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Title: MAN'S JOURNEY TOWARD MEANING BEYOND LANGUAGE IN BECKETT'S MOLLOY.
Creator: ESSEX, CHRISTINE LEWIS., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: An historical profile of semantics, general semantics, and the philosophy of language in the 1920's and 1930's situates Beckett's work both philosophically and historically. In Molloy Beckett portrays the paradoxical nature of human language as both enlightenment and imprisonment, our sole vehicle for reasoning, but constituting in itself a limitation upon reasoning, as well as self-knowledge. The novel as a whole is about this unbearable gap between experience and expression, the essentially...
Show moreAn historical profile of semantics, general semantics, and the philosophy of language in the 1920's and 1930's situates Beckett's work both philosophically and historically. In Molloy Beckett portrays the paradoxical nature of human language as both enlightenment and imprisonment, our sole vehicle for reasoning, but constituting in itself a limitation upon reasoning, as well as self-knowledge. The novel as a whole is about this unbearable gap between experience and expression, the essentially averbal self and language. This study traces, through the examination of events and changing levels of discourse in Molloy, the exact process by which the characters Molloy and Moran begin to perceive the existence of a separate reality beyond the reach of language.
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Date Issued: 1983
PURL: http://purl.flvc.org/fcla/dt/14165
Subject Headings: Beckett, Samuel,--1906---Molloy.
Format: Document (PDF)

Title: THE MONOCLES IN "A LA RECHERCHE DU TEMPS PERDU" (PROUST, FRANCE).
Creator: FEANNY, MARY JANE ELIZABETH., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: In A la Recherche du temps perdu, several characters including major figures wear a monocle, which seems to serve both concretely as an emblem of social status and symbolically as an indicator of limited vision. This study takes as its aim an examination of the social milieu in which the monocle is worn, with specific reference to the vision and moral condition of those who don the small glass disc.
Date Issued: 1986
PURL: http://purl.flvc.org/fcla/dt/14300
Subject Headings: Proust, Marcel,--1871-1922.--A la recherche du temps perdu., Clothing and dress in literature.
Format: Document (PDF)

Title: FRANCOISE AND HER LANGUAGE IN "A LA RECHERCHE DU TEMPS PERDU".
Creator: PAJAUJIS, SONIA BISI., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Each character in La Recherche du temps perdu speaks a distinct idiolect. Only the language of Fransoise has complex characterological and symbolic functions. Fransoise's language serves three consistent purposes: First, it represents the speech of the peasantry or a whole social class. Second, as exclusively spoken French, it embodies the long rich history of the French language since the Middle Ages, constituting indeed a living palimpsest of the language. Third, as palimpsest, it verbally...
Show moreEach character in La Recherche du temps perdu speaks a distinct idiolect. Only the language of Fransoise has complex characterological and symbolic functions. Fransoise's language serves three consistent purposes: First, it represents the speech of the peasantry or a whole social class. Second, as exclusively spoken French, it embodies the long rich history of the French language since the Middle Ages, constituting indeed a living palimpsest of the language. Third, as palimpsest, it verbally situates the character Fransoise as creative counterpart to the narrating artist Marcel. Fransoise is the French language through history: she is the "genie linguistique a l'etat vivant."
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Date Issued: 1985
PURL: http://purl.flvc.org/fcla/dt/14232
Subject Headings: Proust, Marcel,--1871-1922--A la recherche du temps perdu, Dialect literature, French--History and criticism, French language--Dialects
Format: Document (PDF)

Title: HISTORY AND FICTION IN "LA PRINCESSE DE CLEVES": HENRI II, THE VALOIS COURT AND 'PRECIOSITE.'.
Creator: BROOME, CAROL S., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: La Princesse de Cleves has been described as a mirror of Versailles in the Valois court presenting Henri II as a Louis XIV in sixteenth-century apparel. This interpretation is disproved upon examination of sixteenth- and seventeenth-century history, the novel in relation to that history, the author's life as well as her documentary and living sources. Henri II is clearly portrayed in the novel as the personnage historians record him to be. He is dissimilar to Louis XIV in the key areas of...
Show moreLa Princesse de Cleves has been described as a mirror of Versailles in the Valois court presenting Henri II as a Louis XIV in sixteenth-century apparel. This interpretation is disproved upon examination of sixteenth- and seventeenth-century history, the novel in relation to that history, the author's life as well as her documentary and living sources. Henri II is clearly portrayed in the novel as the personnage historians record him to be. He is dissimilar to Louis XIV in the key areas of character such as self-esteem, selfassertion, and relations with others. Similarly, the portrayal of the court of the Valois, including central figures of importance, is clearly derived from the annals of history, described in accurate detail save a few minor exceptions. Finally, through analysis of the characteristics of preciosite in the novel, the so-called classical La Princesse de Cleves emerges as a distinctly precieux work, the precieux school influencing both her general use of history and her development of plot.
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Date Issued: 1981
PURL: http://purl.flvc.org/fcla/dt/14059
Subject Headings: La Fayette,--Madame de--(Marie-Madeleine Pioche de La Vergne),--1634-1693--Princesse de Clèves
Format: Document (PDF)

