FRENCH 17

• See French 17 (1993).

AYRES BENNETT, WENDY. "Negative Evidence: Or Another Look at the Non Use of Negative Ne in Seventeenth Century French." FS 48 (January 1994), 63–85.

Rekindles without conclusive resolution the old debate of whether the non use of the negative ne is a modern phenomenon or in fact "inherently present in the language of all ages."

CHARTIER, ROGER. The Order of Books. Stanford: Stanford UP, 1994.

Review: Patrick Henry in P&L 18 (1994), 418–20: "In three short essays, C. studies the methods used to regulate and order the growing number of texts in France during the period that runs from the end of the Middle Ages through the eighteenth century, from early handwritten books to later printed volumes. Always central to his project, however, is the impact of this early modern history of the book on the modern world: the invention of the author, the dream of a universal library (real or imagined), and the new definition of the book that created an indissoluble connection between an object, a text, and an author. Most interestingly," in H.'s view, "he simultaneously examines the production and regulation of meaning by material forms and the rebellious act of reading that often subverts the strictures imposed on it." Definitions of "author" found in dictionaries by Furetière (1690) and by Richelet (1680) are compared with those found in late 16th century Bibliothèques. H. calls this work by C. "an important study for critical theory in general and for the cultural history of the book in particular."

DECLERCQ, GILLES. "Boileau Huet: la querelle du Fiat lux," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 237–262.

D. shows that especially as a philologist H. is a modern: "Des Anciens dont il est trop vite qualifié comme l'évident représentant, il faut plutôt dire, au sens hégélien du terme, qu'il les accomplit, ouvrant la voie à la raison critique sur les ruines de l'ère de l'éloquence."

DESGRAVES, LOUIS. L'Aquitaine aux XVIe–XVIIIe siècles. Institutions et culture. Bordeaux: Fédération historique du Sud-Ouest, 1992.

Review: M. Lurton in RFHL 80–81 (1993), 385–386: This work studies the history of printing in the province of Guyenne: most printers were established in Bordeaux and, during the 17th century, were as active as their Parisian and Lyonnais competitors. According to the reviewer, this publication "offre aux spécialistes et au public cultivé une synthèse très neuve sur l'histoire du livre et de la culture en Aquitaine tout au long des trois siècles de l'histoire moderne".

FOOT, MIRJAM M. Studies in the History of Bookbinding. Hampshire, Eng.: Scolar, 1993.

Review: E. A. Swaim in Choice 31 (1994), 1280: "The British Library's expert on binding decoration here collects dozens of her articles ... on the history of bookbinding and related subjects .... Although F. emphasizes hand binding, mostly before 1800, . . . her coverage ranges from the 15th through the 20th centuries, from specific bindings and binders and collectors to broader topics like bookbinders' price lists of the 17th and 18th centuries .... F.'s scholarship reveals ..., as she notes, bookbinding as a mirror of the history of the book and of society at large."

GOSSART, JANINE. "Catalogue de l'exposition Pierre Daniel Huet (1630–1721)," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 267–276.

HELLER, LANE M., and THERESE GOYET. Bibliographie Blaise Pascal (1960–1969). Clermont Ferrand: Adosa et CIBP, 1989.

Review: A. McKenna in PFSCL 31 (1994), 256: The first installment (volumes for the 70's and 80's are planned) of an effort aimed at filling the gap that precedes the computerized bibliographies. An excellent research instrument for a decade rich in historical readings of Pascal.

JENNY, JEAN. "Marasme d'une imprimerie berruyère au milieu du XVIIe siècle. Jean Chaudière." RFHL 78–79 (l993), 53–87.

Most 16th and 17th-century printers established in the Berry province were impoverished artisans whose production remained quite limited. The career of the Bourges printer Jean Chaudière (1615–1662) is typical: he could only publish "arrêts", "ordonnances" and "lettres pastorales" while making almost no profits.

JUBERT, GERARD. Ordonnances enregistrées au Parlement de Paris sous le règne de Henri IV. Inventaire analytique des registres Xia 8640 à 8646. Paris: Archives Nationales, 1993.

Review: J.-C. Tillier in RHLF 80–81 (1993), 386–387: ". . . cet ouvrage mérite d'être signalé pour les services qu'il pourra rendre aux spécialistes de l'histoire du livre. Il constitue un précieux instrument" because it will enable scholars to have easy access to any previously hard to find "ordonnances enregistrées sous le règne de Henri IV".

KLAPP, OTTO. Bibliographie der französischen Literaturwissenschaft. Ed. by Astrid Klapp Lehrmann. Vol. 31 (1993). Frankfurt: V. Klosterman, 1994.

MERCER, ALAIN. La Littérature facétieuse sous Louis XIII (1610–1643): Une bibliographie critique. Geneva: Droz, 1991.

Review: Neil Kenny in FS 47.3 (July 1993): A "valuable research tool" which describes relatively unknown texts. "Not totally reliable."

NARDIS, LUIGI DE, ed. Regole della traduzione. Testi inediti di Port Royal e del "Cercle" di Miramion. Napoli: Bibliopolis, 1991.

Review: I. Landy Houillon in PFSCL 21 (1994), 577–578: The role played by Port Royal as a translation center: the cultural importance of the French language, comparative linguistics,translation and neo classical esthetics, the fidelity of translation, translation as a pedagogical exercise, and the apologetic issues involved in translation. A highly valuable study.

PAULTRE, ROGER. Les Images du Livres. Emblèmes et devises. Paris: Hermann. 1991.

Review: Anne Elisabeth Spica in DSS 182 (janv-mars 1994), 195–96: Meilleure étude de ce genre grâce à une analyse sensible et à l'excellent choix des exemples.

POULOUIN, CLAUDINE. "Pierre Daniel Huet, bibliographie chronologique," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/BIBLIO 17, 83 (1994), 263–266.

RANCOEUR, RENE. Bibliographie de la littérature française (XVIe–XXe siècles). Année 1993. Paris: A. Colin, 1994.

17th c. section, pp. 46–79. Also issued as no. 3–4 of RHL 94 (1994), 334 pp.

RANUM, PATRICIA. Méthode de la prononciation latine dite 'vulgaire' ou 'à la française': Petite méthode à l'usage des chanteurs et des récitants d'après le manuscrit de Vom Jacques Le Clerc (vers 1665). Marseille: Actes SUD, 1991.

This text provides a clear phonetic guide for modern interpreters of French baroque liturgy in Latin.

RICKARD, PETER. The French Language in the Seventeenth Century: Contemporary Opinion in France. Cambridge: Brewer, 1992.

Review: C. Smith in MLR 89 (1994), 748–49: Substantial collection of texts grouped into seven parts: "The Antecedents of the French Language; Spelling and Pronunciation; Grammar; Lexicography; Usage; Stylistics; The Praise of the French Language. Impressive erudition of references.

ROBERTS, WILLIAM. Bibliography of North American Theses on Seventeenth Century French Literature (1993). PFSCL 31 (1994), 307–316.

A compilation both of completed theses and theses in progress listed by author and including a general category. Coverage corresponds to vol. 53 of DAI (7/92 6/93). Lists 106 active and recent items, of which 93 completed in literary and background areas.

ROBERTS, WILLIAM.

1995 Research in Progress/ Dissertations listings are being compiled now. Send info. on French, Comp. Lit. and background to W.R., Fr. & It., Northwestern U., Evanston, IL: 60208

SGARD, JEAN, éd. Dictionnaire des Journaux (1600–1789). 2 vols. Paris/Oxford: Universitas/The Voltaire Foundation, 1991.

Review: M. Cook in MLR 89 (1994), 770–71: Dictionary serves as an "authoritative and reliable guide to the press during this important period." Excellent reference work. Reviewer hopes for extension beyond 1789. These "two superbly produced volumes" give information on 1,267 periodicals which existed at the time .

• See French 17 (1993, 92).

SINGER, ARMAND E. The Don Juan Theme: An Annotated Bibliography of Versions, Analogues, Uses and Adaptations. Morgantown: West Virginia UP, 1993.

Review: A. Owen Aldridge in SoAR 59.3 (1994), 109–111: "Access to almost anything one would need or want to know about any of the treatments of the theme or references to the personality of D. J. can be found in S.'s bibliography .... The present volume cannot strictly be called either a revision or an expansion [of S.'s earlier work on this subject]. Although it supplants its forerunner by greatly expanding the list of titles and versions in the direct line from Tirso de Molina's play, it abandons the category of criticism, both of individual works and of the theme in general. For this reason it would be a mistake to assume that the present publication renders the previous ones obsolete." "Probably no other bibliography of a literary theme in Western literature can compete with the present volume in detail, completeness, and accuracy."

