGIES USED BY THE CHARACTERS IN GINNYAND GEORGIA MOVIE SERIES (2021) |
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| No. Klas | : | 00000155/SKR | ||
| Pengarang | : | RAYOENG DWI CHAERUNNISYA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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VARYA’S RESPONSE TO DEATH IN THE IMMORTALISTS BY CHLOE BENJAMIN |
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| No. Klas | : | 00000137/SKR | ||
| Pengarang | : | M. ARDY NOOR IRFANSYAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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THE METAPHOR OF MODALITY IN THE BOOK CONVERSATIONS ON LOVE BY NATASHA LUNN |
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| No. Klas | : | 00000125/SKR | ||
| Pengarang | : | BILQIS NABILLAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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PENGGUNAAN KATA UMPATAN (NONOSHIRI NO KOTOBA) DALAM MANGA WIND BREAKER VOLUME 1 KARYA NII SATORU |
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| No. Klas | : | 00000124/SKR | ||
| Pengarang | : | FUAD ROMADHONA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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PATRIARCHAL PRACTICE AGAINST WOMAN CHARACTERS IN PAT BARKER’S THE SILENCE OF THE GIRLS |
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| No. Klas | : | 00000123/SKR | ||
| Pengarang | : | FIRA FIRDAUSIYAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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AGGRAVATING LANGUAGE USED BY MALE AND FEMALE CHARACTERS’IN THE BAD BOYS MOVIES |
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| No. Klas | : | 00000097/SKR | ||
| Pengarang | : | INDAH RATRI SEKAR PAMUJI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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ANALYSIS OF DEIXIS IN MAIN CHARACTER ARTHUR FLECK “JOKER (2019) BY TODD PHILLIPS” |
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| No. Klas | : | 00000096/SKR | ||
| Pengarang | : | ROBERTUS VITO WIJAYANTO | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2025 | ||
| Kolasi | : | - | ||
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DANIEL SEMPERE’S AMBITIONS IN CARLOS RUIZ ZAFON’S THE SHADOW OF THE WIND |
|||
| No. Klas | : | 00000178/SKR | ||
| Pengarang | : | ZACHRY WIHARSONO NOOR | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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RETORIKA MAKNA DALAM MANGA DORAEMON VOLUME 18 |
|||
| No. Klas | : | 00000177/SKR | ||
| Pengarang | : | YUWI ANDRAINI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF APOLOGY STRATEGIES USED BY CHARACTERS IN INSIDE OUT MOVIE |
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| No. Klas | : | 00000176/SKR | ||
| Pengarang | : | WILDAN FARHAN | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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EKOKRITIK DALAM ANIME CHIKYUU SHOUJO ARJUNA KARYA SHOJI KAWAMORI (Pendekatan Ekologi Sastra) |
|||
| No. Klas | : | 00000174/SKR | ||
| Pengarang | : | WANDA WARDINDA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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FEMALE PORTRAYAL IN JOHN GREEN’S THE GREAT AMERICAN MORP AND IN VERONICA ROTH’S VIM AND VIGOR |
|||
| No. Klas | : | 00000173/SKR | ||
| Pengarang | : | FANDYA PRIYANDRA ZAHRAN | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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THE PSYCHOLOGICAL IMPACTS OF SEXUAL ABUSE IN SCHOOL ON VANESSA REFLECTED IN KATE ELIZABETH RUSSELL’S MY DARK VANESSA |
|||
| No. Klas | : | 00000172/SKR | ||
| Pengarang | : | DEWI ANISA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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KEPRIBADIAN COVERT AGGRESSIVE PADA TOКОН PROSPERA MERCURY (プロスペラ・マーキュリー) DALAM ANIME KIDOU SENSHI GUNDAМ: SUISEI NO MAJO |
