1. The Picaresque and the Grotesque: Two Beauties and the Their Beasts
  2. Nancy Marie Blain
  3. pp. 161-170
  4. DOI: 10.1353/rmc.2011.0013
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  1. Haunted Bodies and Haunting Memories: Transference and Transcendence of "h/Histoires" in Calixthe Beyala's Tu t'appelleras Tanga
  2. Claire Mouflard
  3. pp. 171-178
  4. DOI: 10.1353/rmc.2011.0017
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  1. Figuring Musical Motifs and Textual Polyphony in Nancy Huston's Prodige: Polyphonie
  2. Patrice J. Proulx
  3. pp. 179-190
  4. DOI: 10.1353/rmc.2011.0021
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  1. Montesquieu et l'intériorisation de la religion
  2. Peter Eubanks
  3. pp. 191-198
  4. DOI: 10.1353/rmc.2011.0025
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  1. The Time-Image from Pasolini to Ciprì and Maresco
  2. Kathryn St. Ours
  3. pp. 199-208
  4. DOI: 10.1353/rmc.2011.0004
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  1. Deconstructing the "Good-Old Boy" Ethic: Male Friendship in Luis Fernando Verissimo's O Clube dos Anjos
  2. Zachary F. Miller
  3. pp. 209-216
  4. DOI: 10.1353/rmc.2011.0008
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  1. Modern and Postcolonial?: Oswald de Andrade's Antropofagia and the Politics of Labeling
  2. Antonio Luciano de Andrade Tosta
  3. pp. 217-226
  4. DOI: 10.1353/rmc.2011.0011
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  1. Transforma-se o amador na coisa amada: Hegelian Recognition in a Sonnet by Camões
  2. Robert Patrick Newcomb
  3. pp. 227-235
  4. DOI: 10.1353/rmc.2011.0015
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  1. Agua con sal: Otredad y exotismo caribeño en el cine español contemporáneo
  2. Cristina Carrasco
  3. pp. 237-246
  4. DOI: 10.1353/rmc.2011.0019
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  1. The Da Vinci Drag ou La Joconde De Reinaldo Arenas
  2. Nicolas Balutet
  3. pp. 247-256
  4. DOI: 10.1353/rmc.2011.0023
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  1. The Rebranding of Francoism's Originary Violence in José Antonio Nieves Conde's Balarrasa
  2. Matt Losada
  3. pp. 257-265
  4. DOI: 10.1353/rmc.2011.0001
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