Jose Bento Monteiro Lobato was born in 1882 in Taubat6, in the Paralba valley in the state of Sao Paulo, Brazil, and died in 1948 in the city of Sao Paulo. His career was active and varied: law graduate, public prosecutor in small-town Areias, planter, writer, publisher, director of the Sao Paulo literary magazine Revista do Brasil, campaigner for public health, commercial attache in New York, and organizer and promoter of a campaign for the development of iron and oil industries in Brazil. He won fame as a writer of fiction with four books of short stories: Urupes (1918), Cidades mortas (1919), Negrinha (1920), and 0 macaco que se fgz homen (1923).' He wrote a few later stories and one novel,2 but the bulk of his serious fiction for adults (he became Brazil's outstanding writer of books for children) is contained in these volumes. The short story was Lobato's chosen vehicle and Kipling and Maupassant his models.3 He became known for the realistic-regionalistic depiction of scenes and characters from the small-town and rural Sao Paulo that he had known during his years in Areias, and on the plantation that he owned and operated before moving to the city of Sao Paulo in 1917. This study will give illustrations of Lobato's techniques of characterization in his short stories. He is not always primarily interested in depicting character; his personages may be subordinated to plot, setting, or theme. Principal and secondary characters alike may be types or caricatures as well as fully-drawn individuals. Lobato fixes their personalities in various ways: through direct description or description by a character-narrator or other characters, or by depiction in a significant act. Lobato combines exterior description with characterization by recording
何塞·本托·蒙泰罗·洛巴托于1882年出生于巴西圣保罗州帕拉巴山谷的陶巴，1948年在圣保罗市去世。他的职业生涯活跃而多样:法学院毕业生、小镇阿雷亚斯的检察官、种植园主、作家、出版商、圣保罗文学杂志《巴西复兴》(Revista do Brasil)的主编、公共卫生活动家、驻纽约商务参事、巴西铁和石油工业发展运动的组织者和推动者。他以四部短篇小说而闻名:《乌鲁普斯》(1918年)、《死亡之城》(1919年)、《内格里尼亚》(1920年)和《我的家乡》(1923年)。他后来写了一些故事和一部小说，但他的大部分成人严肃小说(他成为巴西杰出的儿童读物作家)都包含在这些书中。短篇小说是洛巴托选择的载体，吉卜林和莫泊桑是他的榜样他以现实主义的地方主义手法描绘圣保罗小镇和乡村的场景和人物而闻名，这些都是他在阿雷亚斯(Areias)的岁月里所熟悉的，也是他在1917年搬到圣保罗之前拥有和经营的种植园里所熟悉的。本研究将举例说明洛巴托在其短篇小说中的人物塑造技巧。他的主要兴趣并不总是刻画人物;他的人物可能服从于情节、背景或主题。主要角色和次要角色都可以是类型或漫画，也可以是完全绘制的个人。洛巴托以各种方式固定他们的个性:通过直接描述或由角色叙述者或其他角色描述，或通过重要行为的描绘。Lobato通过记录将外部描述与人物特征相结合
{"title":"Characterization in the Stories of Monteiro Lobato","authors":"T. Brown","doi":"10.1353/RMR.1970.0016","DOIUrl":"https://doi.org/10.1353/RMR.1970.0016","url":null,"abstract":"Jose Bento Monteiro Lobato was born in 1882 in Taubat6, in the Paralba valley in the state of Sao Paulo, Brazil, and died in 1948 in the city of Sao Paulo. His career was active and varied: law graduate, public prosecutor in small-town Areias, planter, writer, publisher, director of the Sao Paulo literary magazine Revista do Brasil, campaigner for public health, commercial attache in New York, and organizer and promoter of a campaign for the development of iron and oil industries in Brazil. He won fame as a writer of fiction with four books of short stories: Urupes (1918), Cidades mortas (1919), Negrinha (1920), and 0 macaco que se fgz homen (1923).' He wrote a few later stories and one novel,2 but the bulk of his serious fiction for adults (he became Brazil's outstanding writer of books for children) is contained in these volumes. The short story was Lobato's chosen vehicle and Kipling and Maupassant his models.3 He became known for the realistic-regionalistic depiction of scenes and characters from the small-town and rural Sao Paulo that he had known during his years in Areias, and on the plantation that he owned and operated before moving to the city of Sao Paulo in 1917. This study will give illustrations of Lobato's techniques of characterization in his short stories. He is not always primarily interested in depicting character; his personages may be subordinated to plot, setting, or theme. Principal and secondary characters alike may be types or caricatures as well as fully-drawn individuals. Lobato fixes their personalities in various ways: through direct description or description by a character-narrator or other characters, or by depiction in a significant act. Lobato combines exterior description with characterization by recording","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127737430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What words could more appropriately describe Dr. Quincy Guy Burns, accomplished teacher, Elizabethan scholar, and respected administrator, than this oft-quoted Shakespearean phrase? Dr. Burris, who retired in August 1966, after twenty-eight years of service at New Mexico Highlands University, left his mark on that small southwestern university. He joined the faculty at Highlands in 1938 as head of the English department. Prior to that, he had taught English at Millikin University, at the University of Illinois, at Charleston College, and at Purdue University. A native of Illinois, Burns received all his college degrees—B.A., M.A., and Ph.D.