French 17: An Annual Descriptive Bibliography of French Seventeenth-century Studies.

PART IV — LITERARY HISTORY AND CRITICISM

ABBEELE, GEORGES VAN DEN. Travel as Metaphor: From Montaigne to Rousseau. Minneapolis: Univ. of Minnesota Press, 1992.

Review: Lisa Neal in P&L 17 (1993), 134–36: This book "goes beyond a mere illustration of the commonplace of travel as a metaphor for critical thought in order to investigate the extent to which the metaphor of travel might actually limit thought. In a series of readings examining the figure of travel in the writings of Montaigne, Descartes, Montesquieu, and Rousseau, . . . A. repeatedly exploits the Derridian paradox of the `proper': . . . [e.g.,] error can only be imagined when contained within the structure of truth (Descartes) . . . ." "The historical dimension of this study . . . may be more valuable for current scholarship," says N., "than certain deconstructive exercises performed by A. which are, by this time, relatively familiar." "The four chapters reiterate the theme of filial succession, often expressed in terms of the oedipus complex. . ." but are not redundant in the reviewer's opinion. The book might have been improved, she believes, had the editors chosen "to emend its highly Gallicized diction and frequently unidiomatic style."

ABRAHAM, CLAUDE. "Juifs et judéité dans la tragédie classique: Hérode et Mariamne." Littératures classiques 16 (printemps 1992), 247–57.

". . . dans les nombreuses versions de l'histoire d'Hérode et de Mariamne qui ont vu le jour et la scène au dix-septième siècle et au début du dix-huitième, ces deux Juifs sont toujours présentés non pas tels qu'ils ont été, ou même tels qu'ils auraient pu être, mais tels que les contemporains de Hardy, de Tristan, ou de Voltaire voulaient qu'ils aient été."

ALLOTT, TERENCE. "The Fable Comes of Age, 1620–1650." SCFS, 15 (1993), 85–98.

Valuable overview of 17th-c. "maturity" of the fable. Traces schools' use of texts from 1608 Jesuit ed. to the 1682 Eton ed. and transformations of the Planudean Vita (especially interesting for Mézirac's 1632 politicized rewriting of it and the fable into the Age of Richelieu. Final focus of analysis on Audin's Fables héroiques comprenant les véritables maximes de la politique chrétienne et de la morale (1648). La Fontaine's Fables choisies proposed as "a rejection of much that had happened to the fable form during the Age of Richelieu, attested in the paratext of the Vie and the preface.

ALTER, JEAN. A Sociosemiotic Theory of Theatre. Philadelphia: Univ. of Pennsylvania Press, 1990.

Review: Marvin Carlson in TDR 37.2 (1993), 174–78: The author is interested in "the social and the specifically theatrical nature of the theatre experience. A.'s most original work appears," according to C., "in the first two of his four chapters. Here he discussses the relationship between the traditional semiotic view of theatre, which he calls its referential function, with the more phenomenological performant function." "A.'s second chapter discusses the specific workings of referentiality in the theatre . . . ." "The third chapter considers the theatre as a series of transformations, and his final chapter considers the work, especially its social ramifications, of playwrights, directors, and actors." C.'s evaluation is basically favorable.

See French 17 (1992).

ALTMAN, JANET GURKIN. "Espace public, espace privé: la politique de la publication de lettres sous l'ancien régime." RBPH 70 (1992), 607–23.

"Si le bicentenaire de la Révolution française a encouragé les historiens à faire le point récemment sur les rapports entre la pensée de Haberman (Strukturwandel der Offentlichkeit, 1962) et la recherche actuelle dans le domaine de l'histoire sociale, il serait également utile de repenser l'histoire d'un genre de discours pour lequel l'analyse de Habermans se révèle particulièrement pertinente: le genre epistolaire."

AREY, MARIE-JO. "Un Phénomène de dépendance: L'Amour-maladie chez Sévigné et Proust." SYM 45 (Winter 1992), 243–54.

"Cette étude voudrait d'abord rappeler et discuter brièvement l'essentiel de la critique de Sévigné dans l'oeuvre de Proust, et se concentrer ensuite sur un aspect peut-être moins évident de transmission ou de contamination d'un auteur à l'autre . . . . On présentera ici une manifestation mimétique, à la fois thématique et structurale, d'un texte à l'autre."

BAADER, RENATE. Das Frauenbild im literarischen Frankreich: Vom Mittelalter bis zur Gegenwart. Darmstadt: Wissenschaftliche Buchgesellschaft, 1988.

Review: H. Grauerholz-Heckmann in Archiv 229 (1992), 223–226: 17th c. specialists will particularly benefit from discussions of the salons, bienséance and the précieuses in this wide-ranging study of the image of the woman. Selected bibliography and author and work index.

BACCAR, ALIA BORNAZ, La Mer, source de création litéraire au XVIIe (1640–1671). PFSCL/Biblio 17, 62 (1991).

Review: M. Alcover in CdDS 5.1 (Spring 1991), 287–289: Une étude ambitieuse de la typologie de l'aventure marine, la rhétorique de la mer et les fonctions de la mer dans les oeuvres narratives et dramatiques; on regrette les fautes d'organisation et des lacunes importantes.

Review: M.-C. Canova-Green in MLR 88 (1993), 459–60: "systematic and thorough study" of sea imagery and "its role in seventeenth-century fiction and drama."

Review: Kathryn Willis Wolfe in SCN 51.1–2 (1993), 20: "This study uses both the Bachelardian interpretation of water and the study of baroque thematics to study the treatment of the sea in French novels and drama of the 17th century," from Gomberville's La Cythérée to Bouhours' Entretiens d'Eugène et d'Ariste. Since Baccar keeps deploring the banality of most descriptions and narrations, the reviewer feels she may have missed "what John Lapp", in his essay The Brazen Tower, "calls `secret myths' or `sunken imagery' as partaking of rhetoric or imagery associated with a myth."

See French 17 (1991).

BAUSTERT, RAYMOND. "Raison et avant-passion dans les lettres de consolation de 1600 à 1650." SFr 107 (1992), 217–237.

So far, scholars have carefully defined 17th-century society's attitude towards death, and literary genres like the 'oraison funèbre' have been studied extensively. Baustert analyses a less known genre, the 'lettres de consolation' and examines themes and rhetorical argumentation, all based on an opposition between reason and passion's immediate manifestations. Letters reveal how profound was Seneca's influence on early 17th-century baroque literature.

BELLENGER, YVONNE, GABRIEL CONESA, JEAN GARAPON, CHARLES MAZOUER, et JEAN SERROY, éds. L'Art du théâtre. Mélanges en hommage à Robert Garapon. Paris: PUF, 1992.

BERTAUD, MADELEINE et ANDRE LABATIT, Eds. Amour tragique, amour comique, de Bandello à Molière. Actes de la journée d'étude du 9 nov. 1987 du Centre de Philologie et de Littératures romanes de Strasbourg. Paris: SEDES, 1989.

Review: L. Godard de Donville in RHL 93.2 (mar/avr 93), 256–257: Sept communications nous offrent "la synthèse de pénétrantes réflexions sur des textes consacrés," avec attention à La Calprenède, Thomas Corneille et Molière.

See French 17 (1991).

BERTHIERE, SIMONE and LUCETTE VIDAL. Anthologie de la littérature française: XVIIe siècle. Paris: Union Général d'Edition, 1993.

Review: François Bott in Le Monde (11 June, 1993), 26: Periodization, 1600–1660, "choix décisifs," 1660–1685, "l'autorité monarchique," 1685–1715, "l'esprit critique." Reviewer applauds inclusion with "les stars" of Balzac, Maynard, Bayle.

BERTRAND, DOMINIQUE. "Traduction et effets comiques." Littératures Classiques 13 (1990), 239–249.

A study on some 17th-century French translators' views on the rendition of "effets comiques" of foreign literary works. Michel de Marolles, in his Remarques following his edition of Plautus's Comédies, developed a "stylistique comique."

BOLDUC, BENOIT, ed. Andromède délivrée, intermède anonyme (1623). PFSCL/Biblio 17, 70 (1992).

Review: C. Delmas in RHL 93:2 (mar/avr 93), 257: La nature de l'intermède reste incertaine, malgré l'effort "d'attirer l'attention sur une 'littérature' de circonstance destinée à la consommation courante."

Review: P. Gethner in PFSCL 20, 38 (1993), 211–212: Critical edition of an intermède, an anonymous 406-line, 3-act tragedy published in 1624. An "extremely valuable edition" of a "very readable play."

BOUCQUEY, THEIRRY, "Choréographie cadavérique: la Fabrica de Vésale et le monde à l'envers." Continuum 5 (1993) 1–14.

Etude qui examine ". . . les nombreux points de suture liant l'examen anatomique vésalien, son texte et ses illustrations, au théâtre bouffon de son époque."

_________. Mirages de la farce. Fête des fous, Bruegel et Molière. Amsterdam/Philadelphia: John Benjamins, 1991.

Review: B. C. Bowen in FrF 17 (1992), 337–339: This small volume has an ambitious and exciting goal but the attempt to relate these particular examples of literature to art fails, in the opinion of the reviewer. A pluralistic and often jargon-laden approach guides B.'s examination of the Feast of Fools, French farce, Bruegel's paintings and Molière's Amphitryon and Malade imaginaire. Reviewer does find some analyses "lively and provocative" but points out numerous errors and unhelpful generalizations.

BRADBY, DAVID, ed. Landmarks of French Classical Drama. London: Methuen Drama, 1991.

Review: M. Sorrell in MLR 88 (1993), 461–62: Volume contains five masterpieces of French drama from the seventeenth and eighteenth centuries in translation, "all produced on the British professional stage in the 1980's . . . ." These include David Bryer's translation of Le Cid; Robert David MacDonald's trans. of Phèdre; C. Hampton's Tartuffe; J. Fowles's Le Jeu de l'amour et du hasard; W. Gaskill's Le Mariage de Figaro. "This is a worthwhile book, especially for the person concerned with literary and dramatic translation."

BRAIDER, CHRISTOPHER. Refiguring the Real: Picture and Modernity in World and Image, 1400–1700. Princeton, NJ: Princeton UP, 1993.

Review: Ronald Bogue in P&L 17 (1993), 372–74: Book described as a "rich and subtle study of the tensions between image and text in Renaissance and Baroque painting and culture." "B. argues for an essential reciprocity between word and image in the modern era, but his emphasis finally is on pictorial naturalism as an autonomous and empirically grounded force that transforms Western thought by problematizing all efforts to impose a textual signification of the real." Includes comparison of Descartes's Discours and Vermeer's The Art of Painting, which "are juxtaposed to demonstrate the essentially visual and perspectival nature of the Cartesian cogito . . . ." The study also contains what B. calls "a masterful analysis of the incipient sublime of Poussin's classicism . . . ." "This is an important book," says B., "exemplary in its integration of close exegesis, complex historical analysis, and broad theoretical speculation."

BROWN, MARSHALL and JOHN C. COLDEWEY, eds. "The State of Literary History." MLQ 54.1 (1993).

Special issue containing an interesting and provocative collection of seventeen articles addressing this topic.

BRUNSWIC, ANNE. "La Tragédie classique." Lire 209 (Feb., 1993), 103–12.

Attractive, strikingly illustrated "dossier." "Pour tous" (including perhaps a beginning class). Interview with Daniel Mesguich.

CAIRNCROSS, JOHN. "The Uses of History: Molière and Louis XIV Revisited." ELF 58 (1993), 25–31.

C. views as critical "a serious and sustained effort . . . to bridge the gap between literary studies and the theatre. A more extensive use of history in all fields of Molière's activities would also undoubtedly infuse fresh life into that effort." C. illustrates his thesis with a discussion of Amphitryon in the context of the battle over Tartuffe.

CARLIN, CLAIRE. "Weighty Thoughts on a Heavyweight." Continuum 5 (1993) 245–250.