Review: B. E. Brandt in Choice 31 (1994), 1104: "For more than 40 years, S. has gathered versions of the D. J. theme. His A Bibliography of the Don Juan Theme (1954) identified 1,370 versions .... A new edition (The Don Juan Theme, 1965) increased the total to 1,985 versions, and five supplements added 600 more. The present edition identifies some 3,300 D. J. versions from folklore, literature, music, art, puppet plays, movies, and television. There are sub sections on D. J.like literary figures . . . or more generally, types such as viveurs and libertines. Works indebted to a particular version of D. J. are cross-referenced after their source. A final chronological listing of all the variants discussed adds greatly to the book's usefulness. The previous editions included critical works as well as versions of the D. J. theme. These would now have numbered 5,000 and are excluded for reasons of space. Hence, for secondary criticism, the 1965 edition and its supplements will still prove useful."

STENZEL, HARTMUT. "Gabriel Naudé et l'utopie d'une bibliothèque idéale." PFSCL/Biblio 17, 80 (1993), 103–115.

Essay on the loss of Mazarin's library during the Fronde and the librarian's distress: "Vision dépassant l'affection subjective, la réaction de Naudé implique une conception de la formation et du statut d'un savoir dont il conçoit la bibliothèque comme le lieu de mémoire par excellence." The destruction of the ideal library inaugurates a new form of knowledge.

TAVONI, MARIA GIOIA. La Biblioteca Communale di San Miniato: il fondo antico (secc. XV–XVIII). San Miniato: Comune di S. M., 1990.

Review: R. Darricau in RHLF 80–81 (l993), 383–384: The Library of San Miniato, founded in 1644 by the Affidati Academy of Arts and Sciences, contains rare French books from the 16th and 17th centuries.

WOOLDRIDGE, TERENCE RUSSON. Le grand dictionaire françois latin (1593–1628). Histoire, types, méthodes. Toronto: Paratexte, 1992.

Review: F. Hausmann in PFSCL 31 (1994), 304: A study of Robert Estienne's dictionary: "Peu à peu, les débuts de la lexicographie française émergent de la brume . . . ."

• See French 17 (1993).

AVERY, CHARLES. Renaissance & Baroque Bronzes in the Frick Art Museum. Pittsburgh: Frick Art & Historical Center, 1993.

Review: J. R. Spencer in Choice 32 (1994), 86: "The catalog entries [concerning donation of small bronzes to this Pittsburgh museum] make it possible for the reader to make the subtle distinction between objects of utility that are also works of art and those that were almost mass produced. Where there are questions, all sides of the argument are exposed, permitting the reader to draw his or her own conclusions.... The photography ranges from acceptable to excellent," according to S., "but small bronzes are notoriously difficult to photograph. Brief biographies of the sculptors will help the uninitiated. The bibliography is old and often lists exhibition catalogs—a situation that says more about the state of the field than it does about availability of literature."

BARBER, MALCOLM. The New Knighthood: A History of the Order of the Temple. New York: Cambridge UP, 1994.

Review: W. L. Urban in Choice 32 (1994), 182: The author "treats a subject that has fascinated generations and is tied to modern history, religious mysteries, and conspiracy theories. He begins with a fairly traditional study of the process by which monasticism, a desire to protect pilgrims from robbers, and the desperate shortage of knights in the Holy Land combined to produce this first military religious order. He follows with a review of the arguments by which St. Bernard and various popes justified its existence in the face of all Christian tradition, and then proceeds to the order's history ...." The study is described as "literate, accurate, and informative," and it is "highly recommended for college and university libraries."

BARBIER, CHRISTOPHE. "Seule et souveraine." Le Point (1er oct. 1994), 67.

"Un grand rôle pour une grande comédienne, c'est Geneviève Casile [as Mme de Maintenon] dans 'L'allée du roi', de Françoise Chandernagor." The work, first a novel and then a stage play (at Théâtre Montparnasse), will soon be a television series "sous la baguette de Nina Companeez ...." The performance of G. C. ("seule en scène") is described: "Changeant d'âge ou incarnant d'autres personnages, Casile revêt des costumes et—surtout—des perruques irréprochables, mais se maquille aussi d'astuces: Scarron est un fauteuil, Ninon de Lenclos un brin de tulle, la Montespan un masque froid..."

BARKER, FRANCIS. The Culture of Violence: Essays on Tragedy and History. Chicago: U of Chicago P, 1994.

Review: Ann Daly in TDR 38.3 (1994), 206: According to D., the author "tidily summarizes the volume in his preface: 'Throughout the period of Western modernity, since the Enlightenment certainly, and arguably since the Renaissance, it has been customary to think of culture and violence as antithetical terms. This book takes another view.... The linking thematic of the volume is the contention that . . . culture does not necessarily stand in humane opposition to political power and social equality, but may be profoundly in collusion with it, not the antidote to generalised violence, but one of its more seductive strategies ....' B.'s principal textual focus is Shakespeare."

BARREL, REX A. The Correspondence of Abel Boyer, Huguenot Refugee (1667–1729). Lewiston: Edwin Mellen Press, 1992.

A carefully annotated edition.

BARSTOW, ANNE LLEWELLYN. Witchcraze: A New History of the European Witch Hunts. New York: Pandora, 1994.

Review: R. B. Barnes in Choice 32 (1994), 511: Although the author "has read widely in the secondary literature on early modern witch hunting . . ." and "writes with a certain flair," in her book "she has simply gathered all the evidence that seems to support her militant feminist preconceptions. For B., witch hunts were essentially 'a war on women' ...." "Using impossibly fuzzy and weak reasoning," in the reviewer's opinion, "she tries to make a generally recognized aspect of many witch hunts into the key for any and all understanding. She . . . makes a pathetic effort to dance around inconvenient findings, such as that in a few areas more men than women were accused."

BERGER, ROBERT W. The Palace of the Sun: The Louvre of Louis XIV. University Park, PA: The Pennsylvania State University Press, 1993.

Review: S. Dock in PFSCL 21 (1994), 557–559: Reviewer finds study to be "the basic reference work concerning changes made to the Louvre during Louis XIV's reign." The central issue of the period was the Colonnade of the east facade. Includes section on source materials, indexes, bibliography, and illustrations.

BERNARD, CARMEN and SERGE GRUZINSKI. Histoire du nouveau monde. ll: Les Métissages (1550–1640). Paris: Fayard, 1994.

Review: André Marcel d'Ans in QL (16–31 janv. 1994), 27–28: The title has two meanings: "histoire des Amériques certes, . . . mais tout autant introduction au monde nouveau qui s'inaugure avec la découverte de ce qu'il est convenu de nommer le Nouveau Monde." Favorable assessment.

BESANÆON, ALAIN. L'lmage interdite: Une histoire intellectuelle de l'iconoclasme. Paris: Fayard, 1994.

Review: Anne Henry in QL (1er 15 juin 1994), 23–24: The work is divided into two parts. "Dans la première, qu'A. B. ... fait débuter par l'art grec . . . pour la terminer par l'essoufflement de l'art classique à l'orée du XVllle siècle, les grandes lignes de la démonstration hégélienne sont rajeunies librement à l'aide des recherches les plus récentes sur l'art médiéval, l'imagination de la Contre Réforme, la rhétorique splendide de la peinture classique, etc...." "Le mérite de ce beau livre," in H.'s opinion, "est de nous inciter à réfléchir, à protester, à revenir au véritable sens du genre artistique, grâce 'à la magnificence du paysage traversé,' dit son auteur, mais aussi grâce à la riche information de celui ci sans oublier le parti pris de ses positions provocantes et malicieuses."

BILLARD, PIERRE. "Margot sans pleurs." Le Point (7 mai 1994), 62–63.

On recent film La Reine Margot, termed "un moment de vérité" for French cinema. "Bilan: un chef d'oeuvre? Hélas, non," says B. Despite what he calls the film's "écheveau de qualités," he asserts that "il nous manque le repère d'un fil d'or, le choix d'un theme, d'une intrigue, d'un personnage sûr qui centre non pas notre intérêt, toujours en éveil, mais notre émotion, jamais sollicité." This film "nous intéresse, nous étonne, nous surprend, nous épate," B. acknowledges, then adds: "Mais rien ne mouille nos paupières, ne nous secoue le coeur, ne nous remue les tripes."

BLANQUIE, CHRISTOPHE. "Une mazarinade bordelaise inédite. Le Discours politique sur le baptême du duc de Bourbon." RHLF 89–81 (1993), 363–382.

A critical edition and historical study on an hitherto unpublished mazarinade written in 1653. The text centers on the festivities marking the baptism of the youngest son of Condé.

BROOKS, WILLIAM and P. J. YARROW. "Neglected Evidence about the Actor Michel Baron (1653–1729)." ThR 18 (1993), 173–76.

"When Louis XIV died, . . . the Comédie Française was a weakened institution." "It was in this context that in 1720, after an absence of nearly three decades, there returned to the Paris stage one of the most admired actors of the previous century, Michel Baron." In this article the authors question two statements made by H. C. Lancaster concerning M. B. They state: "Madame [the princesse Palatine, duchesse d'Orléans], who knew B. personally, links his retirement with Louis XlV's religious scrupules concerning the theatre ...." They also point out that B.'s "acting is continually praised by Madame . . . ," and they cite Mathieu Marais in support of Madame's claim that the aging B. was an excellent actor.