Title: La Satire Comme Critique Sociale Chez Balzac.
Creator: Paramonova, Galina, Hokenson, Jan W., Florida Atlantic University
Abstract/Description: As one of the founders of the realist novel, Balzac is praised for having invented returning characters and interwoven chronologies that serve to challenge the decadent social mores of his time, but critical discussions of Balzacs's work continue to neglect his use of satire in social criticism. Different modes of satire occure in his LePere Goriot (1835), Le Bat de Sceaux (1829), Gobseck (1830), La Maison Nucingen (1837), Le Depute dArcis (1847), and La Femme abandonnee (1822), which...
Show moreAs one of the founders of the realist novel, Balzac is praised for having invented returning characters and interwoven chronologies that serve to challenge the decadent social mores of his time, but critical discussions of Balzacs's work continue to neglect his use of satire in social criticism. Different modes of satire occure in his LePere Goriot (1835), Le Bat de Sceaux (1829), Gobseck (1830), La Maison Nucingen (1837), Le Depute dArcis (1847), and La Femme abandonnee (1822), which together attest that Balzac achieves his ambition to become both the Rabelais and the Moliere of his era.
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Date Issued: 2008
PURL: http://purl.flvc.org/fau/fd/FA00000947
Subject Headings: Balzac, Honoré de,--1799-1850--Criticism and interpretation, Social history in literature, Satire, French--History and criticism, Criticism--France--19th century
Format: Document (PDF)

Title: DEPTHS BENEATH LANGUAGE: BALZAC'S METHODS OF NARRATING CONSCIOUSNESS (FRANCE).
Creator: TENNANT, JENNIFER MARY., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: The premise of this thesis is that Balzac has been unjustly dismissed, in contemporary critical studies of fictional dialogue and psycho-narration, for his ostensible clumsiness in describing anything other than superficial communication. The problem is that critics, as well as certain contemporary novelists, have not recognized the fact that Balzac, although pre-dating modern theories of character in fiction, was extremely aware of the fragility, tenuousness, opacity and misunderstanding of...
Show moreThe premise of this thesis is that Balzac has been unjustly dismissed, in contemporary critical studies of fictional dialogue and psycho-narration, for his ostensible clumsiness in describing anything other than superficial communication. The problem is that critics, as well as certain contemporary novelists, have not recognized the fact that Balzac, although pre-dating modern theories of character in fiction, was extremely aware of the fragility, tenuousness, opacity and misunderstanding of interpersonal communication. A close study of his novels refutes the contemporary view.
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Date Issued: 1986
PURL: http://purl.flvc.org/fcla/dt/14299
Subject Headings: Balzac, Honoré de,--1799-1850--Criticism and interpretation
Format: Document (PDF)

Title: The role of the writers in the Ballets Russes.
Creator: Pionzio, Martine Francoise., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: In histories of European Modernism, it is almost axiomatic that the first performance of Serge Diaghilev's Ballets Russes in Paris in 1910 was an aesthetic watershed, culminating earlier experiments by Symbolists and Cubists and forecasting later Modernists' radical syntheses of French arts and literature. Yet the role of French writers in the productions of the Ballets Russes has been neglected by literary critics and historians. Nijinski's choreography of L'Apres-midi d'un Faune stands as...
Show moreIn histories of European Modernism, it is almost axiomatic that the first performance of Serge Diaghilev's Ballets Russes in Paris in 1910 was an aesthetic watershed, culminating earlier experiments by Symbolists and Cubists and forecasting later Modernists' radical syntheses of French arts and literature. Yet the role of French writers in the productions of the Ballets Russes has been neglected by literary critics and historians. Nijinski's choreography of L'Apres-midi d'un Faune stands as the theatrical culmination of Mallarme's poetic. The ballets Sheherazade and The Rite of Spring find a counterpart in the literary work of their admirer Proust, and Cocteau's achievement with the Ballets Russes in Parade serves as apprenticeship for his own later literary work while pointing the way to Surrealism and other avant-garde movements in France.
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Date Issued: 2000
PURL: http://purl.flvc.org/fcla/dt/12722
Subject Headings: Ballets russes--History, French literature--20th century
Format: Document (PDF)

