.... Fredson Bowers (Cambridge: Cambridge University Press, 1966). LEE BLISS 5 spectacle and violence constitute the only desiderata, and the pres- ence on stage of their own Rafe, as Rafe, fulfills their highest hopes for a visit to the theater...

... by the Romans in 70 A.D. Two later works in this tradition moralize from the same combination of precedents, and separately in other works Jerusalem is used as an example in the same manner as Antwerp. A few lines from the extant ballad, “A Warning to London by the Fall of Antwerp” by Rafe Norris...

... disposes me to ac- cept (ii), tentatively, as the most probabIe theory about this particu- lar passage. If (ii) be correct, we have evidence that at least part of the Iliad was composed several years before publication. (2) The parallel between the Baron’s oath in the fourth canto of the Rafe...

... by reconfiguring the traditional story of immigration on which it is modeled. The fifth chapter celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban...

... celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban American Dolores Prida’s play Coser y cantar (Sewing and Singing), and Puerto Rican Giannina...

... by reconfiguring the traditional story of immigration on which it is modeled. The fifth chapter celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban...

... by reconfiguring the traditional story of immigration on which it is modeled. The fifth chapter celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban...

... celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban American Dolores Prida’s play Coser y cantar (Sewing and Singing), and Puerto Rican Giannina...

... celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban American Dolores Prida’s play Coser y cantar (Sewing and Singing), and Puerto Rican Giannina...

... celebrates as the culmination of the immigrant journey (and of the critical narrative) a set of “aggressively performative bilingual texts” (147) — Mexican Texan Hinojosa’s Mi querido Rafa (Dear Rafe), Cuban American Dolores Prida’s play Coser y cantar (Sewing and Singing), and Puerto Rican Giannina...