BROOKS, WILLIAM and P. J. YARROW. "A Note on La Champmeslé and Mlle Desmares." ThR 19 (1994), 67.

Corrects an error found in B. and Y.'s article on actor Michel Baron in ThR 18 (1993), 173–76. They state: "After the proofs [of the essay on Baron] were corrected and returned, an error [confusing Mlle Desmares with La Champmeslé] crept in" and "dismayed [the authors] greatly." They make clear that they "did not sanction this amendment," which, unfortunately, "looks like carelessness and ignorance on [their] part . . . ," they assert. "The actress known as La Champmeslé, Marie Desmares, died in 1698 .... Her niece ... was Christine Antoinette Charlotte Desmares. It is she who acted at the Comédie Française until 1721, and who, according to Madame, persuaded Baron to return" to the acting company.

BURKE, PETER. The Art of Conversation. Ithaca: Cornell UP, 1993.

Review: Anon. in VQR 70 (1994), 48: This study, "which does not disappoint, is a sketch of the role of conversation in the social history of early modern Europe. As such, it is an epitaph to a tradition largely in decline in our own age of solitary life in front of the T.V. or computer screen. B. suggestively ponders the role of language in social intercourse and even considers the art of conversation in relation to still unwritten history of silence. This is a book," declares the reviewer, "that will stimulate art historians and scholars of literature as well as students of manners.

BURY, EMMANEUL. "Les 'lieux' de la sagesse humaine et la formation de l'honnête homme." PFSCL/Biblio 17, 80 (1993), 117–129.

Studies the relationship between the reading of ancient texts and the formation of the ideal of the civilized man: ". . . le lieu commun, en tant que détenteur d'une vérité morale, permet à la littérature profane de s'inscrire dans un vaste processus de 'civilisation des moeurs,' en lui conférant une portée et une valeur pédagogique à l'usage des gens du monde."

CABANTOUS, ALAIN. Les côtes barbares pilleurs d'épaves et sociétés littorales en France, 1680–1830. Paris: Fayard, 1993.

Review: Phiiippe Jacquin in QL (16–31 mars 1993), 26: "A. C. démonte le théatre du pillage, s'intéressant aux acteurs, allant les traquer dans les archives judiciaires, et il met en scène, avec talent, le mythe des naufrageurs. A. C. ne nie pas la tradition du pillage des épaves sur les côtes de France, mais il la ramène à une certaine réalité que les écrivains romantiques et autres folkloristes nous avaient fait oublier en dressant un portrait des sociétés barbares de nos rivages." In contrast with the perspectives found in "des anecdotes de combats navals écrites par des amiraux nostalgiques, le travail d'A. C. démontre avec qualité qu'une autre histoire maritime existe."

CANOVA-GREEN, MARIE-CLAUDE. La politique spectacle au grand siècle: les rapports franco anglais. PFSCL/Biblio 17, 76 (1993).

Review: P. Hourcade in PFSCL 21 (1994), 562–563: The "ballet de cour" viewed from the political, ethical, and esthetic relations between the Bourbons and the Stuarts: the "fête" serves to reaffirm the power of the sovereign at times at the expense of his counterpart on the other side of the Channel.Reviewer finds that the study raises more questions than it answers.

CARLIN, CLAIRE. "Louis XIV héros mythologique: une mise en scène numismatique." PFSCL/Biblio 17, 80 (1993), 363–375.

Studies the evolution of the king's reign as depicted in medals.

CARNOCHAN, W. B. The Battleground of the Curriculum: Liberal Education and American Experience. Stanford, CA: Stanford UP, 1993.

Review: F. X. Russo in Choice 31 (1994), 976: In this "excellent contribution to the debates on the university . . ., [C.] provides an incisive, objective analysis of the conflict over liberal education's place and function in the university curriculum. A chronological approach is used to examine the continuous crises and curricular wars over liberal education's role. The European roots of this conflict are carefully documented: from the 'battle of the books' with 'ancients' and 'moderns' to Newman and Arnold's questioning of religion and secular learning's relationship."

CARRIER, DAVID. Poussin's Paintings: A Study in Art Historical Methodology. University Park: Pennsylvania State University Press, 1993.

Review: M. Bull in Burlington Magazine 136 (1994), 116: A philosophical study of both the literature of art and P.'s paintings. Essentially a study of P.'s "concept of representation."Reviewer faults C. for his humility: it is often difficult to distinguish between C.'s opinions and those of other critics. However, C.'s reading is "unique" and "deserves to be widely and seriously discussed."

CHANTALAT, CLAUDE. A la recherche du goût classique. Paris: Klincksieck. 1992.

Review: Jean Philippe Grosperrin in DSS 182 (jan-mars 1994), 197–198: Analyse nuancée qui incorpore un examen synchronique et une perspective diachronique avec cependant, quelques aspects discutables, par exemple, la sous estimation du rôle de la "réflexion sur la peinture dans la formation du goût classique."

Review: J. Marmier in PFSCL 31 (1994), 233–235: ". . . une tentative ambitieuse et réussie. . ." to define classical taste. Traces history of the metaphor of taste, shows its relationship to honnêteté, contrasts it with reason and feeling, and draws parallels with intuition.

CHARBONNEAU, HUBERT et al. The First French Canadians: Pioneers in the St. Lawrence Valley. Trans.Paola Colozzo. Newark: U of Delaware P, 1993.

Review: S. W. See in Choice 31 (1994), 1783: "A collaborative work by demographers, this study offers a richly detailed portrait of 17th century immigrants to New France. However, it yields few surprises or dramatic conclusions. Using parish registers, nominal censuses, and marriage contracts, the authors build an impressive data file of the 3,380 men and women who formed the basic married pioneer group of Canadian settlers before 1680. The demographic profile includes information on the immigrants' regional origins in France, marriage patterns, birth and mortality rates, and generational persistence. The study corroborates hypotheses that historians have long pursued: Settlers in New France were a hearty breed who experienced a lower mortality rate and slightly higher fertility rate than did their contemporaries in France. Although the work is a tribute to the efficacy of quantitative methods, "it is rather thin on contextual history," according to S.

CONSTANT, PAULE. "L'exil des éducatrices." PFSCL 21 (1994), 375–379.

The positive role of exile in the education of girls after Mme de Maintenon's prescription: "Ni traversée du désert, ni coupure sociale, l'exil des éducatrices a été voulu et désiré au même titre qu'une rédemption sociale et religieuse."

COSTANTINI, MICHEL. "Poétique du manger." QL (1er 31 août 1994), 12–13.

Includes brief references to Corneille (e.g., Alexandre Balthazar Grimod de La Reynière was called "le 'Corneille de la gastronomie française"') and to La Fontaine.

DATHORNE, O. R. Imagining the World: Mythical Belief versus Reality in Global Encounters. New York: Bergin & Garvey, 1994.

Review: G. J. Martin in Choice 31 (1994), 1772: The author "adopts the premise that the myths and fables of Europe and Africa have been accepted and embraced in the New World .... The book is an explication of the way in which the New World was 'invented' by Eur Africa." D.'s narrative "takes the reader essentially from the time of the Greek and Roman thinkers into the 20th century. Europe took from its past and reinvented it for the New World. Similarly Africa 'discovered' Europe, and ... Europe discovered Africa ...." "Notes, selected bibliography, and index are helpful appendages."

DELAGE, DENYS. Bitter Feast: Amerindians and Europeans in Northeastern North America, 1600–64. Trans.Jane Brierley. Vancouver: Univ. of British Columbia Press, 1993.

Review: R. L. Haan in Choice 31 (1994), 1491: H. states that ". . . this book should be required reading for anyone wishing to explore the Colonial history of eastern North America. D. links the broader patterns of a newly emergent Western European international economy to myriad social, political, and religious changes among Native Americans, especially the Huron. The result is a richly textured study that deepens understanding of how the North American continent became a 'New World' for both Europeans and Native Americans." "D.'s principal thesis is that the fur trade engendered an unequal relationship .... European expansion coupled with a growing Indian economic dependence on trade influenced a range of Native American social and cultural patterns .... D. concludes that European powers pressured indigenous peoples in ways that weakened Indian societies and reflected European imperialistic ambitions."

DENNIS, MATTHEW. Cultivating a Landscape of Peace: Iroquois European Encounters in Seventeenth Century America. Ithaca: Cornell UP, 1993.

Review: R. L. Haan in Choice 31 (1994), 986–87: "In this study D. seeks to replace the stereotype of the 'bloodthirsty, aggressive' Iroquois with the portrait of a people who sculpted an ecological and political 'landscape' of peace." "Most intriguing," in H.'s view, "is D.'s suggestion that French Iroquois hostilities stemmed from the French failure to understand that Iroquois overtures of peace were predicated on the sincere desire to adopt, literally, the French as relatives.... D.'s provocative argument is weakened," according to the reviewer, "by two serious flaws. First, he recreates 15th , 16th , and 17th century Iroquois motives from 19th and 20th century sources. Secondly, D.'s examples of Iroquois intentions for peace are carefully selected to fit his thesis: the Iroquois war in the Illinois country is the most notable omission."