Title: The solipsistic temptation: Sartre's "La Nausee" and Garcia Marquez's "Cien anos de soledad".
Creator: Rosenberg, Donald A., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Solipsism, the assertion that the self is the only reality and the only thing that can be known and verified, is less pessimistic than nihilism, the radical doctrine that nothing exists, is knowable, or can be communicated. All novels may be solipsistic in the sense that fictions have reality: the author, knowingly or not, is creating a "reality" that may be no less valid than what the author assumes to be his or her own experienced "real" life. In some cases, readers interpreting such novels...
Show moreSolipsism, the assertion that the self is the only reality and the only thing that can be known and verified, is less pessimistic than nihilism, the radical doctrine that nothing exists, is knowable, or can be communicated. All novels may be solipsistic in the sense that fictions have reality: the author, knowingly or not, is creating a "reality" that may be no less valid than what the author assumes to be his or her own experienced "real" life. In some cases, readers interpreting such novels as Sartre's La Nausee and Garcia Marquez's Cien anos de soledad may find their own solipsistic leanings interacting with those of the authors, and it may be through such interaction that these texts work. Hence, the solipsistic perspective presents an authorial paradox, since the expression of this or any other idea would be meaningless outside the closed circle of writer and text. In these two texts. this solipsistic paradox and the problematic role of the reader are, in great part, the subject.
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Date Issued: 1991
PURL: http://purl.flvc.org/fcla/dt/14748
Subject Headings: Sartre, Jean Paul,--1905---Nausée, García Márquez, Gabriel,--1927-2014--Cien años de soledad
Format: Document (PDF)

Title: La representation narrative des classes subalternes chez Zola et Dickens.
Creator: Philome, Dieufene R., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Although both Zola and Dickens represent the precarious situation of the lower classes of society (workers, miners, and peasants), and that representation is similarly constructed at the level of both characters and narrative, Zola's characters engage in an active endeavor to change their social conditions while those of Dickens are more resigned to their circumstances, and are rather oriented toward individual moral accomplishment. The tones of the discourse of the characters, closely...
Show moreAlthough both Zola and Dickens represent the precarious situation of the lower classes of society (workers, miners, and peasants), and that representation is similarly constructed at the level of both characters and narrative, Zola's characters engage in an active endeavor to change their social conditions while those of Dickens are more resigned to their circumstances, and are rather oriented toward individual moral accomplishment. The tones of the discourse of the characters, closely reflects the implicit political posture of the narrators, in Zola's Germinal and La Terre, and in Dickens's Hard Times and Our Mutual Friend . Both writers oppose social injustice, while leaving the reader toward differential solutions, politico-economic in Zola and socio-moralistic in Dickens.
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Date Issued: 2003
PURL: http://purl.flvc.org/fcla/dt/13009
Subject Headings: Zola, Emile,--1840-1902--Criticism and interpretation, Dickens, Charles,--1812-1870--Criticism and interpretation, Social classes in literature
Format: Document (PDF)

Title: The representation of the courtesan in Balzac's "La Cousine Bette", Flaubert's "L'education Sentimentale" and Zola's "Nana".
Creator: Monawar, Christelle M., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Unlike the courtesan of romantic fiction, depicted as a sentimental and pitiful victim of social mores, the courtesan of French realism is rendered through the eyes of the nineteenth-century male bourgeois as a commodity to be consumed. Her body is objectified and fetishized, just as is her milieu of pleasure designed as legitimate compensation for the social delimitation of sexuality to reproduction. Through different direct and indirect narrative modes, Balzac as well as Flaubert and Zola...
Show moreUnlike the courtesan of romantic fiction, depicted as a sentimental and pitiful victim of social mores, the courtesan of French realism is rendered through the eyes of the nineteenth-century male bourgeois as a commodity to be consumed. Her body is objectified and fetishized, just as is her milieu of pleasure designed as legitimate compensation for the social delimitation of sexuality to reproduction. Through different direct and indirect narrative modes, Balzac as well as Flaubert and Zola often dehumanize, even demonize the courtesan for her power over male senses, overtly rendering her a scapegoat for society's decaying values and an open threat to patriarchal control over financial patrimony, the family, and the church.
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Date Issued: 2003
PURL: http://purl.flvc.org/fcla/dt/12984
Subject Headings: Balzac, Honoré de,--1799-1850--Cousine Bette, Flaubert, Gustave,--1821-1880--Education sentimentale, Zola, Emile,--1840-1902--Nana, Courtesans in literature
Format: Document (PDF)