—at the University of Illinois. In 1924, he was elected to Phi Beta Kappa, one of his many academic honors. While at Highlands, Professor Burris served ably in many capacities. He guided the English department until 1952, when he was named academic dean. Under his direction, the curriculum throughout the entire undergraduate school evolved into what was truly a liberal arts program. In 1961, he was confirmed as vice-president of the university, a position which he held concurrently with his deanship until his retirement. Despite his heavy administrative and academic load, Professor Burris found time to serve the community. He served on the Las Vegas City School Board, as chairman of the Las Vegas Library Board, on the board of both the Community Concert Association and the Las Vegas Fine Arts Committee, and worked actively within his church. His many efforts, both academic and civic, brought him considerable recognition, including being named to Who's Who in America. Even with these duties, Dr. Burris found time to continue his scholarly pursuits. For example, one of his short stories, a study of a New Mexico village, won a "Best Short Story" award in 1952. He also translated several
{"title":"Quincy Guy Burris, 1954-1955","authors":"R. Newton","doi":"10.1353/rmr.1968.0010","DOIUrl":"https://doi.org/10.1353/rmr.1968.0010","url":null,"abstract":"What words could more appropriately describe Dr. Quincy Guy Burns, accomplished teacher, Elizabethan scholar, and respected administrator, than this oft-quoted Shakespearean phrase? Dr. Burris, who retired in August 1966, after twenty-eight years of service at New Mexico Highlands University, left his mark on that small southwestern university. He joined the faculty at Highlands in 1938 as head of the English department. Prior to that, he had taught English at Millikin University, at the University of Illinois, at Charleston College, and at Purdue University. A native of Illinois, Burns received all his college degrees—B.A., M.A., and Ph.D.—at the University of Illinois. In 1924, he was elected to Phi Beta Kappa, one of his many academic honors. While at Highlands, Professor Burris served ably in many capacities. He guided the English department until 1952, when he was named academic dean. Under his direction, the curriculum throughout the entire undergraduate school evolved into what was truly a liberal arts program. In 1961, he was confirmed as vice-president of the university, a position which he held concurrently with his deanship until his retirement. Despite his heavy administrative and academic load, Professor Burris found time to serve the community. He served on the Las Vegas City School Board, as chairman of the Las Vegas Library Board, on the board of both the Community Concert Association and the Las Vegas Fine Arts Committee, and worked actively within his church. His many efforts, both academic and civic, brought him considerable recognition, including being named to Who's Who in America. Even with these duties, Dr. Burris found time to continue his scholarly pursuits. For example, one of his short stories, a study of a New Mexico village, won a \"Best Short Story\" award in 1952. He also translated several","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127192474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Joseph Heller's Catch-22 and Ken Kesey's One Flew Over the Cuckoo's Nest have been heralded as prominent political-literary statements of the American New Left. Subversive and irreverent, these novels boldly confront the shape and aims of the authority-structure. As New Left literature they challenge the divine right of American Authority by ridiculiug all jingoism underlain by the arrogant assumption that a hotline wires the Structure to Divinity. Colonel Cathcart, for example, speaking for the commanding officers in Heller's novel, asks unbelievingly, "What are you talking about? You mean they [the enlisted men] pray to the same God