DE PLANHOL, XAVIER, with PAUL CLAVAL. An Historical Geography of France. New York: Cambridge UP, l994.

Review: B. Osborne in Choice 32 (1994), 344: "Perhaps because of [the] success [of the French 'annalistes'], the exercise of an explicit historical geographic approach to the understanding of France has been neglected. In a masterly overview, de P. redresses this by showing how a France grounded in a particular ecological context came to manifest an emergent central identity." O. finds the volume "well illustrated with clear maps ...."

DOUEIHI, MILAD. "Hoc est sacramentum: Painting Blasphemy." MLN 109 (1994), 617–31.

D. rehearses "some of the defining moments of Marino's analysis of the eucharistic enunciation, highlighting its remarkable insights and productive powers but also pointing out its inscription within a formalist horizon that privileges the notion and concept of the sign itself. Marino locates the eucharistic enunciation, especially in the Logique of Port Royal, at the center of the articulation and constitution of the Classical conception of representation."

DREYER, PETER. "A Drawing by Bernini for M. and Mme de Chantelou." Burlington Magazine 136 (1994), 603–608.

A study of a drawing of St. Joseph and the Virgin looking at the Child done for the French collector Paul Fréart de Chantelou (1609–1694). Illustrations.

DULONG, CLAUDE. Marie Mancini. La première passion de Louis XIV. Paris: Perrin, 1993.

Review: Bruno Neveu in DSS 182 (janv-mars 1994), 179–80: Nouvelle biogragphie de Marie Mancini, agréable à lire et "un solide travail critique fondé sur des documents originaux jusqu'ici inusités."

DUTOURD, JEAN. "Les Mémoires du Soleil." Le Point (17–23 avril 1993), 59.

On Louis XIV: Mémoires pour l'instruction du Dauphin (Imprimerie nationale). That these memoirs deal with a seven year period (1661–68) when the king was in his early adulthood "est leur aspect le plus étonnant," in D.'s opinion: "on les croirait écrits par un homme très sage, un quinquagénaire ayant une longue pratique de la politique et de la diplomatie, ayant médité quasi métaphysiquement sur les devoirs et l'essence de la royauté." According to Pierre Goubert, "dans sa remarquable présentation," "Louis XIV avait l'étoffe d'un père, puis d'un grand père 'attentif et tendre."' D. agrees: "C'est très vrai, et cela se sent à chaque ligne des Mémoires, qui ont quelque chose d'affectueusement pédagogique, en dépit de la grandeur des pensées et de la noblesse du style." These memoirs are seen as a corrective to Saint Simon's negative portraits of Louis XIV and the Dauphin. "Les Mémoires montrent un tout autre personnage," says D., "un formidable homme d'Etat, d'une pénétration, d'une science, je dirais d'un art, accomplis ....

EDMISTON, WILLIAM F. "Public Protection or Social Repression? Restif de la Bretonne and the Role of the State." SoAR 59.1 (1994), 45–64.

This article contains brief references to 17th century France. "Reading a seventeenth century text on the art of government by La Mothe Le Vayer, Michel Foucault states that the essential task of government is to establish a continuity, in both an upwards and a downwards direction ...." E. notes that a "distinction between government by the state and monarchical politics is most evident within the city of Paris. The creation of the lieutenancy of police by Louis XIV in 1667 represented for the French state a decision to move beyond the traditional functions of defense and justice, and to assume extensive new responsibilities for public order and the public welfare. The eighteenth century monarchs continued in this centralizing tendency by supplementing their judicial authority with administrative power.

EDMUNDS, R. DAVID and JOSEPH L. PEYSER. The Fox Wars: The Mesquakie Challenge to New France. Norman: U of Oklahoma P, 1993.

Review: J. H. O'Donnell III in Choice 31 (1994), 856: The authors "provide insight into the story of the Fox, or Mesquakie people. Long an implacable foe of the French, the determined Fox moved about the Midwest seeking trade and sanctuary.... The authors paint vivid descriptions of a resilient people who skillfully planned and fought battles, relocated after disasters, and persisted despite repeated pronouncements about their demise. This is an admirable scholarly partnership . . ." in O.'s judgment.

ENTHOVEN, JEAN PAUL. "Entretien avec Claude Lévi Strauss: Poussin, Rameau, Diderot et les autres...." Le Point (29 mai–4 juin 1993), 58–61.

Interviewed by E., C. L. S. describes his recently published book Lire, écouter, voir (Plon) as "structuraliste," adding: "Et chez moi, ce structuralisme n'est pas une idée fixe, ou une fatalité. C'est ma façon de percevoir les choses.... Ainsi quand j'observe les différentes versions des 'Bergers d'Arcadie' de Poussin, je ne peux m'empêcher d'y percevoir des effets de structure, même si je me trompe, et même si cela contredit les analyses magistrales d'un Erwin Panovsky."

FABRE VASSAS, CLAUDINE. La Bête singulière: Les Juifs, les Chrétiens et le cochon. Paris: Gallimard, 1994.

Review: Maïté Bouyssy in QL (1er 15 mars 1994), 25: "On sort ébloui de la lecture de ce livre," states B. "Mille ans d'incursions dans les pratiques culinaires et de plongées dans les rituels paganisants des enfants d'un bout à l'autre de l'Europe démontrent avec jubilation la passion du chrétien des temps anciens: n'être pas juif et pour cela s'approprier tout en la spiritualisant la bête singulière, le cochon." "L'auteur poursuit son entreprise avec un bonheur total," says the reviewer. "Elle nous embarque dans une entreprise d'érudition follement séduisante."

FAUSETT, DAVID. Writing the New World: Imaginary Voyages and Utopias of the Great Southern Land. Syracuse: Syracuse UP, 1993.

Review: H. R. Grant in Choice 31 (1994), 1772: ". . . This work focuses on the relationship between Europeans at the time of the discoveries of the New World and their literature. The excitement of finding mysterious lands had a major impact on the writings of a group of utopian authors. They often described perfect societies that were located in the mostly unknown regions south of their familiar world, especially in the legendary 'Great Southern Land.' F. employs history, geography, literature, sociology, and theology to examine this understudied topic. He sensibly concludes that 'The Southland was more than a real frontier; it was the last major notional exterior, or generator, of collective differences.' Although characterized by a dense prose style, this book is enhanced by marvelous illustrations that nicely capture the flavor of early modern utopianism .

FERRY, LUC. Homo Aestheticus: The Invention of Taste in the Democratic Age. Trans.Robert de Loaiza. Chicago: U of Chicago P, 1994.

Review: M. Feder Marcus in Choice 32 (1994), 468: "This work takes as its theme the central tension of modern aesthetics, the valorization of individual and often idiosyncratic expression, and the correlative claim of art as having intersubjective significance and embodying 'objective' truth. F. links this problematic to those of modern democracy in both the ethical and cultural domains and sees these within the broader context of the Cartesian legacy, which left reality radically split into objective and subjective realities. The style of the book is engaging and fresh . . . ," according to the reviewer. The work is described as "accessible" and as "useful in introducing the central issues in modern aesthetics to readers outside the field."

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

The chief value of these insightful essays is that they put relatively neglected material at the service of the interpretation of more widely known texts.

Review: Lorraine Daston in MP 92 (1994), 108–10: "The title of this elegant and erudite collection of essays on (mostly) French literature of the long eighteenth century self consciously echoes that of Freud's late essay, Civilization and Its Discontents ...." "The theme that loosely unites these occasional pieces is the yearning . . . to escape the gilded cage of politesse. It is Norbert Elias's work on the civilizing process . . ., culminating in the elaborate rites of courtesy at the absolutist court of Louis XIV, that allows F. to elide Freud's grand and menacing 'civilization' with the seemingly meek and trivial 'politeness'." "Inspired by both Freud and Elias, F. explores the strains and longings created by the exquisitely polite society of late seventeenth century and eighteenth century France as expressed in its literature . . ." (authors treated include Racine and Perrault). Arguing "that F.'s various oppositions tend to blur rather than to sharpen the outlines of the central concept of politeness," D. would prefer "more historical contextualization and differentiation, not a denial of the reality of the revolt against politeness that F. describes so evocatively." D. would like to see "the deeply gendered language of the critics of politeness" explored.

FRANKO, MARK. Dance as Text: Ideologies of the Baroque Body. New York: Cambridge University Press, 1993.

Review: B. Norman in PFSCL 21 (1994), 579–580: A "historical and theoretical study of court ballet during the hundred years preceding Molière's death."Reviewer finds that F. helps us understand the central importance of dance although his book is not easy to read because of "dense or repetitive" theorizing.

FUMAROLI, MARC. L'école du silence: Le sentiment des images au XVlle siècle. Paris: Flammarion, 1994.