Title: La relation enigmatique du texte et des images dans "Nadja".
Creator: Sutton, Anne Claude., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: The reading of Nadja may seem effortless at first, given that the novel's two hundred pages include fifty pages of illustrations. These pictures are of two kinds, photographs and drawings. Breton's different expressive modes, verbal and graphic, combine two opposite worlds, the written reference to the real Parisian places and the surreal sphere depicted in the avant-garde portraits and drawings. One of the primary surrealist technique is to mix different elements, such as illusion, the...
Show moreThe reading of Nadja may seem effortless at first, given that the novel's two hundred pages include fifty pages of illustrations. These pictures are of two kinds, photographs and drawings. Breton's different expressive modes, verbal and graphic, combine two opposite worlds, the written reference to the real Parisian places and the surreal sphere depicted in the avant-garde portraits and drawings. One of the primary surrealist technique is to mix different elements, such as illusion, the fantastic, and the dream in order to create a new world, free of any banal reality or logic to transport the reader out of mundane time-space. Therefore, the readers' problem is to determine whether these pictures are a graphic enhancement supplementing the verbal text, or on the contrary, a disjunctive element added to disturb the reader and to confuse the understanding of the verbal text with graphic enigmas.
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Date Issued: 1998
PURL: http://purl.flvc.org/fcla/dt/15604
Subject Headings: Breton, André,--1896-1966--Nadja--Illustrations, Breton, André,--1896-1966--Criticism and interpretation
Format: Document (PDF)

Title: Stefan George as self-translator.
Creator: Trotter, Evelyn M., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Stefan George, one of the few literary self-translators, rendered two of his original English and three of his original French poems into German. These self-translations may serve as case studies for the problem of "equivalence" in literary as well as linguistic and cultural terms. Recent translation theories (e.g. Rose, Pym, Fitch) problematize the overlap or the interliminal space between languages, cultures, literary traditions, and texts. Rather than binary-based source-target models,...
Show moreStefan George, one of the few literary self-translators, rendered two of his original English and three of his original French poems into German. These self-translations may serve as case studies for the problem of "equivalence" in literary as well as linguistic and cultural terms. Recent translation theories (e.g. Rose, Pym, Fitch) problematize the overlap or the interliminal space between languages, cultures, literary traditions, and texts. Rather than binary-based source-target models, recent theory helps elucidate equivalence in George. Indeed only a self-translation can reveal how the many micro-adjustments made in linguistic and literary succeed in rendering the semantic content of the original and in comparison establish a perfect functional and stylistic correspondence with comparable effects in the two languages. Thus, such expressions as his "own language," or his "own culture," traditionally used by his critics to refer solely to German, are inappropriate to George's oeuvre.
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Date Issued: 2002
PURL: http://purl.flvc.org/fcla/dt/12900
Subject Headings: George, Stefan Anton,--1868-1933--Translations, Translating and interpreting, English poetry--Translations into German, French poetry--Translations into German
Format: Document (PDF)

Title: SOCIAL CRITICISM IN ANDRE GIDE'S "LES CAVES DU VATICAN.".
Creator: MCLEOD, MARILYN MARGARET., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Andre Gide's Les Caves du Vatican is a work of complex social criticism. Using primarily the metaphor of the labyrinth and working in satire and comic burlesque, Gide analyzes the structure and role of the Catholic Church, the family, and society in general. He dramatizes multiple forms of hypocrisy and sincerity, lucidity and blindness, freedom and entrapment. He offers no social program, and he does not preach. Rather, he mocks existing structures and raises disturbing questions about...
Show moreAndre Gide's Les Caves du Vatican is a work of complex social criticism. Using primarily the metaphor of the labyrinth and working in satire and comic burlesque, Gide analyzes the structure and role of the Catholic Church, the family, and society in general. He dramatizes multiple forms of hypocrisy and sincerity, lucidity and blindness, freedom and entrapment. He offers no social program, and he does not preach. Rather, he mocks existing structures and raises disturbing questions about social and moral choice.
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Date Issued: 1979
PURL: http://purl.flvc.org/fcla/dt/13969
Subject Headings: Gide, André,--1869-1951--Caves du Vatican, Social conflict in literature
Format: Document (PDF)

