Romance notes

• 

  Año 2011, Vol. 51, Número 2

  • The Picaresque and the Grotesque: Two Beauties and Their Beasts

    Nancy María Blain

    págs. 161-170

    

  • Haunted Bodies and Haunting Memories: Transference and Transcendence of "h/Histoires" in Calixthe Beyala's "Tu t'appelleras Tanga"

    Claire Mouflard

    págs. 171-178

    

  • Figuring Musical Motifs and Textual Polyphony in Nancy Huston's "Prodige: Polyphonie"

    Patrice J. Proulx

    págs. 179-190

    

  • Montesquieu et l'intériorisation de la religion

    Peter Eubanks

    págs. 191-198

    

  • The Time-Image from Pasolini to Ciprì and Maresco

    Kathryn St. Ours

    págs. 199-208

    

  • Deconstructing the "Good-Old Boy" Ethic: Male Friendship in Luis Fernando Verissimo's "O Clube dos Anjos"

    Zachary F. Miller

    págs. 209-216

    

  • Modern and Postcolonial?: Oswald de Andrade's "Antropofagia" and the Politics of Labeling

    Antonio Luciano de Andrade Tosta

    págs. 217-226

    

  • "Transforma-se o amador na coisa amada": Hegelian Recognition in a Sonnet by Camoes

    Robert Patrick Newcomb

    págs. 227-236

    

  • "Agua con sal": otredad y exotismo caribeño en el cine español contemporáneo

    Cristina Carrasco

    págs. 237-246

    

  • "The Da Vinci Drag" ou La Joconde de Reinaldo Arenas

    Nicolás Balutet

    págs. 247-256

    

  • The Rebranding of Francoism's Originary Violence in José Antonio Nieves Conde's "Balarrasa"

    Matt Losada

    págs. 257-265