Review: John E. Jackson in QL (16–30 sep. 1994), 21–22: (Reviewed with La Diplomatie de l'esprit, also by M. F. (Hermann éd.) J. has been discussing the importance, for F., of the art of conversation. "D'autre part, un souci non moins profond de situer les ressources de la rhétorique dans la perspective d'une éloquence sacrée qui ne se confond nullement avec la seule prédication. Il faut lire, dans L'école du silence, les pages consacrées à Poussin et surtout à Guido Reni . . . pour voir défini le projet artistique d'une manière clairement métaphysique ....

GAINES, JAMES F. "Disaster and the Lower Body: Punishment of Presumption in Seventeenth Century Art and Literature." EMF 1 (1994) 113–130.

An interdisciplinary study in which G. contends that sculpture, painting and literature of the Grand Siècle emphasized the motif of destruction of the lower body as a means of symbolizing absolutist power over the lower classes. G. discusses the work of Puget, the Marsy brothers, Le Nain and Molière, among others.

GALLAND, ANTOINE. Histoire de l'esclavage d'un marchand de la ville de Cassis, à Tunis. Paris: Editions de la Bibliothèque, 1993.

Review: M. Host in RDM (février 1994), 185–87: Elaboration en forme de nouvelle historique du récit que Jean Bonnet, négociant à la ville de Cassis, a fait de son passage aux bagnes de Tunis (1669–1672).

GEALT, ADELHEID M. Painting of the Golden Age: A Biographical Dictionary of Seventeenth Century European Painters. Westport, CT: Greenwood, 1993.

Review: M. Nilsen in Choice 31 (1994), 1271: "G.'s dictionary includes [approximately 300] artists active in Holland, England, Flanders, France, Germany, Italy, and Spain in the 17th century.... The body of the volume . . . consists of biographical sketches of the selected artists with a list of their major works and a brief biographic digest." "The scholar interested in this period will probably turn first to monographs on artists, topical studies, or comprehensive indexes. The bibliography on each artist . . . will not suffice for advanced researchers," according to N.

GIACHINO, LUCA. Lettres inédites de Mgr Albert Bailly (Rome 1658). Aoste: Imprimerie Valdotaine, 1992.

Review: Bruno Neveu in DSS 182 (janv-mars 1994), 190–91: Lettres contenant les réflexions de Bailly lors de son séjour à Rome où il attend d'être élevé à l'épiscopat. Une édition très soignée.

GILDEA, ROBERT. The Past in French History. New Haven: Yale UP,

Review: Anon. in VQR 70 (1994), 113: "In this rich, clear, lively book, . . . [G.] examines how different representations of the past . . . have been manufactured by competing political communities (especially the extreme Left and Right) to define their identities, determine their goals, and disqualify (or even demonize) their adversaries. Apart from exploding the myth of a monolithic French consciousness, G. shows in the most compellingly possible terms that history is less factology than versions—shaped, colored, and textured by institutional or ideological forces. This is a fundamentally important book which deserves to be read and reread—not only by historians."

LE GRAND ATLAS UNIVERSALIS DE L'ART. 2 vols. Paris: Encyclopedis éd., 1993.

Review: Gilbert Lascault in QL (1er 15 déc. 1993), 16: "Deux volumes de très grand format (37 x 27 cm); 600 pages; 300 articles; 140 auteurs; environ 1 300 illustrations en couleur (souvent inédites); 100 cartes originales; bibliographie méthodique importante; 400 notions et termes techniques définis dans un glossaire; index de 2 000 entrées.

GREENBERG, MITCHELL. Subjectivity and Subjugation in Seventeenth Century Drama and Prose. New York: Cambridge University Press, 1992.

Review: C. Helms in PFSCL 21 (1994), 584–586: G. uses modern critical theory, especially Freud, to study "the illusion of paternalistic benevolence created by the 17th century Bourbon kings and ministers and analyses the relation between the modern 'subject' which emerges in the classical era and its relation to the Bourbon's Absolutist rule." A "compelling and thought provoking" exploration.

GREENBLATT, STEPHEN. Marvelous Possessions: The Wonder of the New World. Chicago: U of Chicago P, 1991.

Review: Craig M. Rustici in MP 91 (1994), 369–73: In this book " G. analyzes early European representations of alien cultures by focusing on wonder. As conceptualized in Renaissance philosophy and aesthetics, wonder is 'an instinctive recognition of difference,' both a principal cause of philosophical inquiry and the desired effect of poetry ...." "Despite its particular infelicities," says R., "this volume displays G.'s mastery of the essay form. His writing is learned and engaging, and his eye for revelatory episodes remains sharp.... By analyzing wonder, G. draws attention to a little examined emotional and intellectual component in early colonialist discourse."

HEFLING, STEPHEN E. Rhythmic Alteration in Seventeenth and Eighteenth-Century Music: Notes inégales and Overdotting. New York: Schirmer Books, 1993.

Review: B. A. Thompson in Choice 31 (1994), 796: "For scholars and performers of Baroque music, H. offers a comprehensive and penetrating look at the subjects of notes inégales and overdotting. Drawing from primary 17th and 18th century sources and from current secondary sources, he states his goal as to 'inform and develop our own taste and judgment on the basis of what is intelligible in data that survive from the past.' Recent, often polemic, writings . . . are adroitly put into much clearer focus by H.... ," according to T. The reviewer considers the book to be essential "for serious performers and scholars of Baroque music."

HUEBNER, STEVEN. Les Opéras de Charles Gounod. Paris: Actes Sud éd., 1993.

Review: Claude Glayman in QL (1er 15 mars 1994), 29: Among other topics, H. discusses G.'s interest in adapting Molière's George Dandin. According to the reviewer, this volume is "un livre à conseiller vigoureusement, sûr, original .

HUGILL, PETER J. World Trade since 1431: Geography, Technology, and Capitalism. Baltimore: Johns Hopkins UP, 1993.

Review: C. E. Tiedemann in Choice 31 (1993), 654: T. says that in this book "H. offers a fairly concise discussion free of distracting ideology .... What, in an ecological sense, spurs trade and motivates individual, corporate, and national participation is of more concern here than trade itself, though the focus of discussions is directed more toward empirical than theoretical considerations." Largely favorable.

HUNT, LYNN, ed. The Invention of Pornography: Obscenity and the Origins of Modernity, 1500–1800. Cambridge: Zone Books, 1993.

Review: J. T. Rosenthal in Choice 31 (1994), 827: According to R "H. provides an instructive introduction to these nine papers .... The basic theme is that pornography, apart from or in addition to its erotic appeal, has a strong political meaning. That the meaning is subversive to the conservative states of Europe, let alone to the France of the ancien regime, is almost self evident. As H. says, pornography was 'inherently subversive as a genre because it was based on materialist philosophy and often criticized priests, nuns, and aristocrats."' Most of the essays in this volume "focus on France and England. The authors are in basic agreement on the interplay of modernity, individualism, the privatization of pleasure and the body, and the power of male fantasy and such myths as the virtuous courtesan and the libertine whore."

Review: W. Steiner in Art in America (May 1994), 31–33: Nine essays presenting pornography in its relation to modernist issues: free thinking, heresy, science, natural philosophy, and attacks on political authority. By 1660, Hunt claims, "almost all the themes of later prose pornography were present . . . ."Reviewer states that the study "helps us recognize today's controversy over pornography as yet another moment in the tumultuous course of modernism, . . . ."

ISBLED, BRUNO, ed. Moi Claude Bordeaux.... Journal d'un bourgeois de Rennes au XVlle siècle. Rennes: Editions Apogée, 1992.

Review: Bernard Barbiche in DSS 182 (janv-mars 1994), 180–81: La réédition de ce journal, dont une première édition difficilement utilisable, "offre une occasion unique de pénétrer dans une ville du XVlle siècle...."

JELLINEK, GEORGE. History through the Opera Glass: From the Rise of Caesar to the Fall of Napoleon. New York: Kahn & Averill, 1994.

Review: K. Pendle in Choice 32 (1994), 294: "The concept underlying this book is intriguing. Starting with the time of the Roman Empire and ending with the fall of Napoleon, J. first summarizes the developments in (largely European) history, then shows how operas based on these developments deal with the historical facts and the people involved in the events of the given times and places. As helpful supplements to the text, the book includes several maps and photos, plus a chronological chart linking central historical events with the operas that refer to them." According to P., J. "writes in a fluent, engaging manner" but the book is described as "a skeleton that badly needs filling out." The focus "is largely 'white man's' history, . . . and the operas seldom claim more than a few sentences apiece." In P.'s opinion, the book's audience will not include "music professionals and scholars."

KLINGENSMITH, SAMUEL JOHN. The Utility of Splendor: Ceremony, Social Life, and Architecture at the Court of Bavaria, 1600–1800. Eds. Christian F. Otto and Mark Ashton. Chicago: U of Chicago P, 1994.

