Citation: Me. Hotz, Precious to grace: Necessary desolation in Pope's 'Eloisa to Abelard' (Themonastic and Catholic dimensions of the poem), RENASCENCE, 53(3), 2001, pp. 207-226
Citation: P. Robichaud, The undoing of all things: Malorian language and allusion in David Jones' 'In Parenthesis', RENASCENCE, 53(2), 2001, pp. 149-165
Citation: C. Pastoor, The subversion of prodigal son comedy in The 'Merchant of Venice' (Shakespeare's use of parable), RENASCENCE, 53(1), 2000, pp. 3-22
Citation: Hd. Demaray, Milton and the "intelligible flame": "Sweet converse" in the poetry and prose (Insight into the vexing issue of Milton's very individualized views onwomen in 'Paradise Lost'), RENASCENCE, 53(1), 2000, pp. 23-42
Citation: J. Wiesenfarth, Ford's Joseph Conrad: A personal remembrance as metafiction: Or, how Conrad became an Elizabethan poet (Joseph Conrad's novels in collaboration with Ford Madox Ford), RENASCENCE, 53(1), 2000, pp. 43-60
Citation: F. O'Gorman, The angelic artist in the fiction of Flannery O'Connor and Walker Percy (Their affinities as Catholic authors in the American South), RENASCENCE, 53(1), 2000, pp. 61-79
Citation: M. Fike, The Timothy allusion in A 'Good Man Is Hard To Find' (Flannery O'Connor and the significance of place names in her works), RENASCENCE, 52(4), 2000, pp. 311-321
Citation: Js. Tanner, The psychology of temptation in 'Perelandra' and 'Paradise Lost': What Lewis learned from Milton, RENASCENCE, 52(2), 2000, pp. 131-141