A review article of Serge Doubrovsky's Autobiographiques: de Corneille à Sartre (Paris: PUF, 1988) and Michel Prigent's Le Héros et l'Etat dans la tragédie de Pierre Corneille (Paris: PUF, 1986/1988). C. highlights interesting and differing readings in these works and comments on shortcomings in method and research.

CAVE, TERENCE. Recognitions: A Study in Poetics. Oxford: Clarendon Press, 1988.

Review: See Pasco below.

CHAMPS DU SIGNE. Sémantique Rhétorique Poétique, no. 3. Toulouse: Presses Universitaires du Mirail, 1992.

Review: Pierre Malandain in RSH 230 (1993), 208–09: Third number of this "nouvelle revue de Toulouse" includes article on Molière ("archaïsmes de Chrysale") and "la très solide contribution de B. Vouilloux sur Challe," in which the critic "étudie deux fondements du fameux 'réalisme' challien, qu'il préfère appeler le 'réalisable': le portrait . . . et 'la détaille' . . . ."

CHAUVEAU, JEAN-PIERRE. Anthologie de la poésie française au XVIIe siècle. Paris: Gallimard, 1992.

Review: A. C. in CTH 15 (1993), 55: Augmented and corrected 2nd printing (first, 1987) on superior paper. 70 poets in all. Reviewer recalls the "trop peu cité" Cent poètes lyrique, précieux, burlesque by Paul Plivier (1898).

_______. "La Voix des poètes." Littératures Classiques 12 (1990), 199–212.

Early 17th-century poets upheld the Renaissance `vision orphique' of poetry's creative power.

CLEMENT, MICHELE. "L'Impossible Représentation: l'image chez quelques poètes baroques." SFr 107 (1992), 297–300.

A close examination of some poems by J.-B. Chassignet, Claude Hopil and Lazare de Selve which shows a tension between vision and non-vision. It leads Clément to ask "ce qui semble le triomphe de l'imaginaire dans la poésie baroque ne serait-il pas plutôt la mise en scène de la défaillance de l'image?".

COLE, SUSAN LETZER. The Absent One. University Park: Pennsylvania State UP, 1991.

Review: Carol Martin in TDR 37.1 (1993), 178–79: Theauthor "argues that there is a deep structural relationship between ritual mourning and tragic drama. This relationship, born out of C.'s theory that tragic drama has its originary impulse in funerary ritual, is marked by the enactment of ambivalence and a number of other components of tragedy." C.'s "theory proceeds from an analysis of the ritual performance of mourning in three cultures . . . ." Racine's Phèdre is one of the dramatic works "discussed at length" in this book, which, according to M., "stands out as a work that is both intellectually and emotionally engaged." "One major caveat is that C. focuses . . . on the mourning of males." M. suggests that the experience of mourning female characters needs to be studied "in light of C.'s theory."

COLEMAN, KATHLEEN. Guide to French Poetry Explication. Boston: G.K. Hall, 1993.

Review: R. T. Ivey in Choice 31 (1993), 426: Noting that "...few works...provide access to criticism of French poetry...," I. finds that "this guide fills a need." Coverage is limited to "explications published between 1960 and 1990 in Engish and French, and to poets that appeared in editions published in the 19th and 20th centuries. The largest section...is an alphabetical listing of poets ranging from ... Marie de France to Yves Bonnefoy. For each poet, individual poems are listed alphabetically, followed by critical writings about that poem. A shorter Section... lists critics for whom five or more explications are listed. The critics belong to many literary schools of thought. In the guide's simplicity lies it strength...," the reviewer asserts.

CORNILLE, JEAN-LOUIS. "Le soi disant." RSH 224 (1991), 43–62.

This article focuses mainly on Michel Leiris, with numerous references to various works by L., especially L'Age d'homme. Descartes and Discours de la méthode also figure extensively in C.'s discussion.

CORUM, ROBERT T. JR. "Reduction Redux." Continuum 5 (1993) 221–224.

A review article of Wilfried Floeck's Esthétique de la diversité. Pour une histoire du baroque littéraire en France. (PFSCL/Biblio 17, 43 [1989]) in which C. suggests that "while the reader can admire his [Floeck's] impressive erudition and take pleasure in this guided tour . . . the result does little to advance our understanding of the era."

CORVIN, MICHEL, ed. Dictionnaire encyclopédique du théâtre. Paris: Bordas, 1991.

Review: Martin Banham in ThR 18 (1993), 154: The editor of this volume "offers what he claims to be the first publication of its kind in the French language — an encyclopaedia of theatre with an international perspective." "Supported by over 200 contributors . . ., [c.] has produced a lively and scholarly work of reference that usefully complements others and . . . often extends or refocuses information available elsewhere." In B.'s opinion, this work "makes an important and individual contribution to theatre scholarship."

COUTON, GEORGES. Ecritures codées. Essais sur l'allégorie au XVIIe siècle. Paris: Aux Amateurs de Livres, 1990.

Review: Harriet Allentuch in FR 66 (1993), 622–23: Insists that allegory is the fundamental mode of thinking and imagining, for the 17th century, as well as a means of ornamentation, adulation, propaganda. Initially a series of public lectures, "sondages" in various areas, begins with an essay on the vocabulary, then goes on to Biblical readings, particularly of Port-Royal, a sermon by Bossuet, engravings done for the Jesuits, polemics between Corneille and D'Aubignac, essays on antonomesia in a range of texts but particularly Molière and La Bruyère. "Wonderful illustrations." Limitations of this very rich scholarship are an exclusive attention to French texts without wider and older traditions.

Review: J.-P. Collinet in IL 44.5 (nov/déc 92), 38–39: Un élégant volume qui jette une multitude d'éclairages sur l'époque et ses mentalités. Un "beau modèle d'intelligente et savante pluridisciplinarité."

See French 17 (1992).

CRONK, NICHOLAS. "The Invention(s) of Literary History." Continuum 5 (1993) 185–190.

A review article of Denis Hollier's A New History of French Literature (Cambridge: Harvard UP, 1989) in which C. highlights the advantages and disadvantages of the "fragmented literary history."

CURTIUS, ERNST ROBERT. European Literature and the Latin Middle Ages. Princeton: Princeton UP, 1990.

Review: W.-D. Lange in RF 104 (1992), 200–204: This latest printing with enthusiastic afterword by Peter Godman is treated in a richly documented review in which L. traces numerous and varying appreciations of ERC.'s massive work.

DALLA VALLE, DANIELA. "Inceste et mythe dans le théâtre français du XVIIe siècle." Littératures classiques 16 (printemps 1992), 181–97.

L'auteur se propose "d'analyser comment ce type de thématique est repris et utilisé dans la tragédie française du XVIIe siècle, période pendant laquelle la connaissance humaniste des textes grecs a déjà convié les auteurs à reprendre les mythes anciens, mais le poids de la conscience chrétienne ne peut que modifier profondément le choix de ces mythes." D. V. s'arrête "sur quelques reprises des deux thèmes classiques consacrés à l'inceste majeur, entre la mère et le fils — Oedipe et Phèdre justement —, pour examiner ensuite d'autres pièces, historiques où de fiction, qui semblent circonscrire et confirmer le type d'approche de ce problème au XVIIe siècle." Parmi les auteurs du dix-septième siècle, on trouve P. Corneille, La Pinelière, Grenaille, Tristan, Auvray, Gilbert Bidar, Pradon, Racine.

DAMIANI, BRUNO and BARBARA MUJICA. Et in Aradia Ego: Essays on Death and the Pastoral Novel. Langham: UP of America, 1990. Forward byElias Rivers.

Review: Donna Kuizenga in FR 66 (1993), 806: L'Astrée, one of the six major texts scrutinized, marks the end of a thematic evolution (from Cervantes Galatea) in which death is an omnipresent obsession. "Contrary to superficial expectations, the protrayal of death is as much a key to each text's worldview as its presentation of love." A rich knowledge of classical and Renaissance European literature and contextualizations of contemporary influences contribute to "an exemplary comparative approach."

See French 17 (1992).

DEJEAN, JOAN. Fictions of Sappho 1546–1937. Chicago: Chicago UP, 1990.

Review: Janis L. Palister in SCN 50.3–4 (1992), 71–72: The author "traces four centuries of French traditions . . . regarding Sappho, and with proposing new directions for the understanding" of her poetry, "its subtleties of gender, its complexities of desire, and its multiplicity of voices." The reviewer examines mainly Sappho's presence in 17th-century poetry and the new editions and translations which appeared during the second half of the century. All in all "this complex and intensely scholarly work makes use of the best insights of classical, modern, and specifically modern-feminist criticism."

See French 17 (1992).

DEJEAN, JOAN and NANCY K. MILLER, eds. Displacements: Women, Tradition, Literature in French. Baltimore: Johns Hopkins UP, 1991.

Review: Sharon M. DiFino in SoAR 58.1 (1993), 120–21: "The book [described as "this fine volume"] is divided into three parts. The first part, `Making Canons in France: Histories of the Classic,' reveals the way 'ideologies of gender, art and national identity collaborate and collide in different moments of French history' (x). The second part, entitled `Canons and Contexts: Production, Reception, Revision,'. . . closely examines how women's particiaption has been ignored over the ages and across the genres. . . . The third . . . part, `Canons and Other Voices: Rolocating French Literature,'. . . contains a mixture of interviews, biographical accounts, and essays by women writers from various backgrounds, nationalities, and sexual identities." ". . . the goal of this collection of essays is . . . to raise serious issues that challenge the prevailing views in French literary historiography, which often exclude or marginalize French women writers."

See French 17 (1992).

DELMAS, CHRISTIAN. "L'unité du genre tragique au XVIIe siècle." Littératures classiques 16 (printemps 1992), 103–23.

"Aussi nous paraît-il, même débarrassée de tout a priori sur la filiation et la distinction des genres dramatiques, qu'une approche descriptive toute formaliste et fonctionnaliste de la tragédie dite classique ne saurait à elle seule rendre compte des caractères spécifiques qui la fondent, quasi biologiquement, dans son unité d'organisme vivant. Elle ne saurait non plus en percevoir l'exacte visée, qui n'est pas de simple psychologie, qui n'est pas non plus purement politique, mais engage, comme tout grand théâtre humain, une interrogation global sur la relation de l'être au monde. Par un retournement assez paradoxal, c'est la forme particulière et prétendue marginale de la tragédie à machines qui, par son caractère de théâtre total réunissant des arts multiples et des degrés étagés d'humanité, nous paraît aujourd'hui se prêter à une perception plus équilibrée des modalités et des enjeux du genre la plus générale."

DENS, JEAN-PIERRE. "L'Escole des Filles: premier roman libertin du XVIIe siècle?" CdDS 5.1 (Spring 1991), 239–248.

The 1655 novel is an important precursor of 18th c. libertine literature, in which sexual liberation is accompanied by individual and intellectual self-awareness.

DENYS-TUNNEY, ANNE. Ecritures du corps de Descartes à Laclos. Paris: PUF, 1992.

Review: Renée Waldinger in FR 67 (1993), 126–27: Points to Descartes as iniator of the modern representation of the body and its problems. "Brilliant" analysis centers on the 18th century (Marivaux's break with the précieux novel. Diderot's Nun, La Nouvelle Héloïse, Laclos).

DESIRAT, DOMINIQUE, ed. Réflexions critiques sur la poésie et sur la peinture. By Jean-Baptiste Du Bos. Paris: Ecole nationale supérieure des Beaux-Arts, 1993.

Review: Philippe Dagen in Le Monde des Livres (8 Oct. 1993), 30: High praise for the non-dogmatic, non-systemic insights on painting, writing and their parallel objectives of representation of passions; the particularities of an execution (Molière and Racine as well as Titian or Raphael). Agrees with editor that "Ce qui fait la bonté de cet ouvrage, c'est qu'il n'y a que peu d'erreurs et beaucoup de réflexions vraies, nouvelles, profondes."