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| No. Klas | : | 00000171/SKR | ||
| Pengarang | : | TANTOWI JAUHARI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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ANALISIS BAHASA HORMAT (KEIGO) DALAM ANIME ISEKAI YAKKYOKU SEASON 1 KARYA LIZ TAKAYAMA |
|||
| No. Klas | : | 00000170/SKR | ||
| Pengarang | : | SYARIF HIDAYATULLAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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ANALISIS MORFOLOGIS SHOURYAKUGO DALAM ANIME “KEIKENZUMI NA KIMI TO KEIKEN ZERO NA ORE GA OTSUKIAI SURU HANASHI” EPISODE 1-12 |
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| No. Klas | : | 00000168/SKR | ||
| Pengarang | : | CAHYABAYU DIMAS YUDHA PRATAMA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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ANALISIS PERUBAHAN MAKNA WASEI EIGO DALAM INSTAGRAМ SELEBGRAM @TFJOK, @1096TAKA, DAN @LILASIKUTA |
|||
| No. Klas | : | 000001167/SKR | ||
| Pengarang | : | HELMI ARDIANSAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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SALAMA’S POST-TRAUMATIC STRESS DISORDER IN ZOULFA KATOUH’S AS LONG AS THE LEMON TREES GROW |
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| No. Klas | : | 00000166/SKR | ||
| Pengarang | : | GRESYANE JOHANA MARANTIKA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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MOTHERHOOD IN JANE AUSTEN’S PRIDE AND PREJUDICE & PRIMA SANTIKA’S THREE WEDDINGS AND JANE AUSTEN: A COMPARATIVE ANALYSIS |
|||
| No. Klas | : | 00000165/SKR | ||
| Pengarang | : | HAFIZHAH FAUZIYYAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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Analisis Makna Bahasa Kiasan dalam Lirik Lagu “Eine Kleine”, “LOSER”, “Peace Sign”, dan “Haiiro to Ao” Karya Kenshi Yonezu |
|||
| No. Klas | : | 00000164/SKR | ||
| Pengarang | : | ADAM JANUAR RAMADHAN | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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ILLOCUTIONARY ACT OF THE CHARACTERS UTTERENCES IN “THE ENOLA HOLMES 2” MOVIE |
|||
| No. Klas | : | 00000163/SKR | ||
| Pengarang | : | BELLA RIZKI AMELIA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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POST-TRAUMATIC STRESS DISORDER (PTSD) PADA TOKOH UTAMA DALAM ANIME 火垂るの墓 (HOTARU NO HAKA) KARYA ISAO TAKAHATA |
|||
| No. Klas | : | 00000162/SKR | ||
| Pengarang | : | SITI SABI’A | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
DEKRIT SAKOKU DALAM VIDEO GAME GENSHIN IMPACT PRODUKSI HOYOVERSE |
|||
| No. Klas | : | 00000161/SKR | ||
| Pengarang | : | SITI ANISSAH LAILATUL JANNAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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COMPARATIVE ANALYSIS OF APOLOGY STRATEGIES OF ENGLISH AND KOREAN SERIES |
|||
| No. Klas | : | 00000160/SKR | ||
| Pengarang | : | SITA ARUM PRIONO PUTRI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
CLASS CONFLICT IN SAMIRA SEDIRA’S PEOPLE LIKE THEM |
|||
| No. Klas | : | 00000159/SKR | ||
| Pengarang | : | SILVIANA BERLY FEBRIANI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
REPRESENTASI BENTUK-BENTUK KEPERCAYAAN SHINTO DALAM VIDEO GAME GENSHIN IMPACT |
|||
| No. Klas | : | 00000158/SKR | ||
| Pengarang | : | RUTH YUNITA PUTRI SIANIPAR | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
BODY IMAGE IN KELLY BARSON’S 45 POUNDS |
|||
| No. Klas | : | 00000157/SKR | ||
| Pengarang | : | RISKA DEWI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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ANALISIS PERBANDINGAN PENGGAMBARAN PROSES KARIR GEISHA PADA FILM MEMOIRS OF A GEISHA KARYA ROB MARSHALL DAN FILM HANAIKUSA KARYA HOSHIDA YOSHIКО |
