Vestimentary eponyms in contemporary Spanish language by Y. V. Slivchikova

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Knowledge and Perception of Eponyms in Chemistry by University Students in Belarus and the United States by U. K. Slabin

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Proper Names as an Ethnocultural Text: Nogai Place Names as Determinants of Ethnic Memory by Mariia Bulgarova

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Eponymy as an integral part in English terminology of oil and gas transportation and storage by I. A. Shuytseva

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Deimel Claus and Elke Ruhnau, Jaguar and Serpent. The Cosmos of Indians in Mexico and South America (catalogue de l’exposition éponyme au Landesmuseum de Hanovre ; traduit de l’allemand par Ann Leslie Davis), Dietrich Reimer Verlag, Berlin, 2000, 236 p., ill., cartes by Emmanuel Désveaux

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Sages comme des images ? Les héroïnes sensationnalistes et le monde de la mode by Laurence Talairach-Vielmas

“…In Mary Elizabeth Braddon’s Lady Audley’s Secret (1861-1862), the detective must learn to read pictures, from a Pre-Raphaelite portrait to books of beauties, so as to unveil the identity of the eponymous heroine, discovering in the process the way consumer society breeds female duplicity.…”
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Entre air et terre : les éléments dans Aurora Leigh d’Elizabeth Barrett Browning by Marianne Camus

“…Surprisingly enough, despite the fact that it is strongly associated with femininity, Elizabeth Barrett Browning has no use for water as an element in her narrative of Aurora Leigh’s progress as a poet in the eponymous poem. Fire is only used in its usual purifying function, for the male protagonist. …”
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Muzyczne harmonie i harmonia świata. „Pieśni Ziemi i Mocy” Grega Beara by Joanna Kokot

“…The paper explores the relation between music and magic, or rather between art and magic, artistic works being the eponymous songs of power, as well as the meaning of music as it is interpreted in Bear’s dylogy.…”
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Les affiches de la lutte contre le sida by Alexandre Klein, Gabriel Girard

“…Among these productions, the posters occupy a special place as they characterized – one thinks only of the famous Silence = Death of the eponymous collective which alone embodies the epidemic and its political issues – both the prevention strategy against HIV and related socio-political mobilizations. …”
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De « La Vieille Henriette » à Aline : ethnogénétique d’une filiation et d’une affiliation by Françoise Ménand Doumazane

“…The recent discovery of the manuscript “La Vieille Henriette”, Ramuz’ completed but unpublished novel, dated March 9-May 5, 1904, calls for a re-examination of the “avant-texts” of Aline, started in the summer of 1904. Indeed, the eponymous character of the unpublished novel reappears with the same name as a protagonist in the “Manuscript 1” of Aline, and is still present in the original April 1905 edition, while losing most of her narrative efficiency. …”
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The battle of Nedao. A new hypothesis by Tomislav Zaja

“…The battle’s location to this day is unknown, since its eponymous marker (the Nedao River) remains unidentified. …”
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The French aire in Jane Eyre by Emily Eells

“…This article examines how Brontë makes French into a kind of licence for freedom of speech issued to both the eponymous heroine of the novel and the novelist herself. …”
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‘His Own Nearer Household Gods’: Pagans, Christians, and Marius the Epicurean’s Religious Hermeneutics by Jude Wright

“…Yet, Pater’s novel is distinct from these others, for while it follows the familiar trajectory of works in this vein, tracing the progress of the eponymous protagonist from paganism to Christianity, Marius’s conversion is portrayed primarily as a movement across a spectrum of belief that is tied directly through aesthetics back to the pagan religiosity that Marius grew up participating in. …”
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La maison hantée ou le miroir du territoire à conquérir dans « Dolph Heyliger » de Washington Irving by Françoise Buisson

“…Moreover, after meeting the ghost wandering in the haunted house, the eponymous hero is compelled to leave the microcosm of “the Manhattoes” and to explore the wilderness surrounding his “sleepy hollow.” …”
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Répression et résurgence du judaïsme dans Daniel Deronda : les voies de la masculinité sont-elles impénétrables ? by Gilbert Pham-Thanh

“…It explores the fault lines of the British androcentric system through the diegetic itinerary of its eponymous hero and his compatriots, who cut unremarkable figures of respectability. …”
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« A unique aura of ancient, elemental evil » : les migrations du feu dans The Great God Pan (1894) d’Arthur Machen by Anne-Sophie Leluan-Pinker

“…The latter, the monstrous progeniture of the young patient and of the eponymous satanic entity, is repeatedly associated with an impure underground fire, a sign of her transgressive all-consuming sexuality. …”
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« Never was there a happier partnership » : les illustrations d’Arthur Hughes pour At the Back of the North Wind de George MacDonald by Catherine Persyn

“…Last but not least, the eponymous character of the story and mouthpiece of the author’s philosophical views, the magical North Wind, whose sole mention immediately calls to mind the most inspired and best-known engravings of the whole series, deserved to be studied at some length, which is done under the heading : You Cannot Barre Love Oute.…”
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Linguistic Misogyny as a Parodic Device: Valspeak Markers in Jimmy Fallon’s “Ew!” by Pierre Habasque

“…The analysis focuses on ‘Valley Girl talk,’ also known as Valspeak, popularized in the 1980s in California by Frank Zappa’s eponymous hit song, which parodied the sociolect. The corpus is composed of a sketch entitled ‘Ew!’…”
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Is Creaky Voice a Valley Girl Feature? Stancetaking & Evolution of a Linguistic Stereotype by Pierre Habasque

“…The ‘Valley Girl’ stereotype came to be known in 1982 thanks to Frank & Moon Zappa’s eponymous hit song, which associated a wide variety of linguistic markers with the persona of a white, privileged, vapid, female adolescent. …”
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The Haunted World of El Superbeasto (Rob Zombie, 2009): An Animated Exploitation of Exploitation Cinema by Pierre Floquet

“…This animation film is not just an adaptation of the eponymous graphic novel, but, rather, an exploitation of the tricks and clichés of exploitation cinema in the form of animated cinema. …”
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