Review: R. B. Barnes in Choice 32 (1994), 184: B. finds the book to be "an impressive and attractive volume in almost every respect. K., a young scholar who died in an act of random violence in 1986, drew on a broad range of archival and published sources to examine relationships among architecture, ritual, and everyday life at a leading German court, that of the Wittelsbachs." "Some of the author's most useful insights derive from comparisons," in B.'s view: "unlike Versailles, for example, where access to the King was relatively open, the Bavarian palaces were designed to establish a clear hierarchy of access and to protect the Elector's privacy."

LACH, DONALD F. and EDWIN J. VAN KLEY. Asia in the Making of Europe, vol. 3: A Century of Advance. Chicago: U of Chicago P, 1993.

Review: B. G. Gokhale in Choice 31 (1994), 844: Bk. 1: Trade Missions, Literature; Bk. 2: South Asia; Bk. 3: Southeast Asia; Bk. 4: East Asia. "The third volume in [the authors'] study of the European discovery of Asia . . . covers the 17th century, when interaction between the two continents increased significantly through Christian missionary activities, European travelers, and trading entities .... The first book discusses the images of Asian peoples and their cultures as conveyed by Catholic and Protestant missionaries and sundry travelers." Contents of the other books are also described. "This work," says G., "is a formidable undertaking, accomplished with insight and organizational skill." "The 433 illustrations and numerous maps (many of them rare) add to the richness of the work."

LACOSTE, JEAN. "La Strychnine dans les chocolats." QL (1er 31 août 1994), 30–31.

"Le poison . . . a perdu de son actualité comme technique criminelle. Même s'il est étroitement lié à l'histoire même de l'investigation policière, depuis la 'Chambre ardente' de La Reynie, qui fut chargée de juger la Voisin en 1680, jusqu'aux querelles de l'affaire Lafarge, en 1840, . . . l'empoisonnement n'a plus cours. Trop sournois, trop lent, trop aléatoire." Today we fear environmental pollutants; thus, "L'humanité est devenue une grande famille florentine."

LE MOEL, MICHEL. La Grande Mademoiselle. Paris: De Fallois, 1994.

Review: Jean Nicolas in QL (1er 15 sep. 1994), 25–26: (Reviewed with Michel Pernot, La Fronde (De Fallois) "Etonnante figure féminine que celle de la duchesse de Montpensier . . . ," states N. "Confortée par son titre de Grande Mademoiselle et son énorme fortune, elle prétend rester maîtresse de son destin sans plier devant la raison d'état, ce qui lui vaudra de fâcheux déboires." This "toute nouvelle biographie . . . ne révolutionne pas l'image de cette princesse libertaire," in N.'s opinion, "mais elle rafraîchit les souvenirs, elle entraîne, elle donne envie d'en savoir plus malgré son début laborieux, hérissé de généalogies."

LE ROUX, MONIQUE. "Jacques Lassalle et la Comédie Française." QL (1er 15 nov. 1993), 27–28:

"J. L. a été remplacé par Jean Pierre Miquel comme administrateur général de la Comédie Française. Mais c'est lui qui va continuer à marquer de son empreinte toute la saison de la Maison et par les programmations prévues dans les deux salles et par ses spectacles inscrits à l'affiche dans les mois prochains.... Ainsi la rentrée s'est faite avec . . . à la salle Richelieu le Dom Juan de Molière présenté au dernier Festival d'Avignon." Detailed commentary on these two productions of M.'s play. (Works by other playwrights are also mentioned.)

LE ROY LADURIE, EMMANUEL. Parmi les historiens, II. Paris: Gallimard, 1993.

Review: Robert Bonnaud in QL (16–31 mars 1994), 8, 10: B. describes L.'s book: "C'est, à coup de tableautins, d'articles courts et brillants, une fresque d'histoire française et européenne, des origines au XVllle siècle, une promenade vagabonde, riche en tournants décrits ou suggérés." Includes discussion of "1635, le grand tournant de Richelieu, de l'intervention française dans la guerre de Trente Ans, et du classicisme." The author's perspective "est très occidentale. L'lslam est maltraité," says B. Among the topics treated is comparison of France and Great Britain in the 17th century. "Régression française, progrès britannique? Contrerévolution de Versailles, révolution authentique de Londres? Ce n'est pas si simple .... Intolérance antiprotestante d'un côté du Channel, intolérance anticatholique (et antiirlandaise) de l'autre." L.'s book is called "une méditation métahistorique," viewed from one angle.

LESAULNIER, JEAN. "Découverte de Huet homme de lettres: le témoignage du Recueil de choses diverses," in Pierre Daniel Huet(1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 43–60.

H.'s arrival at the royal court in 1670 as viewed through the accounts of conversations of persons associated with Port Royal: "La fréquentation des salons et des hôtels parisiens, comme des milieux proches de Port Royal, jointe à une multitude de relations d'amitié, . . . a conduit H. à se trouver une place dans la république des lettres, mais aussi à mener de pair réflexion esthétique et réflexion morale et philosophique sur l'homme."

LEVER, MAURICE. Canards sanglants: Naissance du fait divers. Paris: Fayard, 1993.

Review: Gilles Lapouge in QL (16–31 oct. 1993), 9: "La presse n'a pas été inventée par Théophraste Renaudot en 1631. Un siècle plus tôt, les colporteurs vendaient . . . des 'occasionnels,' que l'on appelait aussi 'canards'." The author of this book "a farfouillé dans ces papiers perdus. Sa cueillette est fastueuse. Il nous offre un festin de sang et d'horreur, de quoi ébranler les nerfs les plus froids. Et il ajoute à ces 'morceaux choisis de l'épouvantable' une préface érudite et subtile." "M. L. note que la plupart des 'occasionnels' n'aiment pas beaucoup les femmes." "On relève ici un fait surprenant du diable des XVle et XVlle siècles," notes the reviewer. "ll est puritain comme tout: s'il s'acharne sur les femmes, c'est que les femmes sont impures, un monceau d'entrailles. Le démon n'aime pas ça: il les tue."

LEVI STRAUSS, CLAUDE. Regarder, écouter, lire. Paris: Plon, 1993.

Review: P. Mayol in Esprit (février 1994), 194–96: Dans ce "vagabondage décousu et savant" sur la création artistique, une discussion de l'oeuvre de N. Poussin, surtout "Bergers d'Acadie" et "Eliezer et Rebecca." "De Poussin, Lévi Strauss retient qu'il brise les codes de la représentation en introduisant la successivité du récit où l'académisme veut seulement l'événement brut sans contexte.

LICHTENSTEIN, JACQUELINE. The Eloquence of Color. Rhetoric and Painting in the French Classical Age. Trans.E. McVarish. Berkeley/Los Angeles/London: University of California Press, 1993.

Review: F. Quiviger in Burlington Magazine 136 (1994), 180: An attempt to define the specificity of painting by studying the "débat du coloris" that raged at the Académie royale after 1670. L. contends that the "partisans of drawing linked painting to the rational universe of the arts of discourse while their opponents always . . . inclined towards the seductive power of colour."Reviewer states that although the study does have some merits, it "brings nothing to the still authoritative works of Teyssèdre and Pittfarken."

LOGETTE, LUCIEN. "Louis enfant roi." QL (1er 15 mai 1993), 27.

Commentary on Roger Planchon's recent film on young Louis XIV. "Toutes les conditions étaient réunies d'un récit spectaculaire où s'accumulent complots, machinations, trahisons, guerre et amour. C'est à la fois la toile de fond du grand théâtre classique ... et celle du théâtre élizabéthain ...." L. calls the film "l'aboutissement de trente cinq années de réflexion et de pratique ... autour de cette période charnière ...." `'P. avoue avoir voulu réaliser un grand film populaire pour animer cette 'belle boutique de rêves' que demeure pour lui le cinéma. Il a au moins réalisé un grand film intelligent," according to L. Aside from a few "scories . . . (les apparitions oniriques de Louis XIII, par exemple, mal insérées dans une continuité très précisément réaliste), le film est porté par une maîtrise et un souffle rares ....

LOPEZ, DENIS. "Huet pédagogue," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 211–228.

Examines H.'s role in the education of Louis XIV's son, Louis de France, between 1670 and 1680 and its positive effects on learning in France in general.

LYNN, JOHN A., ed. Feeding Mars: Logistics in Western Warfare from the Middle Ages to the Present. New York: Westview, 1993.

Review: P. L. de Rosa in Choice 31 (1994), 977–78: "The volume includes chapters on historiographical, medieval, early modern, and modern topics .... The early modern section contains essays on the Spanish navy, Louis XlV's campaigns, and infrastructure problems in the American Revolution." "Overall," states the reviewer, "a strong collection of provocative essays."

MARIN, LOUIS. "Biographie et fondation." Esprit (décembre 1993), 141–55.

Réflexions de Marin à propos de la Relation écrite par la Mère Angélique Arnauld sur Port Royal précédée d'un avertissement par une religieuse de Port Royal qui visent à articuler "sur un propos essentiellement narratologique deux autres motifs: le motif testamentaire et celui de la fondation."

MARIN, LOUIS. "Frontiers of Utopia: Past and Present." CritI 19 (1993), 397–420.