|||
| No. Klas | : | 00000156/SKR | ||
| Pengarang | : | REKHA NISACARA NADINI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
RACISM IN DOMINIQUE MORISSEAU'S PIPELINE |
|||
| No. Klas | : | 00000154/SKR | ||
| Pengarang | : | OXANA AURACELLY PUTRI WARDHANI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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THE FEATURES OF YOUNG ADULT LITERATURE IN GENKI FERGUSON’S SATELLITE LOVE |
|||
| No. Klas | : | 00000153/SKR | ||
| Pengarang | : | NYIAR DIVA AYUDISTYA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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ACTANTIAL AND FUNCTIONAL MODEL IN KAREN M. MCMANUS’S ONE OF US IS LYING |
|||
| No. Klas | : | 00000152/SKR | ||
| Pengarang | : | NAVI MAULANAADAM | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
HALLUCINATION IN ALEXANDRA POTTER'S ME AND MR. DARCY |
|||
| No. Klas | : | 00000151/SKR | ||
| Pengarang | : | NANDA FRISKA TIYA AGUSTIN | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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THE CHARACTERISTIC OF A GOOD MOTHER THROUGH THE MAIN CHARACTER IN JESSAMINE CHAN’S ‘‘THE SCHOOL FOR GOOD MOTHERS’’ |
|||
| No. Klas | : | 00000150/SKR | ||
| Pengarang | : | NADIYA WAHYU ROSDANIAR | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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DISCOURSE MARKERS AS TEXTUAL FUNCTIONS IN GIRL TALK WITH JOAN KIM GET REAL Ep. #16 PODCAST ON YOUTUBE |
|||
| No. Klas | : | 00000149/SKR | ||
| Pengarang | : | NABILA HANI APRILIANA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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BINARY OPPOSITION GOOD AND BAD CHARACTER IN ANNA TODD'S AFTER |
|||
| No. Klas | : | 00000148/SKR | ||
| Pengarang | : | MUTIARA STEFANI PUTRI WEKING | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
MOTIFEME DALAM DONGENG MOMOTARO (PENDEKATAN STRUKTUR NARATIF ALANDUNDES) |
|||
| No. Klas | : | 00000147/SKR | ||
| Pengarang | : | MUHAMMAD ZULFIKHAR ALFARKHAN PUTRA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
Exploring Magic Realism in DallerGut Dream Department Store by Miye Lee |
|||
| No. Klas | : | 00000146/SKR | ||
| Pengarang | : | MUHAMMAD TAUFIKQUL HIDAYAT | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
ANALISIS TINDAK TUTUR ILOKUSI DALAM MANGA DETEKTIFCONANVOLUME 72 |
|||
| No. Klas | : | 00000145/SKR | ||
| Pengarang | : | MUHAMMAD GUNTUR | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
KRITIK SOSIAL DALAM LIRIK-LIRIK LAGU BERJUDUL TOUSAKU, SHISOUHAN, DAN HIRUTONBI KARYA YORUSHIKA |
|||
| No. Klas | : | 00000144/SKR | ||
| Pengarang | : | MUHAMMAD ALVIN ZAHWA FAHMI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
ANALISIS JENIS DAN MAKNA ONOMATOPE PADA ANIME ISEKAI IZAKAYA NOBU |
|||
| No. Klas | : | 00000143/SKR | ||
| Pengarang | : | Muchamad Rizki Kurniawan | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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PERBANDINGAN GENERATION GAP DALAM NOVEL NAMIYA ZAKKATEN NO KISEKI KARYA HIGASHINO KEIGO |
|||
| No. Klas | : | 00000141/SKR | ||
| Pengarang | : | MELLYANA ANDRIANTI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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Cyber-bullying in Sophie Mckenzie’s SWEETFREAK |
|||
| No. Klas | : | 00000140/SKR | ||
| Pengarang | : | MAULANA MOCHAMMAD NAUFAL | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
SKEETER'S AMBITION IN KATHRYN STOCKETT'S THE HELP |
|||
| No. Klas | : | 00000139/SKR | ||
| Pengarang | : | MARSYAGITA AMILUDDIN | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF THE TRANSLATION METHODS AND PERCEIVED QUALITY IN DANAN PRIYATMOKO’S TRANSLATION OF THE NOVEL A CHILD CALLED “IT” |