DIAZ, BRIGITTE. "Vie des grands auteurs du programme: Les biographies d'écrivains dans les manuels scolaires." RSH 224 (1991), 249–64:

D. discusses "l'historique d'un genre mineur de la biographie d'écrivain" as well as "les enjeux idéologiques et esthétiques de cette captation scolaire du biographique . . . ." D. asks these questions: "Comment l'école écrit-elle ses mythes du 'grand écrivain français'? A quelles exigences critiques et didactiques répondent ces mises en scène scolaires des vies illustres?" Includes brief references to 17th century and to Molière.

DOTOLI, GIOVANNI. Letteratura per il populo en Francia (1600–1750). Fasano: Schena, 1991.

Review: P. Tomlinson in MLR 88 (1993), 460–61: Six essays previously published between 1981 and 1989, revised and updated. The attempt is "to define the mentality of the popular classes and thereupon of the era; the approach adopted is pluri-disciplinary, drawing upon history . . ., anthropology, sociology, psychology, ethnology, and linguistics. . . ."

See French 17 (1992).

DOUBROVSKY, SERGE. Autobiographiques: de Corneille à Sartre. Paris: PUF, 1988.

Review: See Carlin above.

DURANTON, HENRY. ed. Correspondance littéraire du président Bouhier, no. 13 et 14. Saint-Etienne: Presses Universitaires de Saint-Etienne, 1987/1988.

Review: A. Stefenelli in ZRP 108 (1992), 363–365: Careful, valuable edition of extensive correspondance of Jean Bouhier (1673–1746), President of the Parlement de Bourgogne in Dijon and member of the Académie française. Besides being of interest as a record of B.'s personal activities, the letters are an informative document on the period and shed light on philological concerns, the appreciation of literature, a commentary on new editions of Mme de Sévigné for example.

EKSTEIN, NINA. "Reference and Resemblance in the Seventeenth-Century Literary Portrait." SFr 106 (1992), 9–20.

An analysis of the "the question of referentiality" in the 17th-century portrait focusing mainly on Mlle de Montpensier's Divers Portraits and the anonymous Recueil des Portraits et Eloges. The novels of Mlle de Scudéry are also taken into account. Ekstein's study shows that a "mixture of convention, naming and flattery, and not realism, serve as the vehicle for reference and resemblance." So "the portrait despite the varied forces operating against any reference to an existing individual has become an essentially non-fictional genre."

ELIAS, NORBERT. Engagement et distanciation. Contribution à la sociologie de la connaissance. Trans.Michèle Hulin. Paris: Fayard, 1993. Introduction byRoger Chartier.

EMELINA, JEAN. Le Comique. Essai d'interprétation générale. Paris: SEDES, 1991.

Review: D. Bertrand in PFSCL 20, 38 (1993), 234–235: A pragmatic definition of the comic that emphasizes the intention to produce a comic result. The conditions necessary for the existence of the comic and its procedures. Bibliography.

See French 17 (1992).

________. "Le Plaisir tragique." Littératures classiques 16 (printemps 1992), 35–47.

Article qui porte sur la nature et le sens de "`ce plaisir que donne la pitié et la crainte'."

DAS ERBE DES CHRISTIAN ROSENKREUZ. Johann Valentin Andreae 1586–1986 und die Manifeste der Rosenkreuzerbruderschaft 1614–1616. Amsterdam/Stuttgart: In de Pelikaan/Hauswedell, 1988.

Review: P. Fuchs in HZ 255 (1992), 765–767: Representative of present-day scholarship, this collection from the 1986 symposium commemorating Andreae's birth (Amsterdam) includes important contributions ranging from relation of the society to antiquity, the Middle Ages, the Renaissance down to today's New Age religion.

FARRELL, MICHELE. "Early Orientalisms." ECr 32 (1992), 5–13.

Effective point and counterpoint presentation focuses on texts of Mme de Sévigné, Molière, Pascal and gives a perceptive overview of essays in this issue. F.'s definition of "exoticism" is : "signals from within normative French discourse referring to worlds, cultures, and languages outside itself."

FERRIER-CAVERIVIERE, NICOLE, éd. Thèmes et genres littéraires aux XVIIe et XVIIIe siècles. Mélanges en l'honneur de Jacques Truchet. Paris: PUF, 1992.

FLOECK, WILFRIED. Esthétique de la diversité. Pour une histoire du baroque littéraire en France. PFSCL/Biblio 17, 43 (1989).

Review: See Corum above.

See French 17 (1992, 91, 90, 89).

FO, MARIO. The Tricks of the Trade. Trans.Joe Farrell. Ed. Stuart Hood. New York: Routledge, 1991.

Review: Ilona S. Koren-Deutsch in TheatreS 38 (1993), 98–99: "This sprawling, exuberant book is essentially drawn from performance seminars given by F. and his wife Franca Rame at various locations in Europe during the 1980's . . . . Their seminars . . . combined masks, performances, mimes and songs in an effort not only to show their audiences how to be good comic performers, but to teach them the history of comic performance back to the commedia dell'arte troupes, to itinerant medieval jongleurs, and to comic traditions in ancient Greece and Rome." In discussing commedia dell'arte "F. begins by recounting the origins of Harlequin, and defining the Italian term. For F., commedia dell'arte means primarily comedy staged by professional actors, which is based on a combination of dialogue and action, on spoken monologue and performed gesture, and not on mime alone." According to K., "in addition to being educational, . . . [this book] is fun."

FOURNIER, NATHALIE. L'aparté dans le théâtre français du XVIIe siècle au XXe siècle. Louvain/Paris: Editions Peeters, 1991.

Review: Isabelle Landy-Houillon in DSS 179 (Avril-juin 1993), 419–420: Examen des différentes fonctions de l'aparté avec une discussion significative sur sa fonction métadiscursive.

FRANCE, PETER. Politeness and its Discontents: Problems in French Classical Culture. Cambridge: Cambridge UP, 1992.

Review: R. Howells in MLR 88 (1993), 458–59: Collection of previously published but modified articles that "span the 'long' classical period, from the accession of Louis XIV to the Revolution. . . they have in common Peter France's longstanding interest in rhetoric, sociability, and primitivism." Thoughtful, scholarly work.

See French 17 (1992).

FREUDENBURG, KIRK. The Walking Muse: Horace and the Theory of Satire. Princeton: Princeton UP, 1993.

Review: Emily Gowers in TLS 4715 (13 Aug. 1993), 21: The unclassifiable unstable genre as H. wished to create it is a literary hybrid accomodating a Protean, fictional self-portrait. Early diatribes confront the clumsy Cynic preacher, one type of human among many in the eclectic mix of the sophisticated manipulation with a higher purpose: to draw attention to H.'s own poetry and fastidious literary standards. Transformations in Books I and II manage this: finally, also, meditation on the kind of role that exists for a satirist in a civilized society uneasy about free speech.

GAUDIANI, CLAIRE et JACQUELINE VAN BAELEN, éds. Création et Recréation: Un Dialogue entre Littérature et Histoire. Mélanges offerts à Marie-Odile Sweetser. ELF 58 (1993).

Contributions from twenty scholars of seventeenth-century French literature. In her introduction, Gaudiani acknowledges Sweetser's insightful scholarship, skilled teaching, and generous mentoring of young colleagues. "The authors of the articles reconnect history to literary analysis in the pursuit of richer readings of seventeenth-century texts." All articles reviewed elsewhere in this volume of French 17.

GEARHART, SUZANNE. The Interrupted Dialectic: Philosophy, Psychoanalysis, and Their Tragic Other. Baltimore: Johns Hopkins UP, 1992.

Review: Susan Read Baker in SoAR 58.2 (1993), 160–61: B. finds in this work "a rich harvest of reflections on a wide variety of texts central to Western thought. Arguing that both speculative (Hegelian) philosophy and (Freudian) phychoanalysis derive from the interpretation each gives to tragedy, G. explores the consequences of this origin for both disciplines." G. argues "that philosophy and psychoanalysis find their insights confirmed in tragedy because tragedy is already deeply philosophical and psychoanlytic." Among the "stimulating topics" G. examines are "the attempt of classical French dramatists to surpass ancient tragedy and Hegel's subsequent refusal to recognize his own ambition in their project. . . ." Having expressed minor reservations, B. stresses G.'s "engrossing conclusions" and calls the study "an important book that will impress general readers and scholars alike."

GENETIOT ALAIN. Les Genres lyriques mondains (1630–1660): Etude des poésies de Voiture, Vion d'Alibray, Sarasin et Scarron. Genève: Droz, 1990.

Review: D. Clarke in MLR 88 (1993), 200–201: "What emerges very well from this elegantly written monograph is how, after 1630, the favoured minor lyrical genres exemplify a new kind of poetry conceived, in its creation and consumption, as a pleasurable game, the ground rules of which were elaborated within the refined social group for which it was written.

Review: Rosa Galli Pellegrini in SFr 103 (1991), 131: A "useful" work on "poésie mondaine." It focuses on rhetorical and poetical codes, and their intricate links with society's conventions. A second volume will complete this research.

See French 17 (1992).

GETHNER, PERRY. "Women's Letters in Classical French Comedy." CdDS 4.2 (Fall 1990), 1–16.

Letters composed by women in comedy function as declarations of independence for "imprisoned" female characters, declarations of affection for "semi-emancipated" characters, or declarations from liberated heroines which may violate social and moral norms but also inspire admiration.

GODARD DE DONVILLE, LOUISE. Le Libertin des origines à 1665: un produit des apologètes. PFSCL/Biblio 17, 51 (1989).

Review: P. Ronzeaud in CdDS 4.2 (Fall 1990), 273–275: Un projet original qui examine le libertin figuré par les controversistes et les apologètes, qui inventent sa représentation. Un "historique indispensable pour toute approche ultérieure du libertinage du XVIIe siècle."

See French 17 (1992, 91, 90).

GOLDSMITH, ELIZABETH C., ed. Writing the Female Voice: Essays on Epistolary Literature. Boston: Northeastern UP, 1989.

Review: Cathleen M. Bauschatz in P&L 17 (1993), 147–48: This is "a collection of essays on women's epistolarity: letters written by real women . . . as well as letters written by fictional women in novels by both men and women." "Despite the enormous variety in chronology and geography . . .," says B., "the essays are linked by their common attempt to define the nature of the female voice in the letter-writing genre." The introduction contains "one of the key questions of the book: can male authors faithfully represent the female voice, or is this sort of literary `cross-dressing' inevitably doomed to failure?" The volume includes an essay by G. on Mme de Sévigné. "Definition of the female epistolary genre . . . still remains a task for the reader to undertake, after finishing the book," notes the reviewer. "But this . . . is appropriate," she adds, "for examples of the letter genre, which require, above all other genres, a response."

See French 17 (1992, 89).

GOODKIN, RICHARD E. "Racine and Tristan: `La Mort d'Hypolite.'" PFSCL/Biblio 17, 77 (1993), 53–75.

Contrasts T.'s poem and R.'s "récit de Théramène" respectively as baroque and classical texts.

________. The Tragic Middle. Racine, Aristotle, Euripides. Madison: Univ. of Wisconsin Press, 1991.

Review: B. Edmunds in PFSCL 20, 38 (1993), 239–240: A study of the themes of the "virtuous" and the "excluded" middles in the two playwrights conducted with "impressive erudition and critical eclecticism."

Review: Denys J. Gary in TJ 45 (1993), 411–12: ". . . G. centers his investigation on the tragic middle of eight plays (four by each playwright) each pair dealing with the same myth. The unusual thing about his approach," according to the reviewer, "is G.'s setting aside the tragic middle as derived from Aristotle's Poetics, and introducing concepts from some of Arisotle's other works . . . ." "In keeping with a modified post-structuralist approach, G. probes the texts of the plays for meanings that may escape the notice of even the careful reader." Racinian plays analyzed by G. are La Thébaïde, Andromaque, Iphigénie, and Phèdre. "G. writes well, compellingly," says D. J. G., but ". . . an otherwise fascinating text is occasionally marred by his delving too deeply into unnecessary detail." Conclusion: ". . . textual scholars will find . . . [the book] rewarding; actors and historians less so."

See French 17 (1992).

GRAZIANI, FRANÇOISE. "La Fable tragique: Hamlet." Littératures classiques 16 (printemps 1992), 49–65.