we do?" (p. 199).1 The two novels have been revered by the young if only because they attest to the Basic Conflict-enlisted men vs. officers, idealism and change vs. rigidity. Politically powerless, America's young can envision themselves as Yossarians combatting their personal Cathcarts. The themes of the novels are, of course, representative of the Sixties: man in alienation from himself, society, God and the past; man rootless and unstable in a world spinning away madly and irretrievably. As Paul Goodman has written, "History is out of control. It is no longer something that we make but something that happens to us ... What is the psychology of feeling that one is powerless to alter basic conditions? What is it as a way of being in the world?"2 The New Left conceives of Authority as intrinsically wicked and selfseeking, so that its primary concerns become self-perpetuation and omnipotence. In Catch-22 the diabolical General P.P. Peckem informs an incredulous subordinate that he can do anything not forbidden by law and there is no law against lying. General Dreedle indignantly asks, "You mean I can't shoot anyone I want to?" (p. 228). The essence of the best catch of all, catch-22, is that "they [Authority] have a right to do anything we can't stop them from doing" (p. 416). Likewise, in Kesey's novel the hospital wards compete for prizes given to the group which cooperates most with Big Nurse Ratched, the self-proclaimed divinity of a mental institution. The body of criticism of Catch-22 and Cuckoos Nest, in suggesting the inevitability of permanent warfare with the Structure, has largely ignored
{"title":"Blindfolded and Backwards: Promethean and Bemushroomed Heroism in One Flew Over the Cuckoo'S Nest and Catch-22","authors":"William Schopf","doi":"10.1353/RMR.1972.0009","DOIUrl":"https://doi.org/10.1353/RMR.1972.0009","url":null,"abstract":"Joseph Heller's Catch-22 and Ken Kesey's One Flew Over the Cuckoo's Nest have been heralded as prominent political-literary statements of the American New Left. Subversive and irreverent, these novels boldly confront the shape and aims of the authority-structure. As New Left literature they challenge the divine right of American Authority by ridiculiug all jingoism underlain by the arrogant assumption that a hotline wires the Structure to Divinity. Colonel Cathcart, for example, speaking for the commanding officers in Heller's novel, asks unbelievingly, \"What are you talking about? You mean they [the enlisted men] pray to the same God we do?\" (p. 199).1 The two novels have been revered by the young if only because they attest to the Basic Conflict-enlisted men vs. officers, idealism and change vs. rigidity. Politically powerless, America's young can envision themselves as Yossarians combatting their personal Cathcarts. The themes of the novels are, of course, representative of the Sixties: man in alienation from himself, society, God and the past; man rootless and unstable in a world spinning away madly and irretrievably. As Paul Goodman has written, \"History is out of control. It is no longer something that we make but something that happens to us ... What is the psychology of feeling that one is powerless to alter basic conditions? What is it as a way of being in the world?\"2 The New Left conceives of Authority as intrinsically wicked and selfseeking, so that its primary concerns become self-perpetuation and omnipotence. In Catch-22 the diabolical General P.P. Peckem informs an incredulous subordinate that he can do anything not forbidden by law and there is no law against lying. General Dreedle indignantly asks, \"You mean I can't shoot anyone I want to?\" (p. 228). The essence of the best catch of all, catch-22, is that \"they [Authority] have a right to do anything we can't stop them from doing\" (p. 416). Likewise, in Kesey's novel the hospital wards compete for prizes given to the group which cooperates most with Big Nurse Ratched, the self-proclaimed divinity of a mental institution. The body of criticism of Catch-22 and Cuckoos Nest, in suggesting the inevitability of permanent warfare with the Structure, has largely ignored","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114196028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ethnic Studies: Benefit or Boondoggle?","authors":"Leslie A. Field","doi":"10.1353/RMR.1972.0014","DOIUrl":"https://doi.org/10.1353/RMR.1972.0014","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117244687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Together