|||
| No. Klas | : | 00000138/SKR | ||
| Pengarang | : | MARIA VERYS CARITA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
TOTALITARIANISM IN YOKO OGAWA'S THE MEMORY POLICE |
|||
| No. Klas | : | 00000136/SKR | ||
| Pengarang | : | LINTANG CAHYANINGTYAS | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
KONSEP IKUMEN DENGAN KONTEKS YOKAI PADA TOKOH MEDAMA OYAJI DALAM ANIME GEGEGE NO KITARO KARYA SHIGERU MIZUKI |
|||
| No. Klas | : | 00000135/SKR | ||
| Pengarang | : | KRISTANTO EKA RHAMADANI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
FUNGSI PELAKU DALAM CERITA RAKYAT MOMOTARO DAN TIMUN MAS |
|||
| No. Klas | : | 00000134/SKR | ||
| Pengarang | : | KHUSNUL KHOTIMAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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SIGNIFYING THE SIGNS OF VIRTUES, VICES AND SUPERNATURAL IN INDONESIA FOLKTALE RAKSASA PENJAGA GUNUNG MERAPI AND AMERICAN FOLKTALE THE LEGEND OF SLEEPY HOLLOW |
|||
| No. Klas | : | 00000133/SKR | ||
| Pengarang | : | KHOIROTUN DWI PRAMUGITA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
EKSISTENSI PEREMPUAN PADA TOKOH UTAMA DALAM FILM KONO SEKAI NO KATASUMI NI DAN KARTINI |
|||
| No. Klas | : | 00000132/SKR | ||
| Pengarang | : | IRANIA FRANSISKA AULIA PUTRI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
MASKULINITAS PADA TOKOH UTAMA PEREMPUAN DALAM MANGA GEKKAN SHOUJO NOZAKI-KUN KARYA IZUMI TSUBAKI |
|||
| No. Klas | : | 00000130/SKR | ||
| Pengarang | : | HASNA SEPTIA SHANTY | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
DEIKSIS DALAM ANIME SEN TO CHIHIRO NO KAMIKAKUSHI KARYA HAYAO MIYAZAKI |
|||
| No. Klas | : | 00000129/SKR | ||
| Pengarang | : | GITA SAVITRI NUR KUMALASARI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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THE ANALYSIS OF CHILD ABUSE AS PORTRAYED IN DELIA OWEN’S WHERE THE CRAWDADS SING |
|||
| No. Klas | : | 00000128/SKR | ||
| Pengarang | : | GITA SENJA AYU CAHYANI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
THE SENSE OF LONELINESS IN SARA TEASDALE'S POEMS “ALONE”, “ЕВВ ТIDE”, “SLEEPLESS", "THE TREASURE”, “COMPENSATION”, AND “DEEP IN THЕ NIGHT“" |
|||
| No. Klas | : | 00000127/SKR | ||
| Pengarang | : | GAYATRI YURIDANI FIRDAUS | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
AN ANALYSIS OF APOLOGY STRATEGIES IN CHARACTERS’ UTTERANCES IN SPIDER-MAN HOME TRILOGY MOVIES |
|||
| No. Klas | : | 00000122/SKR | ||
| Pengarang | : | FELICIA MEILA HARIJANTO | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
ABNORMALITAS SEKSUAL TOKOH DALAM KUMPULAN CERPEN EDOGAWA RANPO KESSAKU-SEN KARYA EDOGAWA RANPO |
|||
| No. Klas | : | 00000121/SKR | ||
| Pengarang | : | Farah Anisatus Kaffah | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
ANALISIS PERSPEKTIF GENERASI Z TERHADAP J-POP DI UNIVERSITAS 17 AGUSTUS 1945 |
|||
| No. Klas | : | 00000120/SKR | ||
| Pengarang | : | EPIFANIA IRENA REWU | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
SIGNIFYING THE SIGNS OF VIRTUES AND VICES IN SI PITUNG AND ROBINHOOD |
|||
| No. Klas | : | 00000119/SKR | ||
| Pengarang | : | CHOIRUN NISA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
RESILIENSI PADA TOKOH HIROSHI DALAM FILM JEPANG HŌMURESU CHUUGAKUSEI KARYA SUTRADARA TOMOYUKI FURUMAYA |
|||
| No. Klas | : | 00000118/SKR | ||
| Pengarang | : | CHINDY HASNA AMMATULLAH | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
ITSUMI AND SAYURI'S PROCESS OF INDIVIDUATION IN AKIYOSHI RIKAKO'S THE DARK MAIDENS |
|||
| No. Klas | : | 00000117/SKR | ||
| Pengarang | : | CHANDRAWATI A.N | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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THE ANALYSIS OF JEAN BAPTISTE GRENOUILLE’S DESIRE IN PATRICK SUSKIND’S PARFUME: THE STORY OF A MURDERER |
|||
| No. Klas | : | 00000115/SKR | ||