Le propos de l'auteur "se limite à tenter de préciser la nature et la fonction de la fable dans la tragédie, et non à discuter la définition générique de la poesie comme `fable'."

_________. "L'Image merveille. Figurer et dire selon le Cavalier Marin." Littérature 87 (octobre 1992), 24–30.

A study of Marino's conception of pictures and poetical imagery as marvels and miracles. In conformity with l'imaginaire baroque, "la nature de l'image serait donc non seulement d'être équivoque et énigmatique, mais d'être paradoxalement éloquente: de voiler ce qu'elle propose de figurer, de sous-entendre pour vraiment dire."

GREER, GERMAINE. "How to Invent a Poet." TLS 4708 (25 June 1993), 7–8.

Intelligent and valuable commentary on the difficulites of reconstructing early-modern anonymous texts. Review concerns the Poems of Ephelia (c. 1679) by Maureen E. Mulvihil.

GREGOIRE, VINCENT M. "Le Larmoiement: L'Expression originale d'une sensibilité masculine dans la deuxième moitié du dix-septième siècle." SCFS 15 (1993), 181–203.

Supposing that in the 2nd half of the century, with Racine, "les effets de larmes" in the theatre are accepted by both sexes to the point of becoming a "rite de sociabilité" and a "para-langage," examines the shift in sensibilité from earlier generations to this alleged "expression d'une sensibilité masculine originale." Interesting remarks on Bossuet.

GRIMM, JURGEN, ed. Französische Literaturgeschichte. Stuttgart: J. B. Metzlersche Verlagsbuchhandlung, 1989.

Review: W. Engler in Archiv 229 (1992), 220–223: Mixed appreciation of this work of a team of specialists. Reviewer's remarks concentrate on later centuries, only briefly mentioning the 17th c. Princess de Clèves.

Review: H.-J. Lope in RF 104 (1992), 216–218: A team of eight specialists join G. in this application of socio-historical perspecitives to French literature. L. regrets the few pages (40) devoted to the classical period and would have appreciated wider perspectives throughout the work.

GUICHEMERRE, ROGER. Quatres poètes du XVIIe siècle: Malherbe, Tristan L'Hermite, Saint-Amant, Boileau. Paris: SEDES, 1991.

Review: A. Génetiot in RHL 92.5 (sep/oct 92), 887–889: "Une utile mise en place bio-bibliographique, un synopsis des poèmes étudiés avec un commentiare stylistique et littéraire nourri."

See French 17 (1992, 91).

HAMPTON, TIMOTHY, ed. Baroque Topographies. Literature/History/Philosophy. YFS 80 (1991).

Review: Robert T. Corum in P&L 17 (1993), 355–56: "In the suggestive introduction to this volume of highly diverse and demanding essays, H. notes that although prior baroque studies have apparently discovered a 'body of texts with no theory,' under reexamination the period may stand revealed as the genetic site of postmodernism. He suggests that contemporary criticism might reconsider the baroque in light of the post-modernist preoccupation with space and territoriality. Real and imagined baroque geographies — the academy, the salon, the theater, the site of the Cartesian self, the grotto, the island, etc. — thus provide the topographical foundations of modernity." Includes articles on Les Tragiques (by Edwin M. Duval), on Richelieu (by Christian Jouhard), on Corneille (by Jacqueline Lichtenstein and by John D. Lyons), on Descartes (by Erica Harth, by Timothy J. Reiss, and by Kevin Dunn), and on Versailles (by Louis Marin). Aside from "the dearth of illustrations," C. praises H. for having assembled a fine collection.

Review: J. Persels in PFSCL 20, 38 (1993). 241–242: Eleven studies including ones on Cinna, the woman's place within Cartesian dualism, absolutism and Versailles, the fictional paradox of Descartes' "urban retirement," Descartes' theories and the Thirty Years War, the "baroque" power of Richelieu, and the possibility of writing baroque history.

See French 17 (1992).

_________. Writing From History: The Rhetoric of Exemplarity in Renaissance Literature. Ithaca, NY: Cornell UP, 1990.

Review: T. Pavel in RenQ 45 (1992), 582–584: "Patient, compelling textual analyses" support H.'s argument that "Renaissance exemplarity does not provide a stable system for the shaping of the moral self." H. demonstrates the rise of a secular set of exempla, complementing the exempla of the Church. Includes detailed readings of mostly 16th c. authors, but also includes some from Corneille.

Review: Timothy J. Reiss in MP 90 (1992), 255–58: H.'s project (called "an interesting idea") is "to analyze the Renaissance topos of the exemplary figure . . .," examining "the use of the heroic and/or iconic figure from antiquity or the Bible as teacher of virtue, model for public action . . . ." R. cites H.'s "brief discussion of Corneille's Le Cid . . .," which "is held to echo the ideological battles of its time, upholding aristocratic values." R. finds H.'s commentary on this play "uncharacteristically derivative and lazy . . . ." R. proceeds to document H.'s misinterpretations of the play's historical context.

See French 17 (1991).

HERMAN, JAN. Le Mensonge romanesque. Paramètres pour l'étude du roman épistolaire en France. Amsterdam/Leuven: Rodopi/Leuven UP, 1989.

Review: M. Nojgaard in RevR 27 (1992), 312–14: "Cet ouvrage, qui est la version abrégée d'une thèse soutenue à Louvain en 1988, vise un double but: établir un modèle narratologique général du roman par lettres et étudier l'évolution de ce type narratif pendant la seconde moitié du XVIIIe siècle, tout en insérant celle-ci dans le mouvement général qui va des Lettres portugaises (1669) à Mérimée (L'abbé Aubain, 1846)."

See French 17 (1991, 90).

HILGAR, MARIE-FRANCE, ed. Actes de Las Vegas. Actes du XXIIe colloque de la North American Society for Seventeenth-Century French Literature, University of Nevada, Las Vegas (1–2 mars 1990). PFSCL/Biblio 17, 60 (1991).

Review: Phillip J. Wolfe in SCN 51.1–2 (1993), 22–23: "The Las Vegas meetings dealt with Théophile de Viau, fairy tales, and dramatic criticism. The section on fairy tales concentrates on women's preponderant contributions to the genre. Presentations on dramatic theory deal chiefly with Marxist theory applied to Molière, and aesthetics in Racine and Corneille."

________. "Feminine Criticism in XVIIth Century France." The Forum 51.1 (Spr., 1993) 25–27.

Interesting discussion of Mlle de Gournay on poetry (Malherbe), Mlle de Scudéry on the novel, Mlle de Sévigné on theatre (P. and T. Corneille), and Mlle L'héritier de Villandon on Madame Deshoulières and Mlle de Scudéry.

HOLLIER, DENIS. A New History of French Literature. Cambridge: Harvard UP, 1989.

Review: See Cronk above.

See French 17 (1992, 91, 90).

HOLZ, KARL. "Wissenschaft und Salonkultur. Der Wandel des Pedanten." GRM 43 (1993), 1–18.

Considers the multiple origins of the comic type from the 16th century to Molière's uses of them. Skillfully sustained analysis of his plays in which they occur and their relationship to specific milieux and general currents of knowledge represented in salons.

HOWARTH, W. D. "The Dramatists of the 1630s and the Fourth Unity." SCFS 15 (1993), 55–69.

Unity of tone, or esthetic coherence, given pride of place over the consecrated three, is explored as it may have been present in the minds of playwrights, theorists and critics of the "Age of Richelieu." Corneille's Examen of Mélite, corrections to comedies from La Veuve to La Place royale, Clitandre, L'Illusion comique; Théophile's Pyrame et Thisbé; and three plays of Le Théâtre français (1624) are surveyed for contrasting tones and their sacrifice for esthetic unity, viewed from Corneille's Le Cid and Mairet's La Silvanire and Sophonisbe to Tristan's La Mariane (and Corneille's later plays).

HURE, JACQUES. "Sur deux traductions des 'Guerres civiles de Grenade' au XVIIe siècle." Littératures Classiques 13 (1990), 121–129.

A comparative study of the two 17th-century French translations of Perez de Hita's Guerras civiles de Granada, published respectively in 1606 and 1683. Both translations "réussissent bien à introduire l'oeuvre espagnole dans le champ littéraire français", but at the expense of Perez de Hita's most important contribution, his sympathy towards Moorish culture.

KALAS, TADDY. "La parole dépossédée, ou la démétaphorisation dans le théâtre du dix-septième siècle" (Univ. of Wisconsin-Madison, 1992). DAI 54:2, 546A.

Analysis of plays by Théophile, Corneille, Rotrou, Racine, and Molière.

KATAGI, TOMOTOSHI. "Traditions de la comédie des comédiens et stratégie du théâtre au XVIIe siècle." PFSCL 33 (1990), 425–449.

Study of the play within a play and the theme of the theatre itself related to the rivalry among theatrical groups. In representing itself the theater "reste une critique du monde, tout en montrant son intégration dans l'organisation de la nouvelle société aux valeurs divergentes."

KENNY, NEIL. The Palace of Secrets: Beroalde de Verville and Renaissance Conceptions of Knowledge. Oxford: Claredon Press, 1991.

Review: D. R. Kelley in RenQ 45 (1992), 848–850: Examines, through Beroalde de Verville as a case-study, knowledge and desire in the Renaissance. Comparative analyses include 17th c. authors such as Sorel and Charron as well as several 16th c. ones. "Rich in bibliographical excursions, literary allusions, philosophical insights," the volume does not reach out "to historical background or . . . unmask a bygone episteme."

Review: Janis L. Pallister in SCN 50.3–4 (1992), 66–67: "All but eclipses most of all studies of B. de Verville to date. In clear and yet subtle discourse, Kenny traces the evolution of Beroalde's thought, and in the process demonstrates how B. is illustrative of the major philosophical tenets regarding knowledge as these currents unfolded in the late 16th and early 17th Century." The study focuses on how B. progressively abandoned old encyclopaedism in his works. In short, it "proposes solid solutions to many puzzles regarding B.'s work and his thinking."

KING, MARGARET L. Women of the Renaissance. Chicago: University of Chicago Press, 1991.

Review: R. Reynolds-Cornell in BHR 55 (1993), 803–05: Excellent outil de recherche; une oeuvre "touffue mais bien organisée dont le but est atteint: elle nous offre un panorama abondamment documenté du rôle de la femme au cours des siècles, de sa place dans la société et de sa prise de conscience de sa propre valeur."

KLEINAU, TILMANN. Der Zusammenhang zwishen Dichtungstheorie und Körperdarstellung in der französichen Literatur des 17–19. Jahrhunderts. Bonn: Romanistischer Verlag, 1990.

Review: Mechtild Cranston in FR 67 (1993), 124–25: "A useful and challenging book," using literary theory from Le Cid on (sometimes not well known) and Desmarets, arguing convincingly that if the body as literary theme survived the taboos of the doctrine classique, it was thanks to the popular genres of the 17th c. Studies the development of the physical grotesque from Rabelais to Hugo, baroque fascination with the extremes of Eros and Thanatos, rococo manipulation of the body to gain social advantage.

KOCH, THOMAS. Literarische Menschendarstellung. Studien zu ihrer Theorie und Praxis (Retz, La Bruyère, Balzac, Flaubert, Proust, Lainé). Tübingen: Stauffenburg, 1991.

KRAJEWSKA, BARBARA. "Le Crépuscule du samedi." PFSCL 33 (1990), 547–562.

The decline of the famous literary salon.

__________. Mythes et découvertes. Le salon littéraire de Madame de Rambouillet dans les lettres des contemporains. PFSCL/Biblio 17, 52 (1990).

Review: D. Kuizenga in CdDS 5.1 (Spring 1991), 297–299: Une entreprise de "démythification" fondée sur l'idée que l'artifice et le conventionnel constituent l'essentiel de la vérité sur la femme et sur la salon au 17e siècle; le résultat est un "catalogue de laideurs et bassesses des intimes du salon du Rambouillet", qui n'approfondit pas notre connaissance et qui montre "dans quelle mesure la petite histoire peut être petite."

