| Cultural Deposits: Tracking Capital in Ninteenth-Century European Fiction and Drama |
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ANCA VLASOPOLOS
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8-24 |
| A Case of Well-Concealed Indebtedness: L.N. Tolstoy's Rejection of Kantian Beauty in What Is Art? |
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MAREN S. KASULKE
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25-50 |
| Paris, Mon Amour, My Catastrophe, or, Flaneries Through Benjaminian Space |
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DIANNE CHISHOLM
|
51-93 |
| Narratives of National Cultural Identity: The Canonization of Thomas Eakins |
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NIKITA NANKOV
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94-127 |
| Surrealists in Wonderland: Aspects of the Appropriation of Lewis Carroll |
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JENNIFER STAFFORD BROWN
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128-143 |
| Finnegans Wakes: Fictions of Translations |
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PATRICK O'NEILL
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144-158 |
| Typology and the Language of Concern in the Work of Northrop Frye |
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GARY KUCHAR
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159-180 |
| Visual Texts, Textual Visions: Hypertext, Resistance, and Contemporary Asian-Canadian Writing |
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KARIN BEELER
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181-196 |
| La synesthésie vue de "Voyelles" |
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IRIS YARON
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197-211 |
| From the Grove to the World |
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PATRICIA DEMERS
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212-225 |
| Poetic Modernisms/Modernist Poetics |
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DOUGLAS BARBOUR
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226-239 |
| Open Texts and Playful Readers |
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WILM ROBERTSON
|
240-255 |
| Text Worlds, Fictional Worlds, Narrative Fiction |
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URI MARGOLIN
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256-273 |
| The Forerunners of Milman Parry: I. Matthias Murko on South-Slavic Popular Epic |
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KWEKU A. GARBRAH
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274-306 |