| Pengarang | : | Yusuf Bakhtiar | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
KONSEP IKIGAI DALAM TIM VOLI KARASUNO DI ANIME HAIKYUU!! SEASON 3 |
|||
| No. Klas | : | 00000114/SKR | ||
| Pengarang | : | CONNY DEA HERAWATI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
A MULTIMODAL ANALYSIS OF PEPSI ADVERTISEMENT VIDEO IN YOUTUBE |
|||
| No. Klas | : | 00000113/SKR | ||
| Pengarang | : | AYUTIA KUSUMASTUTI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
MASSIMO TORRICELLI’S OBSESSION IN BLANKA LIPINSKA’S 365 DAYS |
|||
| No. Klas | : | 00000112/SKR | ||
| Pengarang | : | AVITA WARDATUL ILMI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
REPRESENTASI BUDAYA JEPANG AISATSU DALAM ANIME STAND BY ME DORAEMON |
|||
| No. Klas | : | 00000111/SKR | ||
| Pengarang | : | AULADIEA SHIRATHINIHTADA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
|
LOVE IN SIR CHARLES GEORGE DOUGLAS ROBERT’S POEMS: MOONLIGHT, THE FEAR OF LOVE, LOVE’S TRANSLATOR. PRESENCE. AND THE FOOTPATH |
|||
| No. Klas | : | 00000110/SKR | ||
| Pengarang | : | ARI ADE PRASETYO | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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MILE’S TRAUMA IN COLLEEN HOOVER’S UGLY LOVE |
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| No. Klas | : | 00000109/SKR | ||
| Pengarang | : | Anindya Lintang Pancarani | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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PENGGAMBARAN WUJUD DAN KARAKTERISTIK YOUKAI DALAM MANGA TOUHOUSUICHOUKA ~ LOTUS EATER KARYA JUN’YA OTA |
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| No. Klas | : | 00000108/SKR | ||
| Pengarang | : | ANGGRA RAMADHANI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF ILLOCUTIONARY ACTS IN THOR: LOVE AND THUNDER MOVIE |
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| No. Klas | : | 00000107/SKR | ||
| Pengarang | : | AMOYNINDI DEWANTI ARDILLA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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GENDER ROLE REVERSE IN NAOMI ALDERMAN'S THE POWER |
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| No. Klas | : | 00000106/SKR | ||
| Pengarang | : | ALYA NUR SAFITRI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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CHILD ABUSE IN JENNETTE MCCURDY'S I'M GLAD MY MOM DIED |
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| No. Klas | : | 00000105/SKR | ||
| Pengarang | : | ALVI KAMILA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF POLITENESS STRATEGY USED BY THE CHARACTERS IN THE SCHOOL FOR GOOD AND EVIL MOVIE |
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| No. Klas | : | 00000104/SKR | ||
| Pengarang | : | ALMIRA PRAMADIASTA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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COMPARATIVE MULTIMODAL ANALYSIS ON SELECTED ADVERTISEMENTS: LAYS & PRINGLES |
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| No. Klas | : | 00000103/SKR | ||
| Pengarang | : | ALMEIDA PRASTIWI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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CULTURAL IDENTITY CONFLICT EXPERIENCED BY JENNY IN LIAN GOUW’S ONLY A GIRL |
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| No. Klas | : | 00000102/SKR | ||
| Pengarang | : | ALLYNKA FIRST AURORA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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LILY SEARCH FOR SEXUAL IDENTITY IN MALINDA LO'S LAST NIGHT AT THE TELEGRAPH CLUB |
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| No. Klas | : | 00000101/SKR | ||
| Pengarang | : | ALIFAH ADJANI PRASETYO | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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The Meaning of Charlie Davis’s Existence inKathleenGlasgow’s Girl in Pieces |
