1. The Languages of Puppetry: Rewriting Early Modern Iberian Theater for the Contemporary Stage
  2. Esther Fernández
  3. pp. 17-26
  4. DOI: 10.1353/rmc.2015.0003
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  1. Carlos II el hechizado y lo gótico
  2. Jorge Avilés Diz
  3. pp. 27-34
  4. DOI: 10.1353/rmc.2015.0005
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  1. Andrés Bello y su labor como crítico teatral en Chile
  2. Mónica Botta
  3. pp. 35-41
  4. DOI: 10.1353/rmc.2015.0007
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  1. Extravagance feuilletonesque et volonté littéraire dans La Vampire de Paul Féval
  2. Gerald Prince
  3. pp. 43-49
  4. DOI: 10.1353/rmc.2015.0009
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  1. Contesting Domination: Modernity, Coloniality of Gender, and Decolonial Feminism in José de la Cuadra’s “La Tigra”
  2. Juan G. Ramos
  3. pp. 61-75
  4. DOI: 10.1353/rmc.2015.0013
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  1. Camus et les colonies: A rebours de l’histoire
  2. Oliver Gloag
  3. pp. 77-86
  4. DOI: 10.1353/rmc.2015.0002
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  1. L’argent n’a pas d’odeur: Argent, mensonge et morale dans Le Premier Homme d’Albert Camus
  2. Vincent Grégoire
  3. pp. 87-95
  4. DOI: 10.1353/rmc.2015.0004
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  1. El suicidio en el teatro español de posguerra
  2. David-Félix Fernández-Díaz
  3. pp. 97-111
  4. DOI: 10.1353/rmc.2015.0006
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  1. Screening El cuarto de atrás: Carmen Martín Gaite’s Hollywood Escritor Negro
  2. Josefina González
  3. pp. 113-124
  4. DOI: 10.1353/rmc.2015.0008
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  1. Voracious Vampires and other Monsters: Masculinity and the Terror genre in Spanish Cinema of the Transición
  2. Mary T. Hartson
  3. pp. 125-136
  4. DOI: 10.1353/rmc.2015.0010
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  1. Silence and Shadows: Religious Symbolism in Ana María Matute’s “La niña fea”
  2. Aileen Dever
  3. pp. 137-146
  4. DOI: 10.1353/rmc.2015.0012
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  1. Reframing the Commune: Violence, Intertextuality, and Event in Tardi’s Cri du peuple
  2. Robert St. Clair
  3. pp. 147-159
  4. DOI: 10.1353/rmc.2015.0001
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