The essay opens with a long commentary on the Sears Tower, and goes on to treat More's Utopia (1516). L. M. also discusses ". . . Charles Le Brun [who, in 1665,] constructs the whole scenography of the kings of France and Spain meeting, on the border of the Pyrenees ...." Exploring such concepts as frontier, interval, and limit, the author turns to 17th century French dictionaries for insights.

MARIN, LOUIS. Des pouvoirs de l'image. Paris: Seuil, 1993.

Review: Christian Descamps in QL (1er 15 févr. 1993), 21: This work (which asks "Comment croyons nous aux représentations?") is described as "une réflexion qui féconde la sémiotique, la psychanalyse, l'histoire de l'art sous la condition de la philosophie." "A partir du vu et du lu, du perçu, ce recueil interroge les images classiques dans leurs forces de représentation, dans leur puissance politique, dans leurs charges secrètes et fiévreuses." Discussion in the book ranges from La Fontaine to Rousseau to Nietzsche. "Soulignons . . . la belle lecture politique de La Mort de Pompée de Corneille.... Dans l'affrontement théâtral, sur la scène se joue—dans l'après coup du récit—l'éclat de la violence d'Etat, la pièce fait voir la lutte à mort où toute instance étatique négocie et cache la brutalité de son origine." "Savant et plaisant, attentif au lisible, cet ouvrage creuse les énigmes de la visibilité," says D.

MARIN, LOUIS. De la représentation. Recueil établi par Daniel Arasse, Alain Cantillon, Giovanni Careri, Danièle Cohn, Pierre Antoine Fabre et Françoise Marin. Paris: Gallimard Le Seuil, 1993.

Review: Florence Dumora in QL (1er 15 juillet 1994), 21–22: This posthumous volume is different from what L. M. would have published himself, says D.: "trop frontal, trop central sans doute dans une oeuvre qui se plaisait à la pudeur des entre deux et des traverses. Mais la position paradoxale de sujet/non sujet de son livre sied parfaitement à un penseur dont tout l'effort aura été de dire le manque au principe de l'oeuvre, l'absent au coeur de la représentation." According to D., ". . . la question fondamentale est celle de l'articulation." "Cette primauté est à rattacher au principe saussurien selon lequel l'identité de toute chose signifiante est faite de différence et de relation ...." "L'articulation majeure de l'ensemble tient son originalité de la contemporanéité paradoxale établie entre la représentation à l'âge classique (entendu au sens large) et les sciences humaines ...."

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.

This study demonstrates the need for some sort of synthesis of all foreign influence on French culture of the seventeenth century as a whole, and of the way in which that relates to the concept of a national culture and to a concept of cultural nationalism.

MENTZER, RAYMOND A. Blood and Belief: Family Survival and Confessional Identity among the Provincial Huguenot Nobility. West Lafayette, IN: Purdue UP, 1994.

Review: J. E. Brink in Choice 32 (1994), 185–86: "M.'s microhistory of the provincial elite of early modern France draws on more than 400 years of private family archives. The relationship between a durable kinship network and persistent religious conviction allowed the Lecger family of Castres to prosper and survive despite the persecution they suffered as Protestants in Catholic France.... Even when, following the Revocation of the Edict of Nantes, some family members outwardly professed Catholicism, the core remained Protestant. In crisp prose, M. provides excellent definitions and descriptions of institutions and points of law as well as an accurate context for his close examination of economic, social, and political themes. The result," says B., "is a most welcome and valuable contribution to early modern social and family history.

MESNARD, JEAN. La culture du XVIIe siècle: enquêtes et synthèses. Paris: PUF, 1992.

Review: A. McKenna in PFSCL 31 (1994), 266–270: Rich and profound studies of cultural aspects of the century: links with the Renaissance as a background for the study of the theme of self love and the crisis of conscience during the period; cultural life and political power; esthetics; Port Royal as a cultural center; the role of Pascal's Pensées; the height of classicism; and the reception of classicism.

MINERVA, NADIA. "Une Entrée gênante: Le Mot Diable dans les dictionnaires entre le XVIIe et le XVIIIe siècle." RSH 234 (1994), 73–83.

"La période qui va de la publication du premier dictionnaire monolingue français celui de Richelet paru en 1680—à l'Encyclopédie peut être considérée comme une époque heureuse pour la lexicographie et l'encyclopédisme, puisqu'une production prestigieuse y voit le jour .... Et pourtant, le lecteur qui voudrait se faire une idée de la conception démonologique du XVIIIe siècle à travers les dictionnaires serait, au premier abord, déçu et désorienté. Un bilan quantitatif portant sur la macrostructure du dictionnaire suscite déjà des perplexités." M. contends that ". . . le mot diable a perdu son pouvoir évocateur originel; il n'est plus que langue. La sélection opérée par le dictionnaire va dans le sens d'un épuisement ontologique et doctrinal ...." The word had become "un terme à sémantisme faible qui résiste cependant au déclin commun du vocabulaire religieux. Or les mots n'étant pas les choses, la censure de la chose est loin de supprimer le mot.

MONCOND'HUY, DOMINIQUE. "Les universels de l'imaginaire et leurs inscriptions littéraires et picturales vers 1640." PFSCL/Biblio 17, 80 (1993), 331–342.

Studies biblical, historical, mythological, and literary figures in literature and painting during Richelieu's time from the standpoint of reception theory.

MONCURE, JAMES A., ed. Research Guide to European Historical Biography, vols. 5–8. New York: Beecham Publishing, 1993.

Review: R. Balay in Choice 31 (1994), 1706: Figures covered in these four volumes are "233 scientists, philosophers, political theorists, theologians, popes, artists, writers, and musicians from the same time period. The two halves of the set are separately alphabetized, and each has its own index.

MORICEAU, JEAN MARC. Les Fermiers de l'lle de France, XVe–XVllle siècle. Paris: Fayard, 1994.

Review: Jean Nicolas in QL (16–30 juin 1994), 25–26: "Le livre nous propose bien plus qu'une définition sociographique du groupe [de "fermiers laboureurs"]: une véritable fresque sociale, qui éclaire sur trois siècles la dynamique d'une structure de développement. On ne se laissera pas rebuter par la massivité du volume (un millier de pages) ni par l'abondance de l'appareil critique accompagné de tableaux, graphiques et pièces justificatives ....

MOSSER, MONIQUE and GEORGES TEYSSOT, eds. The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. Cambridge, MA: MIT Press, 1991.

Review: Allen S. Weiss in SubStance 73 (1994), 117–19: This book is described as "a massive, lavish and erudite volume . . ." and as "a major contribution to garden history," a work whose "importance far exceeds the limits of this field: several sections of this book reveal aspects of garden aesthetics which might well serve in revisionist studies of art history." The volume includes "Technology in the Park: Engineers and Gardeners in Seventeenth Century France," by Hélène Vérin, whose "discussion of 17th century military engineering techniques elucidates the foundations of those radically new optical effects and technical feats which made possible the 'Cartesian' garden."

NEUMANN, FREDERICK with JANE STEVENS. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer Books, 1993.

Review: B. J. Murray in Choice 31 (1994), 1304: M. predicts that this book, like others written by N., will prove controversial. "The work seems to have two purposes. First, it is a primer on what N. calls 'core issues of interpretation' according to prominent historical treatises. Second, it is a rejoinder to 'inappropriate' application of those treatises. Nearly half the text is devoted to ornamentation, and there are sections on tempo, rhythm, phrasing, dynamics, and articulation .... The breadth of N.'s research is daunting," says M., adding that "the text, cogent throughout, has been organized well .... The book is an imposing contribution to the field, surely indispensable for any academic library with a music collection."

NYE, ROBERT A. Masculinity and Male Codes of Honor in Modern France. New York: Oxford UP, 1993.

Review: C. A. Gliozzo in Choice 31 (1994), 850: "In this evolutionary study of male honor codes from the old regime to approximately 1920, N. focuses on the social, political, and cultural history of France. Origins of French honor are found in the social structure, family inheritance, and manners of the old artistocratic order. This noble honor code was inherited by the bourgeois elite and institutionalized by the French Revolution with the breakdown of the social and cultural order of the . . . ancien régime." "This scholarly interpretation is based on an extensive investigation of primary and secondary sources."

PAGLIA, CAMILLE. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. New Haven: Yale UP, 1990.

Review: Mary Rose Kasraie in SoAR 58.4 (1993), 132–34: The author "seeks to 'demonstrate the unity and continuity of Western culture' illustrated by the elements of paganism that Judeo Christianity never overcame ...." "P. explains that the book reflects her belief in 'the truth of sexual stereotyping and the biological basis of sex differences' .... Yet beneath her deliberately shocking statements lies a strong conservative bent," according to K. The author "might . . . be faulted for her apparent ignorance of contemporary critical theories ...." "Ultimately, ... her critical concern is with the meaning hidden behind the allegorical or symbolic elements in the text." K. declares that "P. satisfies her thesis she presents a sensational, antifeminist approach by fusing Frazer with Freud (and a touch of [Harold] Bloom!) ....