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| No. Klas | : | 00000100/SKR | ||
| Pengarang | : | Aldiza Saniya Afifah Priyono | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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LEXICAL COHESION OF THE EXPRESSION OF REBELLION OF MADELINE MILLER'S CIRCE |
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| No. Klas | : | 00000099/SKR | ||
| Pengarang | : | ADELT FRICILIA BAY KURNIAWAN | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF IMPOLITENESS STRATEGY USED BY THE MAIN CHARACTER IN “A MAN CALLED OTTO” MOVIE |
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| No. Klas | : | 00000098/SKR | ||
| Pengarang | : | ACHMAD AMIRUL KHAQQI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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LILY BLOOM’S STRUGGLE FOR HAPPINESS IN COLLEEN HOOVER’S IT ENDS WITH US |
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| No. Klas | : | 00000095/SKR | ||
| Pengarang | : | SHAVIRA RETNO WIDAYANTI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2024 | ||
| Kolasi | : | - | ||
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THE STRUGGLE OF ANNISA AS A FEMALE CHARACTER IN A MALE-DOMINATED SOCIETY IN ANNISA JOHN MICHAELSON'S |
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| No. Klas | : | 00000169/SKR | ||
| Pengarang | : | AMAYDA EKA RAHMAWATI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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A COMPARATIVE STUDY OF LANGUAGE FEATURES BETWEEN MEN AND WOMEN IN BROOKLYN MOVIE |
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| No. Klas | : | 00000142/SKR | ||
| Pengarang | : | MICHELLE CARISSA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF COHESIVE DEVICES IN PRESIDENT BIDEN’S SPEECH AT THE WHITE HOUSE CORRESPONDENT’S DINNER |
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| No. Klas | : | 00000131/SKR | ||
| Pengarang | : | Imanuel Steven Adrian Notanubun | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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PENNY FRANCONE’S DISSOCIATIVE IDENTITY DISORDER IN D.J PALMER’S THE PERFECT DAUGHTER |
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| No. Klas | : | 00000126/SKR | ||
| Pengarang | : | GALUH MAHARANI TIARANISA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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AN ANALYSIS OF THE PERSONALITY STRUCTURE OF MATEO TORREZ IN ADAM SILVERA'S NOVEL THEY BOTH DIE AT THE END |
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| No. Klas | : | 00000116/SKR | ||
| Pengarang | : | Muhammad Sulton | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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NARRATIVE STRUCTURE IN “THE HATE U GIVE” NOVEL BY ANGIE THOMAS AND ITS MOVIE ADAPTATION BY GEORGE TILLMAN JR. |
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| No. Klas | : | 00000094/SKR | ||
| Pengarang | : | AHMAD REZA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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ALICIA BERENSON'S COMPLEX POST TRAUMATIC STRESS DISORDER (C-PTSD) IN ALEX MICHAELIDES' THE SILENT PATIEN |
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| No. Klas | : | 00000093/SKR | ||
| Pengarang | : | AMELIA PRATIWI | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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CHERRY’S POST TRAUMATIC STRESS DISORDER IN NICO WALKER’S CHERRY |
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| No. Klas | : | 00000092/SKR | ||
| Pengarang | : | Ezra Natanael Supusepa | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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PI’S ANXIETY IN YANN MARTEL’S LIFE OF PI |