with a phenomenal revival of enthusiasm for Baroque art in recent decades has come a rediscovery of literary movements and writers of that age who for several centuries were scarcely noticed, or if noticed, were held up to ridicule. One of the most atrociously maligned of those authors was the Italian poet Marino. In his own time he was regarded by many as the poet laureate of Europe; and many of the poets of his and the succeeding generation form the school of "Marinismo." In Italian literature Marinismo is synonymous with Baroque; consequently, I shall focus my discussion on the chief exemplar, Marino, and his place in the movement. Marino's major work, the Adone (Adonis in English), was published in Paris in 1623, the same year as the First Folio of Shakespeare; and the appearance of Adone was heralded throughout Europe as an occasion of major importance. The poem was generally received with great enthusiasm and for half a century was esteemed one of the most brilliant achievements of the era. Such enthusiasm on the part of contemporaries, even if it does not now seem entirely justified, compels us, as students of the period, to take serious cognizance of the work. One point is immediately evident: Marino's poem was of and for the aristocracy, an aspect which reveals a kinship with the architecture and much of the painting, sculpture, and music of the movement. Marino spent his adult years in court circles in Naples, Rome, Turin, and Paris; he admired the external brillance that those courts had attained; and his poem reflects their visible image and their values to a considerable degree, as we shall see. The body of Marino's poetry includes, in addition to Adone, several hundred lyrics, amorous, religious, and eulogistic; a large collection of poems on artists and works of art (La Galleria); a fine group of mythological tales (La Sampogna); and a short religious epic, La Strage degr Innocenti (The Slaughter of the Innocents). This last work brought Baroque intricacy and flair to the already popular epics on Biblical themes. Crashaw's translation of the first canto, entitled Sospetto d' Herode, is, incidentally, more Marinistic than the original. The first aspect of Marinismo to be examined should be its style, which was its trademark. The writers and critics of the age characterized their writing with the terms ingegno and acutezza, signifying "wit," "ingenuity," or "the genius of creativity." Remember that the writers and artists of the early seventeenth century were awed by the masters of the Renaissance and
{"title":"Marino and Italian Baroque","authors":"H. Priest","doi":"10.1353/rmr.1971.0004","DOIUrl":"https://doi.org/10.1353/rmr.1971.0004","url":null,"abstract":"Together with a phenomenal revival of enthusiasm for Baroque art in recent decades has come a rediscovery of literary movements and writers of that age who for several centuries were scarcely noticed, or if noticed, were held up to ridicule. One of the most atrociously maligned of those authors was the Italian poet Marino. In his own time he was regarded by many as the poet laureate of Europe; and many of the poets of his and the succeeding generation form the school of \"Marinismo.\" In Italian literature Marinismo is synonymous with Baroque; consequently, I shall focus my discussion on the chief exemplar, Marino, and his place in the movement. Marino's major work, the Adone (Adonis in English), was published in Paris in 1623, the same year as the First Folio of Shakespeare; and the appearance of Adone was heralded throughout Europe as an occasion of major importance. The poem was generally received with great enthusiasm and for half a century was esteemed one of the most brilliant achievements of the era. Such enthusiasm on the part of contemporaries, even if it does not now seem entirely justified, compels us, as students of the period, to take serious cognizance of the work. One point is immediately evident: Marino's poem was of and for the aristocracy, an aspect which reveals a kinship with the architecture and much of the painting, sculpture, and music of the movement. Marino spent his adult years in court circles in Naples, Rome, Turin, and Paris; he admired the external brillance that those courts had attained; and his poem reflects their visible image and their values to a considerable degree, as we shall see. The body of Marino's poetry includes, in addition to Adone, several hundred lyrics, amorous, religious, and eulogistic; a