الفهرس 
Buried Alive; But Not Dead Yet!! AOnly 14 pages are availabe for public view
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Abstract
To sum up, one of the main issues which constitute the crux of the thesis is the investigation of left-wing trends in postwar England. The thesis attempts to penetrate deeply in the structure of the British society in order to trace the roots for, first, the existence of these trends; and, second, their continuous appeal to many of the English people. And, since literature reflects the spirit of the times, hopes, worries, criticisms, and predictions that have been made, it is quite natural that left-wing ideologies have inspired and in no smaller degree dominated much of the literary activity of many writers to explore them. Therefore, the thesis investigates the influence of left-wing ideologies in postwar British poetry, novel, and drama as they do represent the actual state of the nation in a most factual, amusing way, at the same time that they do greatly offer an explanation of the crude stuff of historical data. In fact, the thesis investigates the impact of left-wing leanings on selected works of Adrian Mitchell, Kingsley Amis, and David Edgar as they have enormously been involved in many of the socio-literary debates since World War II. Besides, they have captured, in subject and style, the manners, moral upsets, cultural disorders, and social instabilities created by the war. In their writings, there is a remarkable sense of how literature can be used to mobilize action and, yet, remain gracious.
In a nutshell, this thesis is in no way a reasoned defense, or attack, of Marxism or any of the left-wing ideologies. It merely aims at spotting light on left-wing ideologies (their meanings, historical background, breakthroughs, and recoils) as well as showing their impact on the socio-political as well as literary scene in post World War Britain. Aiming not to fish in troubled waters nor to let sleeping dogs lie, the thesis thus attempts a thorough study of left-wing ideologies and their influence without hesitation or fear and without attempting, at any given incident, to relish the sentimentality or evoke the passions of readers rather than call a spade a spade, which is, by far, the most effective way of stressing a point.