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| No. Klas | : | 00000091/SKR | ||
| Pengarang | : | FENI ASNIAR | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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SOCIAL INEQUALITY ON WOMEN IN KHALED HOSSEINI’S A THOUSAND SPLENDID SUNS |
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| No. Klas | : | 00000090/SKR | ||
| Pengarang | : | FITRIA DEVIANA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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The Analysis of Lily Bloom’s Trauma in Colleen Hoover's It Ends With Us |
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| No. Klas | : | 00000089/SKR | ||
| Pengarang | : | Lidya Gloria Sarungu | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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CATH’S ANXIETY IN RAINBOW ROWELL’S FANGIRL |
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| No. Klas | : | 00000088/SKR | ||
| Pengarang | : | MUSDALIFA RUMATIGA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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ANNA FOXX'S CHARACTER DEVELOPMENT IN A.J FINN'S THE WOMAN IN THE WINDOW |
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| No. Klas | : | 00000087/SKR | ||
| Pengarang | : | JEINNI INDRANI ELIZAВЕНТ MANGAR | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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PSYCHOLOGICAL EFFECT OF CHILD SEXUAL ABUSE IN EISHES CHAYIL’S HUSH |
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| No. Klas | : | 00000086/SKR | ||
| Pengarang | : | Ullyl Izzaty Aldyillah | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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PATRIARCHAL CULTURE IN MADELINE MILLER'S CIRCE |
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| No. Klas | : | 00000056/SKR | ||
| Pengarang | : | ALIF RAFLI RIJAAL QASIM | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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RACIAL DISCRIMINATION IN TA-NEHISI COATES’S BETWEEN THE WORLD AND ME |
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| No. Klas | : | 00000055/SKR | ||
| Pengarang | : | ANGGER CAHYA ARDINANG | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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RACHEL GERHARDT’S ANXIETY AND DEFENSE MECHANISM PORTRAYED IN RUTH WARE’S THE TURN OF THE KEY |
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| No. Klas | : | 00000054/SKR | ||
| Pengarang | : | BILLY IKHLAS MULIA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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THEO'S AMBITIONS IN THE CASE OF GABRIEL’S MURDER IN ALEX MICHAELIDES’ THE SILENT PATIENT |
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| No. Klas | : | 00000053/SKR | ||
| Pengarang | : | DANIEL GRACIA MALIANGKAY | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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CHILD ABUSE IN MEG ELISON’S FIND LAYLA |
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| No. Klas | : | 00000052/SKR | ||
| Pengarang | : | DINDA NOVIA ALFAREZA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | |||
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LIA OVERBROOK'S ANOREXIA IN LAURIE HALSE ANDERSON'S WINTERGIRLS |
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| No. Klas | : | 00000051/SKR | ||
| Pengarang | : | ERRO AHMAD SURYA | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||
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ROBERT STERNBERG’S THEORY OF TRIANGULAR LOVE IN COLLEEN HOOVER’S ALL YOUR PERFECTS |
|||
| No. Klas | : | 00000050/SKR | ||
| Pengarang | : | Jovita Anugrah Santoso | ||
| Penerbit | : | FAKULTAS ILMU BUDAYA, SURABAYA, 2023 | ||
| Kolasi | : | - | ||