large collection of poems on artists and works of art (La Galleria); a fine group of mythological tales (La Sampogna); and a short religious epic, La Strage degr Innocenti (The Slaughter of the Innocents). This last work brought Baroque intricacy and flair to the already popular epics on Biblical themes. Crashaw's translation of the first canto, entitled Sospetto d' Herode, is, incidentally, more Marinistic than the original. The first aspect of Marinismo to be examined should be its style, which was its trademark. The writers and critics of the age characterized their writing with the terms ingegno and acutezza, signifying \"wit,\" \"ingenuity,\" or \"the genius of creativity.\" Remember that the writers and artists of the early seventeenth century were awed by the masters of the Renaissance and","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114545447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Twenty-Second Annual Meeting of the Rocky Mountain Modern Language Association Colorado Springs at the Invitation of The United States Air Force Academy in association with Colorado College","authors":"N. Cross, Ray Newton, C. M. Segura, R. Armstrong","doi":"10.1353/rmr.1968.0022","DOIUrl":"https://doi.org/10.1353/rmr.1968.0022","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131288259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Colorado State University was established at Fort Collins in 1870 as "The Agricultural College of Colorado" by the Council and House of Representatives of Colorado Territory. President Elmer E. Edwards and his two professors greeted 19 students for the school's first class in 1879. That same year CSU was designated as Colorado's land-grant college under the terms of the federal Morrill act. As a land-grant college die school was known as the "Colorado Agricultural and Mechanical College" until 1957 when the Colorado General Assembly re-designated it as "Colorado State University." The University is governed by the State Board of Agriculture, which is also die controlling body for die Colorado Experimental Station, the Cooperative Extension Service, the Colorado State Service and Fort Lewis College at Durango. The board consists of eight members appointed by the Governor and confirmed by the Senate. Board member terms are eight
{"title":"Colorado State University","authors":"J. C. Evans","doi":"10.1353/rmr.1969.0024","DOIUrl":"https://doi.org/10.1353/rmr.1969.0024","url":null,"abstract":"Colorado State University was established at Fort Collins in 1870 as \"The Agricultural College of Colorado\" by the Council and House of Representatives of Colorado Territory. President Elmer E. Edwards and his two professors greeted 19 students for the school's first class in 1879. That same year CSU was designated as Colorado's land-grant college under the terms of the federal Morrill act. As a land-grant college die school was known as the \"Colorado Agricultural and Mechanical College\" until 1957 when the Colorado General Assembly re-designated it as \"Colorado State University.\" The University is governed by the State Board of Agriculture, which is also die controlling body for die Colorado Experimental Station, the Cooperative Extension Service, the Colorado State Service and Fort Lewis College at Durango. The board consists of eight members appointed by the Governor and confirmed by the Senate. Board member terms are eight","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131927136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMMLA Past Presidents: VI: Edward L. Hart, 1957-1958","authors":"D. Farnsworth","doi":"10.1353/RMR.1969.0020","DOIUrl":"https://doi.org/10.1353/RMR.1969.0020","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133323806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Instant Publication","authors":"W. Thompson","doi":"10.1353/rmr.1969.0005","DOIUrl":"https://doi.org/10.1353/rmr.1969.0005","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114607893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RM-MLA Past Presidents: II Stuart Cuthbertson 1950-1951","authors":"B. Udick","doi":"10.1353/RMR.1968.0032","DOIUrl":"https://doi.org/10.1353/RMR.1968.0032","url":null,"abstract":"","PeriodicalId":344945,"journal":{"name":"Bulletin of the Rocky Mountain Modern Language Association","volume":"107 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132242001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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