| Battles for Recognition: Greve, Gide, also Blei |
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KLAUS MARTENS
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328-348 |
| Pour une poétique de l'opacité: Ahmadou Kourouma, Edouard Glissant et l'espace de la Relation francophone |
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DAVID CARON
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348-362 |
| Fin de siècle Rio de Janeiro: Life as Grand Opera in Dom Casmurro |
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CAROL R. MOTTA
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363-380 |
| Vérité, autobiographie et film: L'Amant de Marguerite Duras et de Jean-Jacques Annaud |
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MONIKA BOEHRINGER
|
381-399 |
| Spéculations musico-littéraires: Les lecteurs et la comparaison interartistique |
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FREDERIQUE ARROYAS
|
400-427 |
| "The Night in which All Cows are Black": de Man, "mere reading," and indifference to philosophy |
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CHRISTOPHER NORRIS
|
429-448 |
| Fantasia on a theme of Tallis |
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ROBERT WILCOCKS
|
449-472 |
| Literary Play: Explorations in Hyperdimensionality |
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BRIAN EDWARDS
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473-481 |
| In, Around and About the Olive Grove |
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PATRICIA DEMERS
|
482-495 |
| An Update on the Status of Ecocriticism: A Case Study Using The Environmental Imagination |
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SIMON C. ESTOK
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496-509 |
| The Uses and Abuses of Translation |
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ANNE MALENA
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510-530 |
| Come Writers, and Critics... |
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IMRE SALUSINSZSKY
|
531-543 |
| Swift, Nietzshe, and Genealogy |
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DAVID HERMAN
|
544-553 |
| Honor and Shame in the Work of Constantinos Theotokis |
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BABIS DERMITZAKIS
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554-561 |
| Some Integrating Notions: Meditations on Louis Sass's Madness and Modernism: Insanity in Modern Art, Literature and Thought (1992) |
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GARRY MICKELOW
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562-573 |