LAFOND, JEAN, éd. Moralistes du XVIIe siècle. Paris: Robert Laffont, 1992.

Review: BCLF 562–63 (1992), 1847–48: C'est "un recueil imposant mais maniable quoique n'y manque aucun des outils d'érudition nécessaires à la compréhension ou à la consultation."

LAGARDE, FRANÇOIS. "La Comédie de la grâce: sur quatre pièces de 1645." PFSCL 33 (1990), 451–464.

Studies the relation between mimetic rivalry and religious conversion in Brosse, Corneille, Desfontaines, and Rotrou.

LANDY-HOUILLON, ISABELLE and MAURICE MENARD, Eds. Burlesque et Formes Parodiques. Actes du colloque du Mans. PFSCL/Biblio 17, 33 (1987).

Review: K. Szantor and K. Berri in CdDS 4.2 (Fall 1990), 261–265: An intermittent chronology of the burlesque from the middle ages to the 20th century, in 43 essays which trace the development of parodic satire in a variety of genres. 15 papers on the 17th century include studies of Scarron, the Scudérys, Saint-Amant, Cyrano and others.

See French 17 (1990, 89).

LARSON, RUTH. "The Iconography of Feminine Sexual Education in the 17th Century: Molière, Scarron, Chauveau." PFSCL 20, 39 (1993), 499–516.

Analysis of Chauveau's frontispiece for L'Ecole des femmes and illustrations done for Scarron: the emblematic "frontispiece demonstrated the equivocation of the image and the moral manual."

LEGGETT, CARLEEN S. "Sisters of La Princesse de Clèves: Two Heroines of Segrais and Saint-Réal." CdDS 5.1 (Spring 1991), 1–20.

Similarities are examined between the Princesse de Clèves and characters of S. and S.-R., all of whom are portrayed as real historical figures, and who experience marriage and forbidden passion. Limitations are revealed in the male novelists' comprehension of the female psyche.

LEIBACHER-OUVRARD, LISE. Libertinages et utopies sous le règne de Louis XIV. Genève: Droz, 1989.

Review: Carmelina Imbroscio in SFr 106 (1992), 99–100: The book explores the intricate links existing between "libertinage érudit" and "utopisme" in the narrative works of Cyrano's literary heirs (Foigny, Tissot de Patot, Veiras, Gilbert, etc.). The author challenges "idées reçues" on those minor writers and shows how their narratives put forward new ideals which represent, no matter how modest their real influence, the future development of the following century's philosophes's moral values and social critique.

See French 17 (1992, 91, 90, 89).

LEINER, WOLFGANG. Das Deutschlandbild in der französischen Literatur. Darmstadt: Wissenschaftliche Buchgesellschaft, 1989.

Review: W. Jung in NS 91 (1992), 92–93: Appreciative review of this highly readable and rich work on the image of Germany in French literature from the Middle Ages to our day. Includes discussion of current scholarship in the area, along with its multi-faceted and systematic analyses. Reviewer concentrates on 19th and 20th c. sections, but since L.'s contributions over the years to 17th c. criticism have been universally appreciated, the reader of this volume should expect important anlyses here as well. Particularly valuable are treatments of cultural history, historical context and intertexuality. L. finds some twelve especially significant constants in the portrayal of Germans and Germany in French literature.

See French 17 (1992).

LEINER, WOLFGANG & PIERRE RONZEAUD, eds. Correspondances. Mélanges offerts à Roger Duchêne. Tübingen-Aix-en Provence: Gunter Narr, 1992.

Review: P. Hourcade in PFSCL 20, 38 (1993), 255–259: Studies in four categories: time (the century's relations with past and future centuries); methodology (history and literary history); letters, chronicles, and memoirs; and Mme de Sévigné's correspondence.

LICHTENSTEIN, JACQUELINE. The Eloquence of Color: Rhetoric and Painting in the French Classical Age. Trans.Emily McVarish. Berkely: California Univ. Press, 1993.

1st pub. 1989.

See (for French ed.) French 17 (1992).

LONDRE, FELICIA HARDISON. The History of World Theatre. Vol 2: From the English Restoration to the Present. New York: F. Ungar/Continuum, 1991.

Review: Rosemarie K. Bank in ThR 18 (1993), 71–72: "In addition to its temporal parameters and broad (if limited) spatial range . . . . [this book] assays a wide topical area, in stage direction, stagecraft, acting, management, repertoire, audience composition, popular entertainment, sociocultural and intellectual contexts, opera and ballet, agitprop, vaudeville, and the like." L. calls attention to the array of contributions by women. B. finds that ". . . the chosen topics are competently and intelligently handled . . . ." "One can readily dispute where the boundaries of the format L. inherits have been set — temporally, spatially, and topically," says B., but the study is called a "knowledgeable and carefully-crafted work . . . ."

Review: Robert Findlay in TJ 44 (1992), 554–55: F. calls the title "a misnomer," but says L. has been thorough "in detailing the western theatrical tradition." One chapter focuses on the "long transition" from neoclassicism to romanticism, discussing, among other topics, Boileau, Madame de Maintenon, and commedia dell'arte. "Most," in F.'s opinion, "will find this volume a useful reference."

LOTE, GEORGES. Histoire du vers français. T. VI, 2e partie: le XVIe et le XVIIe siècles; T. III: les Genres poétiques; les vers et la langue; la réforme et la déclamation dans la seconde moitié du XVIIe siècle. Aix-en Provence: Presses universitaires de Provence, 1991.

Review: BCLF 553 (1992), 38: Ce travail monumental continue à être publié de manière posthume. On regrette que la bibliographie n'ait pas été actualisée.

See French 17 (1991, 90).

LYONS, JOHN D. Exemplum. The Rhetoric of Example in Early Modern France and Italy. Princeton: Princeton UP, 1990.

Review: G. Ferguson in FrF 17 (1992), 91–92: Judged "valuable for anyone interested in early modern European literature," L.'s work understands "exemplum" broadly and proposes seven characteristics which prove particularly useful to seizièmistes and dix-septièmistes: "iterativity and multiplicity, exteriority, discontinuity, rarity, artificiality, undecidability and excess." Provides new readings for texts of Machiavelli, Marguerite de Navarre, Montaigne, Pascal, Descartes and Lafayette.

Review: O. Millet in RHL 93.2 (mar/avr. 93), 248: "Une critique des textes rigoureuse et souvent nouvelle," avec l'analyse de Descartes, Pascal et Mme de Lafayette.

________. "Sub Colore Libidnis." Continuum 5 (1993) 229–233.

A review article of Timothy Murray's Theatrical Legitimation. Alegories of Genius in Seventeenth Century England and France (New York: Oxford UP, 1987). Lyons, while expressing some reservations, appreciates in particular the reading of D'Aubignac's Pratique du théâtre and concludes the ". . . book is bound to serve as the point of departure for a new movement of scholarship in this field."

McKENNA, ANDREW J. Violence and Difference: Girard, Derrida, and Deconstruction. Champaign: Univ. of Illinois Press, 1992.

Review: N. Garver in Choice 30 (1993), 978: "M. begins with the parody of philosophers from act 2 of Molière's Le Bourgeois Gentilhomme, which 'sets out virtually all the themes of this book and more than somewhat insinuates its conclusions.' The book confronts D. and G. with each other, on topics central to both authors. It therefore quickly becomes very dense," G. asserts, "with neologisms adding to the inherent difficulty of trying to say what either D. or G. means. The main theme is that G.'s anthropological analysis of 'sacralizing' the victim, which has inherent contradictions and ambiguities, constitutes a concrete instance of deconstruction." G. states that "the final chapter, on the parable of the Good Samaritan, is especially well done. For devotees of D. and G. the book will prove a challenging reward."

MABLEY, RICHARD. Whistling in the Dark: In Pursuit of the Nightingale. London: Sinclair-Stevenson, 1993.

Review: D. B. in TLS 4706 (11 June 1993), 32–33: In a personal account by a distinguished environmentalist is a history of literary symbolism including a turning point in 17th-century poetic imagery.

MACARTHUR, ELIZABETH J. Extravagant Narratives. Closure and Dynamics in the Epistolary Form. Princeton: Princeton UP, 1990.

Review: W. F. Edmiston in FrF 17 (1992), 343–344: This "absorbing and well-written" examination challenges closural theories of narrative, focusing on 17th and 18th c. texts: the Lettres portugaises, Desjardin's Billets galants, Boursault's Lettres de Babet, Mme du Deffand's correspondance with Horace Walpole and Rousseau's Julie. Chapter one treats 17th c. texts along with an analysis of letter-writing manuals. Recommended for students of narrative theory and epistolarity.

See French 17 (1992, 91).

MACARY, JEAN, ed. Actes du Troisième Colloque de la SATOR à Fordham, 1989. PFSCL/Biblio 17, 61 (1991).

Review: Phillip J. Wolfe in SCN 51.1–2 (1993), 22–23: Sator is an association concerned with the "study of 'topoi' in the novel." The proceedings of the third congress focus on the 17th and 18th-century novel in France, include some thirty articles, and are divided in six sections: the secret, the ill-assorted couple, authorial interventions, parody, methodology, and computer-assisted studies."

Review: I. Zinguer in CdDS 5.1 (Spring 1991), 305–309: Réunion de la Société avec des études qui illustrent "l'approche très progressiste de l'étude des textes . . . grace à un logiciel pour l'analyse littéraire et thématique qui permet l'emploi électronique." Interêt particulier à Scarron.

See French 17 (1992).

MAILLARD, J.-F. "Les Humanistes transmetteurs de textes anciens (XIVe–XVIIe siècles): Perspectives de coopération internationale." BHR 55 (1993), 339–44.

"L'ambition du Répertoire n'est autre que de procurer une clef au chercheur engagé dans un travail plus spécialisé pour lui permettre de poursuivre par ailleurs son enquête sur les titres précis des oeuvres transmises et sur la nature de la transmission assurée par l'humaniste: édition, traduction, commentaire, annotation."

MALACHY, THERESE. "La Comédie et l'autre." TraLit 5 (1992), 179–185.

Brief, provocative discussion of la comédie as genre. Demonstrates, by a comparison with Marivaux and the romantiques, that in the 17th c. "où la raison est universelle, où règne l'idéal de l'honnête homme, la morale ne saurait être que celle du groupe"; furthermore "la règle du jeu . . . est toujours l'apanage du groupe."

MALLINSON, JONATHAN. "Dialogues with Past and Public." Continuum 5 (1993) 215–219.

A review article of David Rubin and Mary McKinley's Convergences. Rhetoric and Poetic in Seventeenth-Century France. Essays for Hugh M. Davidson (Columbus: Ohio State UP, 1989) in which M. finds ". . . these points of contact, these convergences, . . . particularly stimulating and enriching" and concludes that the ". . . collection is a fitting tribute to its dedicatee."

MANDRELL, JAMES. Don Juan and the Point of Honor. Seduction, Patriarchal Society, and Literary Tradition. University Park: Penn State Press, 1992.

MANSAU, ANDREE. "Les 'Nouvelles exemplaires' de Miguel de Cervantès traduites en langue française." Littératures Classiques 13 (1990), 109–120.

Between 1614 and 1707, six French translations of the Nouvelles exemplaires were published. The early translations by César Oudin, François de Rosset and Vital d'Audiguier, did show a great respect for Cervantès's originality. However, late 17th-century versions have "surtout retenu le caractère plaisant ou exemplaire de Cervantès pour oublier la création littériare jointe à l'image d'un peuple sentimental."

MARIN, LOUIS. Des pouvoirs de l'image: gloses. Paris: Seuil, 1992.

Review: Roger-Pol Droit in Le Monde (8 Jan. 1993), 30: 15 posthumously published essays including a reading of La Fontaine's "L'Homme et son image"; pages on Charles Perrault, Pascal. "Autour de ses intuitions de fond se déploient les analyses subtiles d'un philosophe singulier."

MAZOUER, CHARLES, ed. L"Age d'or de l'influence espagnole. La France et l'Espagne à l'époque d'Anne d'Autriche (1615–1666). Mont-de-Marsan: Editions InterUniversitaires, 1991.

