Citation: R. Runte, CROSS-CULTURAL INFLUENCES - VERSIONS OF 'TARTUFFE' IN 18TH-CENTURY FRANCE AND RESTORATION ENGLAND( VOLTAIRE ), Romance notes, 36(3), 1996, pp. 265-276
Citation: Mt. Vergara, IN DEFENSE OF MOTHERHOOD - GORRITI,JUANA,MANUELA AMBIVALENT PORTRAYALOF A SLAVE WOMAN IN LA 'QUENA', Romance notes, 36(3), 1996, pp. 277-282
Citation: D. Cornejopatterson et A. Rodriguez, SALASBARBADILLO IN MARTINEZDELAROSA - A JOCULAR EPITAPH( SPANISH DRAMA ), Romance notes, 36(3), 1996, pp. 301-304
Citation: Me. Barnard, A CHRISTIAN GROTESQUE AND RENAISSANCE IMITATION - SEBASTIAN-DE-CORDOBA GARCILASO A-LO-DIVINO, Romance notes, 36(2), 1996, pp. 115-123
Citation: Er. Viti, LE-MOT-DE-CAMBRONNE - AN EXCREMENTAL EXCLAMATION AND ITS IMPLICATIONSIN 'A LA RECHERCHE DU TEMPS PERDU'( PROUST,MARCEL ), Romance notes, 36(2), 1996, pp. 139-144
Citation: Y. Agawukakraba, REINVENTING IDENTITY - CLASS, GENDER, AND NATIONALISM IN ESPINA,CONCHA 'RETAGUARDIA', Romance notes, 36(2), 1996, pp. 167-179
Citation: M. Bizer, THE REFLECTION OF THE OTHER IN ONES OWN MIRROR - THE IDEA OF THE PORTRAIT IN RENAISSANCE IMITATIO, Romance notes, 36(2), 1996, pp. 191-200
Citation: Lc. Reis, THE CHAPTERS 11, 12, AND 13 OF RABELAIS 'GARGANTUA' - THE STAGES OF THE HEROS COGNITIVE AND LINGUISTIC DEVELOPMENT, Romance notes, 36(2), 1996, pp. 201-208