Title: Rousseau's reveries: Imaginative recreation of the past.
Creator: Rubinoff, Anne Dolores., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: Undergoing an epistemological shift from the structured and rigid reasoning of neo-classicism to a philosophy oriented toward human individuality and the emotional experience of the individual, Rousseau works in new modes in his late text Les Reveries du promeneur solitaire. Complaining of adversity and persecution, he seeks lost happiness through imaginative recreation of the past. Through this recreative faculty he achieves not only recollection but the consequent re-experiencing of past...
Show moreUndergoing an epistemological shift from the structured and rigid reasoning of neo-classicism to a philosophy oriented toward human individuality and the emotional experience of the individual, Rousseau works in new modes in his late text Les Reveries du promeneur solitaire. Complaining of adversity and persecution, he seeks lost happiness through imaginative recreation of the past. Through this recreative faculty he achieves not only recollection but the consequent re-experiencing of past events. The second imaginative experience, he insists, is sometimes superior to the first. In ways critics have overlooked, imaginative re-creation transcends the past.
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Date Issued: 1991
PURL: http://purl.flvc.org/fcla/dt/14742
Subject Headings: Rousseau, Jean-Jacques,--1712-1778--Rêveries du promeneur solitaire
Format: Document (PDF)

Title: The Sleeping Beauty subtext in Rosario Ferre's "La bella durmiente" and Margaret Atwood's "Bluebeard's Egg".
Creator: Smith, Bonnie Lynne., Florida Atlantic University, Hokenson, Jan W.
Abstract/Description: The well-known Grimms' fairy tale "Sleeping Beauty" forms the subtext of two recent literary works, Rosario Ferre's novella "La bella durmiente" (1976) and Margaret Atwood's short story "Bluebeard's Egg" (1983). Both contemporary authors suggest that certain negative aspects inherent in the Sleeping Beauty paradigm should not persist in women's literature, unless the texts lead to transformation and self-realization of the heroines. This study demonstrates how the authors expose the fallacy...
Show moreThe well-known Grimms' fairy tale "Sleeping Beauty" forms the subtext of two recent literary works, Rosario Ferre's novella "La bella durmiente" (1976) and Margaret Atwood's short story "Bluebeard's Egg" (1983). Both contemporary authors suggest that certain negative aspects inherent in the Sleeping Beauty paradigm should not persist in women's literature, unless the texts lead to transformation and self-realization of the heroines. This study demonstrates how the authors expose the fallacy in the paradigm, depart from it, and refigure it by transforming their heroines into characters quite distinct from the Grimm prototype. This study also suggests that Ferre's and Atwood's works serve as prototypes for feminine texts. As the characters distance themselves from hegemonic patriarchal traditions, each author's work is also removed from the referent of masculine literary traditions and returned to its origins, the oral tale.
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Date Issued: 1994
PURL: http://purl.flvc.org/fcla/dt/15105
Subject Headings: Ferré, Rosario--Criticism and interpretation, Atwood, Margaret Eleanor,--1939---Criticism and interpretation, Ferré, Rosario--Bella durmiente, Atwood, Margaret Eleanor,--1939---Bluebeard's egg, Fairy tales--History and criticism, Sleeping Beauty (Tale)--Adaptations, Women in literature
Format: Document (PDF)