Review: P. Hourcade in PFSCL 20, 39 (1993), 552–554: Colloquium studies of Spanish influence in France, the counterpart of Serroy's study of Italy and France: the impact of Spain on particular localities, access to Spanish culture, literary esthetics, influences on the novel, and the religious basis of Franco-Spanish conflict at the beginning of the century.

_________. "Les Tragédies bibliques sont-elles bibliques?" Littératures classiques 16 (printemps 1992), 125–40.

M. se propose de "repérer la place exacte de la philosophie tragique formulée à Athènes, au Ve siècle avant Jésus-Christ, dans une petite quinzaine de tragédies biblique composées entre 1550 et 1691, de l'Abraham sacrifiant de Théodore de Bèze à l'Athalie de Jean Racine. En quoi ces tragédies de la Renaissance et du siècle classique illustrent-elles le sens tragique de la vie proposée par les tragiques grecs et leur imitateur latin? Pour répondre, nous parcourrons trois étapes: la considération du malheur des héros, l'examen de la théologie à l'aide de laquelle ils expliquent la souffrance, la sortie, enfin du tragique."

MAZOUER, CHARLES. Farces du Grand Siècle. De Tabarin à Molière. Paris: Librairie Général Française, 1992.

Review: J. Emelina in PFSCL 20, 38 (1993), 260–261: A much needed edition of the genre that allows one to "mieux saisir l'interpénétration des courants et des styles." Because it stops at 1661 and omits much of significance, reviewer calls for a second volume.

Review: Christian Garaud in FR 66 (1993), 1003–4: Includes farces by Tabarin (3), Bruscambille, Molière, Brécourt, Dorimond, and La Fontaine. Introduction on esthetics of genre, long notices and notes, good biblio. Suited for specialists as well as the general public. However good the company, Molière stands out.

Review: Jacques Truchet in DSS 179 (Avril-juin 1993), 410–413: Une édition soignée, un livre "aussi utile que plaisant."

MERCIER, ALAIN. La Littérature facétieuse sous Louis XIII (1610–1643). Geneve: Droz, 1991.

Review: P. Ronzeaud in PFSCL 20, 38 (1993), 262: A work that "explore un champ littéraire original tout en donnant des matériaux et des protocoles d'analyse pour l'exploration future de celui-ci." Various indexes and other imformation make this a most valuable compendium of the various "textes à rire." Reviewer regrets only that there is not more theoretical or esthetic consideration of the genre.

See French 17 (1992, 91).

MILLER, MARCIA. "La tragédie biblique à l'âge baroque en France entre 1610 et 1650: un épitome." IL 45.1 (jan/fév 93), 34–36.

Sommaire d'une thèse de doctorat (Paris III, 1988, 3 vols.), qui étudie quatorze pièces tirées des histoires de l'Ancien Testament, dont une par Pierre Du Ryer: inspirations, structures, thèmes et formes.

MOREL, JACQUES, éd. "La Tragédie." Littératures classiques 16 (1992).

"Les articles réunis dans ce volume témoignent amplement de la plasticité du genre tragique, de ses variations dans l'espace et dans le temps, des philosophies où des convictions qui ont pu inspirer les poètes dont l'oeuvre lui est consacrée. Ils entendent donc moins théoriser sur la tragédie que s'efforcer de mettre en évidence, à partir des productions qui l'illustrent, l'extrême diversité du genre apparemment le plus facile à définir de la littérature universelle, et particulièrement de la littérature française." All articles reviewed elsewhere in this volume of French 17.

Review: R. Parrish in PFSCL 20, 39 (1993), 555–557: A collection of studies treating the tragic, tragedy, tragic themes, and posterity in world literature. Includes much on France in the seventeenth century. Bibliography.

MORGAN, DAVID WELLS. "La querelle de la chaire: Eloquence and Religious Oratory it the Ancien Régime" (Princeton Univ., 1992). DAI 53:6, 1928A.

The 1690's debate between proponents and critics of Jesuit rhetorical style, and the oppositions between "naturalness," "artfulness," rational argument, and emotional persuasion. Considers texts by La Bruyère, Fénelon, Arnauld, Lamy, Goibaud-Dubois.

MUNSTERS, WIL. La Poétique du pittoresque en France de 1700 à 1830. Genève: Droz, 1991.

Review: BCLF 553 (1992), 38–39: M. "observe que le XVIIe siècle s'est peu occupé de la nature, et appelle l'effort d'idéalisation qu'impose la doctrine classique aussi bien en littérature qu'en peinture, la crise de la poésie post-classique conduisant à un retour du pittoresque dont il analyse les modalités de l'essence au XVIIIe siècle. . . ."

MURRAY, TIMOTHY. Theatrical Legitimation. Allegories of Genius in Seventeenth Century England and France. New York: Oxford UP, 1987.

Review: See Lyons above.

NET, MARIANA. "Literature, Strategies and Metalanguage, Part 3: Poetical Arts and Metalanguage." Semiotica 94 (1993), 253–93:

Molière figures prominently in N.'s discussion. She examines La Critique de L'Ecole des femmes and L'Impromptu de Versailles (270–78), "keeping an eye on the way the utterance is articulated to the enunciation through the metalinguistic and metatextual signals on the plane of the utterance (in the surface structure)." N. also comments on Alexandre Dumas' "explicit metatext" of L'Amour médecin.

NIDERST, ALAIN, ed. La Pastorale française. De Rémie Belleau à Victor Hugo. PFSCL/Biblio 17, 63 (1991).

Review: Janis L. Pallister in SCN 51.1–2 (1993), 23: "As its title suggests, this book on the French pastorale (novel and play) ranges over several centuries." The essays focusing on 17th-century are noteworthy. Gérard Ferreyrolles's article"devoted to Bousset" is, for the 17th-century specialist, the real contribution of the volume.

Review: J. Pendergrass in CdDS 5.1 (Spring 1991), 271–275: Quatorze études qui tracent le "préciare destin de l'esthétique pastorale" du XVIe au XIXe siècle; ce livre érudit "mérite bien une place dans tout institut de recherche littéraire."

Review: M. Peterson in PFSCL 20, 38 (1993), 265–267: Studies that "forment un faisceau de définitions qui approfondit notre compréhension du genre pastoral."

Review: T. M. Pratt in MLR 88 (1993), 468–69: "The present collection principally comprises articles contributed by colleagues from Rouen [Centre d'Etudes et Recherches d'Histoire et des Idées et de la Sensibilité de l'Université de Rouen], but it also contains essays supplied by scholars from elsewhere in France and even further afield." Among the contributions: M.-F. Hilgar on Hardy; G. Ferreyrolles on Bousset; C. Noisette de Crauzat on Charpentier; R. Garapon on La Fontaine.

See French 17 (1992).

PARKES, M. B. Pause and Effect: Punctuation in the West. Aldershot: Scolar, 1993.

Review: Rosamond McKitterick in TLS 4705 (4 June 1993), 27: Main part comprises 74 pp. of illustrated plates of both prose and verse, with transcription and discussion on forms of punctuation used and how they effect the reading of texts. A valuable section documents the use of punctuation in early modern books. Plates are preceded by an historical outline of the development of punctuation from classical poetry through the 19th century. Intro. makes bold claims about punctuation in relation to reading practices as a dividing indicator in attitudes to the written word.

PASCO, ALLAN H. "Light in the Cave." Continuum 5 (1993) 179–184.

Review article of Terence Cave's Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988) in which P. appreciates Cave's history of anagnorisis and study of the way the device is used in various texts and muses interestingly about how one might study the ways in which readers come to perceive texts.

PASQUIER, PIERRE. "Les Apartés d'Icare: Eléments pour une théorie de la convention classique." Littératures classiques 16 (printemps 1992), 79–101.

"La Poétique de La Mesnardière (1639) et surtout La Pratique du théâtre de l'abbé d'Aubignac (1657) n'en referment pas moins de précieuses indications qui permettent sinon de dégager une théorie de la convention clairement formalisée, au moins d'en découvrir les prémisses." P. traite de la mort violente du personnage, du monologue, de l'aparté, du temps dramatique, et de l'espace.

__________. "Un brillant critique du modèle classique: le Discours à Cliton." RHT 174 (1992), 129–145.

Pasquier offers a new interpretation of the Traité du Poème Dramatique which follows both editions of the anonymous Discours à Cliton — its author "a parfaitement saisi les enjeux esthétiques de la controverse suscitée par les Observations sur le Cid. Plutôt que de ferrailler aux côtés de Corneille contre Mairet et ses amis, il s'est efforcé de contrer les réguliers sur trois questions cruciales en 1637: les conditions et les critères du jugement esthétique, l'imitation des Anciens, et la nature du modèle classique. Ce faisant, il a publié une brillante critique du modèle classique, alors en gestation, qui n'a rien à envier aux plus célèbres."

PERRER, DONALD. Old Comedy in the French Renaissance, 1576–1620. Genève: Droz, 1992.

Review: A. Cullière in BHR (1993), 461–63: Aux tentatives au 16e siècle "pour établir une nouvelle comédie humaniste, Donald Perret. . . oppose la permanence d'une Old Comedy, c'est-à-dire d'une tradition du théâtre populaire et provincial, proche de la farce médiévale, comme régénéré vers la fin du siècle grâce à des auteurs qui se montrent ennemis des règles, grâce aussi à un public fatigué des guerres et prêt de nouveau à s'abaudir." Analyse méthodique, précise, comparative.

Review: W. D. Howarth in ThR 18 (1993) 146: The author "identifies seven examples of what he calls 'Old Comedy,' an appellation justified not on diachronic grounds . . . but rather as indicating a qualitative distinction . . . ." Dramatists writing "Old Comedy" "use parody, metatheatre, structural experiments and carnivalesque fantasy to subvert the tenets of officially-accepted theory . . . and practice . . . and to appeal to an audience 'nostalgic for le gros rire of Rabelais'." H. finds that P.'s "critical analysis is underpinned by a wide-ranging knowledge of the contemporary background, and by judicious use of secondary authorities; and he writes in a lively and stimulating manner." In H.'s view, P.'s "claims for the importance of these hitherto neglected examples of Old Comedy [are] entirely convincing . . . ."

See French 17 (1992).

PHILLIPS, HENRY. "Richelieu and the Edict of 1641." SCFS 15 (1993), 71–84.

Situates the edict as a political act, contemporaneous with the opening of the Grand'Salle, with the probable collaboration of D'Aubignac on the text of the Projet pour le rétablissement du théâtre and the example of Corneille's Horace and Cinna. It is in the interest of Richelieu's propaganda machinery that the theatre be consecrated as a "school of virtue" and that actors be socially acceptable. Careful survey of social and royal attitudes to theatre and a divided ecclesiastical reaction (to the edict).

PICIOLA, LILIANE. "La Voix des sorciers dans les pastorales dramatiques à magie." Littératures Classiques 12 (1990), 249–260.

In early 17th-century French pastoral plays, magicians' power is revealed much more by their discourses and invocations than by their costumes or by props like magic wands.

PIZZORUSSO, ARNOLDO. Eléments d'une poètique littéraire au XVIIe siècle. Paris: PUF, 1992.

_________. Letture di romanzi. Saggi sul romanzo francese del Settecento. Bologna: Il Mulino, 1990.

Review: Valeria de Gregorio Cirillo in SFr 108 (1992), 540–542: The first two chapters are devoted to Robert Challe's Illustres françoises, a novel which embodies a general survey of 17th-century narrative techniques.

POLI, SERGIO. "Tradition ancienne et récit baroque: mythe et réalité dans l'histoire tragique." TraLit 5 (1992), 89–107.

Carefully considers: "le mythe dégradé", "le mythe énigmatique," "le mythe sous-jacent" and demonstrates importance for the baroque period: "la Fable . . . continue de fournir à la rhétorique un réservoir d'images, à l'écrivain un moyen de célébration, à l'intrique un modèle archétype." Finds that the distinctive trait of the genre is a multiplication of figures of torture and horror.

