RMMLA Member Publications
We are happy to include a listing of the recent publications of our members.
The entries are presented in alphabetical order by author. All publication
information has been provided by the members themselves. Please email us at
rmmla@wsu.edu if you would like us to
showcase your recent work. You may include a short description if you wish.
* * * * *
Albrecht Classen, ed.
- The Poems of Oswald von Wolkenstein: An English Translation
of the Complete Works (1376/77-1445). The New Middle Ages.
New York: Palgrave Macmillan, 2008.
- Sexuality in the Middle Ages and Early Modern Times: New Approaches
to a Fundamental Cultural-Historical and Literary-Anthropological
Theme. Fundamentals of Medieval and Early Modern Culture, 3.
Berlin and New York: de Gruyter, 2008).
- Words of Love and Love of Words in the Middle Ages and
the Renaissance. Medieval and Renaissance Texts and Studies,
347. Tempe: Arizona Center for Medieval and Renaissance Studies, 2008.
Isabelle Constant (University of the West Indies)
Lee B. Croft, Barry Boosman, Katherine Lutz, James C. Nielsen,
Aimee M. Raymer
- Russian in Arizona: A History of Its Teaching.
Tempe: Institutional History Series, 2007.
Robert Sargent Fay
- Ocian in View! O! the Joy: A Collection of Photographs of the
American West.
Putnam, VT: Landmark College, 2006.
Kim Fordham (University of Alberta, Augustana)
Mimi Gladstein and Daniel Chacon, eds. (University of Texas, El Paso)
Aleksandra Gruzinska, ed. (Arizona State University)
Monique Manopoulos (Idaho State University)
Kristine Miller (Utah State University)
Bellarmin Moutsinga (Université Omar Bongo, Libreville, Gabon)
- Le Chant de l'aube.
L'Harmattan, 2008.
- La Malédiction de la Côte.
L'Harmattan, 2008.
- Les Orthographes de l'oralité:
poétique du roman gabonais.
L'Harmattan, 2008.
Eric Wertheimer (New College of Interdisciplinary Arts and Sciences,
Arizona State University)
Robert Ziegler (Montana Tech)
-
The Nothing Machine: The Fiction of Octave Mirbeau. Amsterdam, New York:
Editions Rodopi, 2007.
Contrasting the Decadents' aesthetic of elegant morbidity with Mirbeau's
vitalistic view of fiction, this volume shows Mirbeau modeling himself
on the figure of the torture artist, cutting up his finished works, building
novels to disassemble them, fitting them together in revolutionary ways.
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