Title: Sartre's existentialist Oresteia.
Creator: Benham, Timothy Lee., Florida Atlantic University, Hokenson, Jan W., Dorothy F. Schmidt College of Arts and Letters, Department of Languages, Linguistics and Comparative Literature
Abstract/Description: Les Mouches is a modern reconstruction of the ancient myth embodied in the The Oresteia of Aeschylus. Jean-Paul Sartre not only rewrote the legend of Orestes; he remodeled it. Orestes is not just a new man; he is his own man. The play, therefore, is not a mere pastiche in modern dress. Sartre infuses Orestes with an unprecendented "Existentialist" consciousness, and this transformation adds new complexities to the ancient text. This Existentialist reworking of Hellenistic images is...
Show moreLes Mouches is a modern reconstruction of the ancient myth embodied in the The Oresteia of Aeschylus. Jean-Paul Sartre not only rewrote the legend of Orestes; he remodeled it. Orestes is not just a new man; he is his own man. The play, therefore, is not a mere pastiche in modern dress. Sartre infuses Orestes with an unprecendented "Existentialist" consciousness, and this transformation adds new complexities to the ancient text. This Existentialist reworking of Hellenistic images is distinguished from the classically "tragic" elements in Aeschylus as well as later modifications in Sophocles and Euripides. Sartre's early introduction into the lore of Hellenism is considered, and a discussion of Sartre's theoretical and philosophical perspective on theater suggests which Greek elements Sartre was disposed to incorporate into his script.
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Date Issued: 1990
PURL: http://purl.flvc.org/fcla/dt/14607
Subject Headings: Literature, Classical, Literature, Comparative, Literature, Romance
Format: Document (PDF)

Balzac, Honoré de,--1799-1850--Criticism and interpretation (2)	+ -
Beckett, Samuel,--1906---Criticism and interpretation (2)	+ -
Proust, Marcel,--1871-1922--A la recherche du temps perdu (2)	+ -
Translating and interpreting (2)	+ -
Zola, Emile,--1840-1902--Criticism and interpretation (2)	+ -

American literature--History and criticism (1)	+ -
Art in literature (1)	+ -
Arthurian romances (1)	+ -
Artists' models in literature (1)	+ -
Arts in literature (1)	+ -
Atwood, Margaret Eleanor,--1939---Bluebeard's egg (1)	+ -
Atwood, Margaret Eleanor,--1939---Criticism and interpretation (1)	+ -
Ballets russes--History (1)	+ -
Balzac, Honoré de,--1799-1850--Cousine Bette (1)	+ -
Beauvoir, Simone de,--1908---Criticism and interpretation. (1)	+ -
Beckett, Samuel,--1906---Molloy. (1)	+ -
Berman, Sabina.--Bobe. (1)	+ -
Boukhobza, Chochana.--Été à Jérusalem. (1)	+ -
Breton, André,--1896-1966--Criticism and interpretation (1)	+ -
Breton, André,--1896-1966--Nadja--Illustrations (1)	+ -
Cervantes Saavedra, Miguel de,--1547-1616--Characters--Don Quixote (1)	+ -
Chrétien,--de Troyes,--active 12th century--Chevalier au lyon (1)	+ -
Chrétien,--de Troyes,--active 12th century--Criticism and interpretation (1)	+ -
Cixous, Hélène,--1937---Portrait de Dora. (1)	+ -
Clothing and dress in literature. (1)	+ -
Couples in literature. (1)	+ -
Courtesans in literature (1)	+ -
Criticism--France--19th century (1)	+ -
Cultural relativism--United States (1)	+ -
Dialect literature, French--History and criticism (1)	+ -

English (25)	+ -
French (11)	+ -

Florida Atlantic University (36)	+ -
Hokenson, Jan W. (36)	+ -
Schaller, Margaret P. (2)	+ -
BROOME, CAROL S. (1)	+ -
Benham, Timothy Lee. (1)	+ -

Bradford, Marla R. (1)	+ -
Cartwright, Tina A. (1)	+ -
DIAFERIA, MICHAELA. (1)	+ -
Department of Languages, Linguistics and Comparative Literature (1)	+ -
Dorothy F. Schmidt College of Arts and Letters (1)	+ -
Drai, Sabrina Emilie. (1)	+ -
ESSEX, CHRISTINE LEWIS. (1)	+ -
Eli, Myriam. (1)	+ -
FEANNY, MARY JANE ELIZABETH. (1)	+ -
Feldman, Marie. (1)	+ -
Giner, Raymond. (1)	+ -
Grosjean, Marie-Pierre. (1)	+ -
Henderson, Camille. (1)	+ -
Henderson, Cary (1)	+ -
Hertz, Anne. (1)	+ -
KALT, URSULA MARY. (1)	+ -
Kreitner, David J. (1)	+ -
MCLEOD, MARILYN MARGARET. (1)	+ -
Martin, Angela F. (1)	+ -
Maybee, Teresa M. (1)	+ -
McCarthy, Rebecca L. (1)	+ -
Monawar, Christelle M. (1)	+ -
PAJAUJIS, SONIA BISI. (1)	+ -
PASSARIELLO, MICHAEL. (1)	+ -
PERRU, JEAN-PHILIPPE. (1)	+ -

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