POMMIER, RENE. Explications littéraires. Paris: SEDES, 1990.

Review: G. Cesbron in LR 46 (1992), 341–343: While admiring P.'s teaching (without notes and referring by heart to texts), C. finds that the four texts chosen (one is from 17th c.: La Princesse de Clèves) are really pretexts for continued diatribe against la "nouvelle critique." C. indicates as well glaring omissions.

Review: R. Pensom in MLR 87 (1992), 968–69: Unfavorable review questions author's "mania for causal and psychologistic explanations" and maintains that P.'s "pretentions to rigour make litte or no sense in terms of current ideas about how language works. . . ."

See French 17 (1991, 90).

PREMINGER, ALEX and T. V. F. BROGAN, eds. The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton UP, 1993.

Review: Anon. in VQR 69 (1993), 120–122: "This authoritative reference . . . has been almost completely revamped by a new generation of scholars and critics." One will find here "the latest refinements of standard concepts, precise, complete treatment of others newly forged, and extensive, well-documented articles on peculiarly postmodern issues, e.g., cultural criticism and emergent (including feminist) écritures. Learned and incisive, rigorous and judicious, the NPEPP's pluralistic editors and contributors prove the continuing viability of formal concerns and more: they reaffirm the value of rational dialogue in this mean season of 'discursive cleansing'."

Review: B. Juhl in Choice 31 (1993), 271: Although there was a new edition in 1975, ". . . the work's authoritativeness has been progressively compromised as its contents age," says J., "by newer, if less exhaustive, poetry handbooks and dictionaries. With almost all the original entries revised, bibliographies and cross-references significantly expanded, and 162 entirely new entries, this . . . [latest edition] should restore the title to a premier place on the reference shelf. This revision . . . aims to 'address new topics and approaches,' to 'survey new work on old topics,' and to increase 'coverage of emergent and non-Western entries." Having expressed slight reservations, J. declares that "in all other respects, this volume should delight browsers and scholars alike."

PRINCE, GERALD. Narrative as Theme: Studies in French Fiction. Lincoln: Univ. of Nebraska Press, 1992.

Review: John D. Lyons in P&L 17 (1993), 155–56: Among the novels treated is La Princesse de Clèves. "Despite the chronological presentation, . . . [the study] does not argue for an evolution of ideas about the narrative, and this refusal to make a tidy reductive synthesis is a strength of P.'s work. Instead of evolution, P. allows us to see the way narrative has repeatedly been a problem for the very writers whose novels have formed what could be called the canon. Lafayette's novel not only makes the use and transmission of narratives within the world of the story a cause of puzzlement and even death . . ., but the text as a whole, La Princesse de Clèves, is presented as a doubtful didactic utility because of its singular, inimitable quality." "A surprising aspect of P.'s work," in L.'s opinion, "is the degree to which thematic study hinges on brilliant observation of minute grammatical features." L. describes the book as "unified" and "readable."

Review: Carol J. Murphy in SoAR 57.4 (1992), 145–46: This book is described as "an invaluable tome." The author is praised for his "characteristic concision, pedagogical (but never pendantic) bent and Occam's-razor-like style . . ." as well as for his "lucid, well-argued, and reasonable prose. . . ." P. focuses on "those narrative elements of a text that call attention to the narrator or narrated." The concept of the disnarrated is developed. P. defines it as "all those passages in a text that consider what did not or does not happen but could have happened", and it "emerges as a kind of negative, or hypothetical, narrative mode."

See French 17 (1992).

PROBES, CHRISTINE MCCALL. "The Magdalene: Two Seventeenth-Century Portraits and the Biblical Document." ELF 58 (1993), 223–234.

"The present study is a sequel to my article, 'L'Amour spirituel: La Madeleine in Jean de La Ceppède and César de Nostredame'. The remarkably different treatment of the Magdalene by these two poets will be confronted by the biblical document. The poets' rejection or inclusion of details of the biblical narrative and their transformation of the text into poetry will be discussed in relation to their intent and their attitude to the primary document."

PROSPECT. No. 1 (sept. 1992): "Hommage à Elizabeth Sophie Chéron. Texte et peinture à lâge classique." Paris: Presses de la Sorbonne Nouvelle.

Review: Jean-Pierre Guillerm in RSH 230 (1993), 211: This issue of a new journal for Centre Littérature et Arts visuels, Univ. de Paris III, focuses on "Réponse à la gloire du Val de Grâce de M. de Molière" (1700), by E. S. C. In essays appearing in this number, "Molière, Le Brun, Mignard, mais aussi Junius et Perrault viennent donner sa réelle portée aussi bien esthétique qu'historique au texte oublié, le constituer comme élément significatif des premiers temps de l'écriture française sur la peinture." According to G., much more than "curiosité érudite" is involved: "Tous ceux qui s'intéressent aux discours sur la peinture devraient y trouver profit, voire leçon de méthode."

RACAULT, JEAN-MICHEL. L'Utopie narrative en France et en Angleterre. Oxford: Voltaire Foundation, 1991.

Review: Chantal Grell in RdS 113.1–2 (1992), 261–262: This published version of the author's doctoral thesis has many qualities, among which the attempt to propose a less contradictory definition of utopia as "outopos, le non-lieu, négation des contraintes du réel, and eutopos, le lieu où tout est bien." Although some 17th-century authors (Foigny, Veiras) are taken into account, the study focuses mainly on the 18th century, when utopian novels became a fashionable genre.

See French 17 (1992).

RAPAILLE, R., éd. Louis XIV et le siège de Mons de 1691. Analyse critique d'une tragi-comédie méconnue. Mons: Le Renard découvert, 1990.

RESS, MANON ANNE. "Les servantes dans les comédies de l'Ancien Régime: Evolution d'un type" (Princeton Univ., 1992). DAI 53:9, 323A.

The function of the "maid" in the context of the relation between theater and society, and within the evolution of comedy as a genre. Analysis of 17th and 18th c. works by Molière, Régnard, Dancourt, and Dufresny.

RIFFAUD, ALAIN. "Réponse et responsabilité du héros tragique." Littératures classiques 16 (printemps 1992), 67–78.

"La manière dont s'exprime et se joue la réponse du héros, sa capacité à répondre dans la situation, deviennent donc un des critères majeurs pour distinguer ce héros tragique, tel que le montre la tragédie — du moins celle des autres grecs et de Racine, sur laquelle nous nous sommes appuyés." La responsabilité tragique demeure, selon l'auteur, "une expression contradictoire, autant qu'une cérémonie étonnante, susceptible d'émouvoir l'homme de la cité."

ROHOU, JEAN. "Le Tragique à la lumière de ses corrélations historiques." Littératures classiques 16 (printemps 1992), 7–23.

R. traite "des oeuvres des époques qu'il croit tragiques à la lumière d'un modèle élaboré à partir de sa connaissance de Racine et des études de J. P. Vernant." Quatre parties: 1. Tragique et tragédie dans une histoire fonctionnelle; 2. Tentative de définition historique du tragique; 3. Les époques tragiques; 4. Pratiques contemporaines du tragique. L'auteur constate "une remarquable corrélation entre le tragique et l'absolutisme."

ROSSO, CORRADO. Sagezza in Salotto: Moralisti francesi ed expressione aforistica. Naples: Edizioni Scientifiche Italiane, 1991.

Review: D. J. Culpin in FS 47.2 (1993), 214–215: A thought-provoking study of 17th c. moralists and writers of aphorisms.

Review: Patrizia Oppici in SFr 108 (1992), 1991: This book is divided into two parts. The first one focuses mainly on La Rochefoucauld's Maximes, Bérulle's treatise on Energumènes and Molière's Amphitryon. The second part, using a more global approach, studies aphoristic genre as a priviledged means of stylistic expression. This brilliant work does not offer broad categorizations but, instead, favors paradoxical views and insightful "approximations."

See French 17 (1992).

ROUBINE, JEAN-JACQUES. Introduction aux grandes théories du théâtre. Paris: Bordas, 1990.

Review: M. Sorrell in MLR 87 (1992), 969: Clear and lucid introduction "(the intended readership is classes préparatoires students and undergraduates) to the principal theories of drama which have governed the history of French theatre."

See French 17 (1991).

RUBIN, DAVID LEE, ed. Continuum: Problems in French Literature from the Late Renaissance to the Early Enlightenment. Vol. II: Rethinking Classicism: Textual Explorations. New York: AMS Press, 1990.

Review: W. Brooks in MLR 87 (1992), 982–83: Contributions to this volume of six articles and twenty-three reviews include work by M. Greenberg on D'Urfé, S. R. Baker and J. D. Lyons on Corneille, L. Marin on Nicole, R. Goodkin on Racine, and C. J. Gossip on classicism.

See French 17 (1992, 91, 90, 89).

_________. Continuum: Problems in French Literature from the Late Renaissance to the Early Enlightenment. Vol. III: Poetics of Exposition & Libertinage and the Art of Writing I. New York: AMS Press, 1991.

Review: R. Howells in MLR 88 (1993), 459: Reviewer notes that Continuum has certain characteristics of a periodical (collection of articles, book reviews) and a series (shared topics, volume classified by number and not year, hardback, cost). Appreciation for "thematic coherence" and "spaciously thoughtful pieces." Section on "Libertinage" deals primarily with authors/texts from the mid-seventeenth century.

See French 17 (1991).

_________. Continuum: Problems in French Literature from the Late Renaissance to the Early Enlightenment. Vol. V: Literature and the Other Arts. New York: AMS Press, 1991.

Another valuable volume in this series, begun by Rubin in 1989, containing six thought provoking and well researched essays and seventeen highly informed review articles of recent books. All items are reviewed separately elsewhere in this volume of French 17.

RUBIN, DAVID L. and MARY MCKINLEY, eds. Convergences. Rhetoric and Poetic in Seventeenth Century France. Columbus: Ohio State UP, 1989.

Review: See Mallinson above.

SAFTY, ESSAM. "A propos des amants tragiques ou L'Amour peut-il vivre en bonne intelligence avec la tragédie?" CdDS 4.2 (Fall 1990), 151–162.

La puissance destructrice de l'amour est un ressort principal dans la tragédie du XVIIe.

_________. "Les Erinyes francisés ou les criminels de la tragédie baroque et l'épreuve du remords." FR 66 (1993), 584–94.

Interiorization of the furies in remorse, a Senecan "hypertrophie du remords," is explored for its dramatic and tragic potential in plays by Hardy, La Calprenède, Mairet, Rotrou, and Tristan. Thought-provoking article that deserves further elaboration.

SAINT-BRIS, GONZAGUE. Les Dynasties brisées où le Tragique Destin des sept derniers héritiers du trône de France. Paris: Lattès, 1992.

Review: BCLF 562–63 (1992), 2030–31: "Du Grand Dauphin, fils de Louis XIV, au prince impérial, fils de Napoléon III, G. Saint-Bris s'efforçant de clouer leur personnalité à travers les mythes où l'oubli que leur brève destinée avait pu engendrer."

SCHWARZ, PETRA MARIA. "Traductions françaises" oder "Traductions à la française"? Eine Untersuchung der französischen Ubersetzungen der "Siete libros de la Diana" von Jorge de Montemayor (1578–1735). Frankfurt/Main-Bern-New York-Paris: Peter Lang, 1992.

Review: J. Marimer in PFSCL 20, 39 (1993), 568–571: An analysis of translations of the work. Includes a history of translation in France from the Middle Ages to the beginning of the eighteenth century and a sketch of political relations between Spain and France in the sixteenth and seventeenth centuries. A study of major interest for the history of the novel and the pastorale.

SCOTT, VIRGINIA. The Commedia dell'Arte in Paris 1644–1697. Charlottesville: UP of Virginia, 1990.

Review: Alan Howe in ZFSL 103 (1993), 103–5: "Précieuse mise au point et un instrument de recherches dont la consultation sera indispensable." Corrects many previous errors in careful and extensive documentation of the lives of the actors, their finances and theatres, and relations with the court. Most valuable section is analysis of dramatic repertoire (with chronology of performances) and techniques. There is an evolution and transformation of art rather than a deterioration.

Review: F. Moureau in FrF 17 (1992), 105–106: Extremely appreciative review judges S.'s study "unique" and "magnifique." M. lauds the attention to archival materials and excellent analysis of documents as well as a thorough knowledge of literature and history. This "belle aventure theatrale que nous conte Scott" is a fine synthesis, to be praised for its contributions to the history of the Parisian stage of Arlequin, the evolution of his repertory and the significance of this theater of mid and late 17th c.

Review: Jeffrey S. Ravel in TJ 44 (1992), 553–54: This book is described as "an important contribution to [the] new historiography" of the commedia tradition. Having expressed a few reservations, R. declares that ". . . there is much to recommend in this work. S.," he says, "has thoroughly mined the French and Italian archival sources; she has compiled an exemplary bibliography . . ." and . . . [she has] reproduced many wonderful period engravings." R. concludes by saying that S.'s book "surely helps to lay the groundowrk for a reconsideration of the theatrical and cultural importance of Italian improvisational comedy in Europe between the Renaissance and the French Revolution."

Review: M.-O. Sweetser in FR 66 (1993), 663–64: Important contribution to history of the theatre in Paris dealing with the repertoire, actors, patrons. Most detailed compendium in one volume of all documentation available. Keen critical sense of documents. Ample biblio. (but some omissions: e.g. P. Wadsworth, H. G. Hall). Chronological order to illuminate both the history of the troop and the genre. Fascinating glimpses of cultural history as well as detailed accounts of French-Italian cultural exchanges.

SEIFERT, LEWIS C. "Female Empowerment and Its Limits: The Conteuses' Active Heroines." CdDS 4.2 (Fall 1990), 17–34.

Women's narratives are "complicitous with but also resist patriarchal literary traditions of the period," reconstructing gender differences and reflecting the ambivalent identity of women writers and their texts. Heroines are classified as "active," "complicitous," and "resisting."

SERROY, JEAN, ed. Romanciers du XVIIe siècle. Paris: Klincksieck, 1991.

Review: N. Boursier in PFSCL 20, 38 (1993), 285–287: 24 studies reflecting contemporary literary criticism and developments in the social sciences.

HAPIRO, NORMAN R.,trans. The Fabulists French. Verse Fables of Nine Centuries. Urbana: Univ. of Illinois Press, 1992.

Review: R. Danner in PFSCL 20, 39 (1993), 572–575: An "elegantly produced [bilingual] volume" of interest both to the general reader and the scholar. Includes La Fontaine and other seventeenth-century fabulists. The translation emphasizes the oral nature of the genre.

Review: G. J. McCool in Choice 30 (1993), 801: "An anthology of short fables by 70 authors, arranged chronologically . . . . Each section is introduced by a brief discussion of the author's life and times and each fable is accompanied by a very graceful English translation . . . . The strength of this work," in M.'s opinion, "is probably its variety: adaptations of Aesop as well as original fables, fables by giants like La Fontaine as well as those of lesser-knowns . . ., fables not only in standard French but also in various patois, Creole, and Provençal." M. states that this "anthology . . . is both scholarly and accessible to all interested readers, lower-division undergraduates and up."

SIMERKA, BARBARA ANNE. "Beyond 'clowns and kings': Aesthetic and Ideological Subversion in Baroque Tragicomedy" (Univ. of Southern California, 1992). DAI 53:9, 3205A.

A redefinition of tragicomedy that sheds light on "problem plays," and examines the influence of other genres such as the epic, satire, and the miracle play.

SPEAIGHT, GEORGE. "A Commedia dell'arte Lazzo." ThR 18 (1993), 1–3.

"Among the abundant iconographical records of the commedia dell'arte are a handful of engravings depicting vivaciously capering single characters, of which three have been reproduced by Allardyce Nicoll [in The World of Harlequin (Cambridge UP, 1963)], where they are identified merely as 'seventeenth-century engravings.' The same subjects were apparently copied by Adrian de Winter (1615–?) . . . ." Characters depicted are "Pulcinella . . apparently warding off a swarm of bees or wasps . . ." and "Arlequin and Polichinelle endeavouring to catch a butterfly." The article discusses how these tricks might have been performed on stage.

THEATRE ET SPECTACLES HIER ET AUJOURD'HUI, EPOQUE MODERNE ET CONTEMPORAINE. Actes du 115e Congrès national des sociétés savantes (Avignon, 1990). Paris: CTHS, 1991.

Review: BCLF 555 (1992), 671: Parmi les sujets abordés dans ce volume de quarante-deux communications sur le théâtre de 1600 à 1990 est le théâtre judéo-comtadin du XVIIe siècle. Parmi les contributions, un article de Bernadette Rey-Flaud sur la farce médiévale dans le théâtre de Molière.

TOBIN, RONALD W. "Nourriture, Bienséances et tragédie: l'exemple de Thyeste." Littératures classiques 16 (printemps 1992), 169–180.

". . . la mythologie occidentale renforcée en particulier par la pièce Thyeste de Sénèque, n'a retenu de la légende des petits-fils de Tantale que le festin horrible. En tout cas, c'est exclusivement à cet épisode malheureux que les auteurs tragiques des seizième, dix-septième et dix-huitième siècles français ont puisé . . . . Seul le festin n'est pas entré libre dans le château de la tragédie classique, semble-t-il, et, comme nous allons le voir, c'est ce qui explique l'absence de Thyeste de la scène française classique." Selon l'auteur "il est temps d'explorer en profondeur les composantes proprement culturelles et physiques de cet autre facteur de base [outre la vraisemblance] pour une compréhension de la mentalité du dix-septième siècle, les bienséances."

TRUCHET, JACQUES and ANDRE BLANC, eds. Théâtre du XVIIe siècle, Paris: Gallimard, 1992.

Review: J. Emelina in PFSCL 20, 39 (1993), 581–583: Includes 3 tragedies "en musique," 3 tragedies, and 14 comedies by Quinault, Pradon, T. Corneille, Donneau de Visé, Fatouville, Baron, Dancourt, et Regnard covering the period from 1676 to 1710. Includes introduction (editor points to the many changes that occur in the theater during this period), chronology, bibliography, and 370 pages of other critical apparatuses. Thus with the 56 plays in the volume on the 17th century and the more than fifty for the 18th, a vast panorama.

Review: Nicole Ferrier-Caverivière in DSS 179 (avril-juin 1993), 414–17: Un travail superbe, à la fois précis et rigoureux; "une véritable oeuvre scientifque" qui illumine les textes.

VERS UN THESAURUS INFORMATISE. TOPIQUE DES OUVERTURES NARRATIVES AVANT 1800. Actes du colloque international Sator. Université Paul Valéry, Montpellier-III, 25–27 octobre 1990. Montpellier: Université Paul Valery, 1991.

Review: BCLF 555 (1992), 703: "Les communications sur les ouvertures narratives des romans et nouvelles du XVIIe siècle sont de loin les plus nombreuses, particulièrement sur les oeuvres de Sorel et de Mme de Lafayette."

VUILLEMIN, JEAN-CLAUDE. "Dramaturgie classique et mises en scène modernes." PFSCL 20, 39 (1993), 379–397.

Reviews recent theatrical productions of Corneille and Racine.

WANNING, FRANK. Diskursivitat une Aphoristik: Untersuchungen zum Formen — und Wertewandel in der hofischen Moralistik. Tübingen: Niemeyer, 1989.

Review: B. Cooper in CdDS 5.1 (Spring 1991), 303–304: An approach to moralist writing that combines the vantage points of genre criticism and literary sociology, with an "exemplary discussion — in the form of a historical reconstruction — of the term 'moraliste'." Includes the study of texts by Faret, Gombaud, La Rochefoucauld, and La Bruyère; "a challenging and thought-provoking book."

Review: Corrado Rosso in SFr 104 (1991), 354–355: According to Wanning, 'l'expression aphoristique' appears at a precise moment of social crisis and "is absent in the first half of the 17th century." The reviewer disagrees with that thesis but acknowledges being "sensitive to the aggressive clarity" of Wanning's reasoning, and feels that, despite its bias, it is an "interesting book".

See French 17 (1992, 91, 90).

WENTZLAFF-EGGEBERT, CHRISTIAN, ed. Le Language littéraire au XVIIe siècle — De la rhétorique à la littérature. Tübingen: Gunter Narr Verlag, 1991.

Review: Georges Moliné in DSS 179 (Avril-juin 1993), 400–01: Actes d'un colloque, 22 contributions au sujet d'une problématique importante dans la littérature classique.

WILLIAMS, CHARLES, ed. Actrs de Columbus. Actes du XXIe colloque de la North American Society for Seventeenth-Century French Literature. Ohio State University (6–8 avril 1989). PFSCL/Biblio 17, 59 (1991).

Review: Phillip J. Wolfe in SCN 51 1–2 (1993), 22–23: "At the Columbus meetings, the topics addressed were Racine, the Entretiens sur la pluralité des mondes by Fontenelle, and the relationship between history and literature. The section on History and Literature offers articles on history in the theater, on the Princesse de Clèves, and on the writings of Retz and Louis XIV."

WILSON, JEAN. The Challenge of Belatedness: Goethe, Kleist, Hofmannsthal. Lanham, New York/London: UP of America, 1991.

Review: V. Dürr in CollG 25 (1992), 359–361: Valuable study of German dramatic tradition contests the notion that a play is a finished artifact and closely examines Goethe's revision of Euripides and Racine in Iphigénie.

WINN, COLETTE H., ed. The Dialogue in Early Modern France, 1547–1630. Washington: The Catholic Univ. of America Press, 1993.

Includes Donald Gilman on the cultural, historical context of the genre; Paula Sommers on D'Aubigné's "Caducéee, Mathurine et Du Perron" and Les Aventures du Baron de Faeneste.

WOODROUGH, ELIZABETH. "Fiction and History: An Attraction of Opposites." SCFS 15 (1993), 213–30.

A useful summary of well-worn generalizations but surprisingly awkward. Inadequate notes.

WOSHINSKY, BARBARA R. Signs of Certainty. The Linguistic Imperative in French Classical Literature. Saratoga: Anma Libri, 1991.

Review: F. Lagarde in PFSCL 20, 39 (1993), 589–590: A study that explores the failure of language to communicate truth. Despite its ambiguities, classical language always returns to a "ground." According to the reviewer, "pas mal de choses intéressantes, malgré une impression de patchwork où de flou et une thèse qu'il n'est pas toujours facile de démêler . . . ."

ZARDINI LANA, REGINA GRAZIA. La Tragicommedia. Problemi di fonti e di teoria drammatica. Verona: Facoltà di Lingue e lettere straniere dell' Università, 1990.

Review: Cecilia Rizza in SFr 104 (1991), 348–349: The title is misleading since this book is a collection of studies on plays by Garnier, Jean Auvray, d'Ouville, Sallibray, Beys and d'Audiguier. However, Zardini Lana's articles have an implicit coherence and "lead to conclusions which define and give solid information" on the "genre tragicomique."

ZUBER, ROGER, LILIANE PICCIOLA, and EMMANUEL BURY. Littérature française du XVIIe Siècle. Paris: PUF, 1992.

Review: J. Marmier in PFSCL 20, 39 (1993), 591–594: Aimed at "premier cycle" students, a history that avoids the pitfalls of both the manual (only facts and dates) and the too brief summary. Approach is generic rather than historical. An excellent collection of essays that is provocative even for the specialist. Index.

Review: F. Roudaut in IL 45.2 (mar/avr 93), 42: Un panorama clair et synthétique, destiné aux étudiants du premier cycle, avec une analyse originale de la prose comme "instrument de pensée" et "expression du moi" par E. Bury.

Review: A. Viala in DSS 179 (Avril-juin 1993), 399–400: Destiné aux étudiants de Premier cycle, ce texte, dont le principe organisateur est littéraire plutôt qu'historique, est clair et précis.

FRENCH 17

Contents

Editor

Contributing Editors

PART IV — LITERARY HISTORY AND CRITICISM