PARK, WILLIAM. The Idea of Rococo. Newark: U of Delaware P, 1992.

Review: George Poe in P&L 18 (1994), 362–63: The book is described as "a beautifully presented volume." "The introductory chapter reviews how the originally French notion of rococo has been employed as a stylistic tag and then permits the author to defend his intention of positing such a categorizational construct as the period style for the first half—and a little beyond—of the European eighteenth century." P. finds "'continuity and change' ... in the baroque's movement toward rococo ....

PARK, WILLIAM. The Idea of Rococo. Newark: U of Delaware P, 1993.

Review: L. R. Matteson in Choice 31 (1993), 596: This book "is not an examination of the monuments of rococo art and architecture, but rather an assessment of the notion of rococo art." The author's theoretical approach to rococo "is loosely based on the sociological paradigm of Arnold Hauser (The Social History of Art, . . . 1951)." P. "sees the rococo style as revolutionary avant la lettre, in that it broke with the stolid and oppressive regularity of baroque decoration of Louis XIV and its overtones of autocracy for a style that was more 'democratic' and less hieratical in treatment (i.e., soft room colors, intimacy of spaces, and playfulness of ornament) and in the case of painting and sculpture, the increasing secularization of subject matter." The book is described as "a pungent and terse introduction to the subject, and worthwhile for acquisition." Included in the volume are "excellent notation and bibliography, and few but superb color plates."

PASCAL, MICHEL. "Conversation à deux voix avec le couple Margot Henri de Navarre." Le Point (7 mai 1994), 64–66.

Interview with two performers in the film La Reine Margot: Isabelle Adjani (Margot) and Daniel Auteuil (Henri de Navarre).

PASCAL, MICHEL. "L'Enfance d'un chef." Le Point (17–23 avril 1993), 57–58.

An introductory statement, under the rubric "La Fronde: La passion du pouvoir," appears on p. 56. This article primarily concerns Roger Planchon's film Louís, enfant roi. R. P. is quoted: "'J'ai souvent mis en scène Molière, et le grand absent de son théâtre, c'est le roi. Je voulais donc depuis longtemps mieux cerner cette figure ...."' Various aspects of the ambitious project of making a film on the Sun King's childhood are discussed.

PENNAROLA, LEA CAMINITI. "La correspondance Ménage Huet: un dialogue à distance," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 141–154.

In the exchange, P. finds the "histoire d'une amitié, témoignage d'une féconde collaboration littéraire, fresque de la société du XVIIe siècle, . . . ."

PERNOT, MICHEL. La Fronde. Paris: De Fallois, 1993.

Review: Jean Nicolas in QL (1er 15 sep. 1994), 25–26: (Reviewed with Michel Le Moël, La Grande Mademoiselle (De Fallois ) ". . . une matière surabondante [on the period of the Fronde published in recent decades], mise en oeuvre . . . par M. P. dans un livre de synthèse qui vient à son heure pour faire le point, restituer la logique profonde de l'enchaînement des faits et trier dans les hypothèses interprétatives." N. declares that the author "dénoue avec brio cet imbroglio déconcertant, compliqué ... par tant d'ambitions personnelles rivales ...."

PICARD, PATRICK. "Aux sources de l'Académie française." RDM (mars 1994), 114–23.

"Prenant le risque de la simplification, on pourrait résumer les causes immédiates de la création de l'Académie en se référant à la double passion de Richelieu pour la littérature et la politique."

PIERRARD, JEAN. "La Leçon de Poussin." Le Point (8 oct. 1994), 60–67.

"C'est l'un des événements artistiques de l'automne," says J. P.: "plus de cent dix tableaux et cent trente cinq dessins sur les cimaises des Galeries nationales du Grand Palais pour honorer le quatrième centenaire de la naissance du plus italien des peintres français. Du jamais vu depuis la très fameuse exposition du Louvre en 1960." "Comment fêter sans faire bâiller le quatrième centenaire" of P.? "Peuplées de bacchanales et d'histoires mythologiques trop compliquées, ses oeuvres ne séduisent pas comme celles du premier impressionniste venu," says J. P., who also raises a broader issue: "Cette rétrospective souligne . . . combien le Grand Palais devient un lieu impossible, avec ses nombreux contre jours quand on veut mêler lumière nouvelle et éclairage artificiel. Car nombre d'oeuvres de P. venues du Louvre sont moins bien accrochées qu'au Louvre . . ., ce qui est infiniment regrettable."

PIERRARD, JEAN. "Toiles et étoiles du Grand Siècle." Le Point 27 (mars 2 avril 1993), 78–80.

"A Montréal, une très excitante exposition présente un bilan de la peinture française du XVIIe siècle." Works displayed later in museums at Rennes and Montpellier. "Ce 'Grand Siècle' . . . s'étend de la fin du maniérisme aux contemporains de Watteau ...." "Séduisant, étincelant . . ., ce 'Grand Siècle' n'a pour seul défaut que celui d'être trop grand. Il aurait gagné à être resserré." P. declares that, "du côté des artistes, . . . de La Tour à Poussin, de Vouet à Philippe de Champaigne, le meilleur de l'époque, c'est au règne de Louis XIII qu'on le doit. Pour les amateurs de peinture, le Grand Siècle s'arrête à la mort de Mazarin!"

PIERRARD, JEAN. "L'Homme qui peignait plus vite que son ombre." Le Point (24–30 dec. 1993), 66.

On exposition at Tours (musée des Beaux Arts) of works by Claude Vignon (1593–1670), who "savait tout de la mode et du marché." "Catalogue, très complet, de Paola Pacht Bassani (Éditions Arthena, 621 pages)." The article includes details on V.'s life. "L'intérêt—immense—de cette exposition," says P., "est de nous faire mieux comprendre les subtils décalages qui traversent la peinture française à l'époque de Richelieu."

PONTAUT, J. M. "Du sang à la une." Le Point (8–14 janvier 1994), 72–73.

Conversation with Maurice Lever, author of Canards sanglants (Fayard). One reads that L. "se lance . . . dans l'étude et la lecture des petits journaux de faits divers du XVe au XVllle siècle; il les reproduit et les commente dans un ouvrage savoureux: 'Canards sanglants'."

POSNER, DONALD. "Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth Century France." Art Bulletin 75 (1993), 583–598.

P. demonstrates that, despite French artistic production and theoretical writings before 1670, there was a growing appreciation for "painterly" handling and effects in France after 1630.

PRICE, RICHARD. Les premiers temps: La conception de l'histoire des Marrons Saramaka. Trad. parMichèle Baj Strobel, avec la collaboration de l'auteur. Paris: Seuil, 1993.

Review: André Marcel d'Ans in QL (1er 15 févr. 1994), 8–9: "Les Marrons de Guyane regroupent les descendants de ces Nègres frâîchement débarqués qui, vers la fin du XVIe siècle, aux rigueurs de l'esclavage, préfèrent les risques d'une liberté reconquise, au sein d'une forêt tropicale américaine qui n'était pas l'équivalent de celle qu'ils avaient (peut-être) connue en Afrique." In the reviewer's opinion, P. skillfully meets the challenge of examining the origins of the Marrons.

QUINN, ARTHUR. A New World: An Epic of Colonial America from the Founding of Jamestown to the Fall of Quebec. New York: Faber and Faber, 1993.

Review: Anon. in VQR 70 (1994), 116: "This book is a collection of biographies of the European men (i.e., French, English, and Dutch) who shaped the early history of what would become the United States. The faces [including that of Champlain] and stories are familiar ones . . . but the tales are told with style and verve .... Q. is a professor of rhetoric and is clearly reaching for an epic style," says the reviewer, who finds that "some of the language is overwrought, while some is starkly beautiful.... Q. has read most of the recent scholarship, and his accounts reflect it. As a result, general readers . . . will find the book fascinating."

RANUM, OREST. The Fronde. New York: Norton, 1993.

Review: Anon. in VQR 70 (1994), 79: The book is called "a lively yet solid account of a forgotten revolution. Its oblivion . . . is doubly paradoxical," the reviewer states. "First, the Fronde was anything but a routine uprising: beginning as a strike by ambitious civil servants, it grew to threatening proportions under the princes of the blood, whom Richelieu and Mazarin had failed to domesticate. Second, if the Fronde had been successful . . ., Louis XIV might never have reigned (or he might have been the puppet of that odd and finally incompatible coalition); the ancien régime might have been less rigidly authoritarian; and . . . 1789 might well have been a year like any other."

Review: F. K. Metzger in Choice 31 (1994), 1488: According to M., R. "is admirably clear in his description of the institutions and hierarchies of 17th century France and remarkably fair and objective in his treatment of the Fronde's participants .... Particularly useful," says the reviewer, "are the sections dealing with the importance and political dependability of the Parisian populace as a revolutionary force, as well as R.'s contention that activities that might seem selfish to modern sensibilities were simply common to all corporate groups in France. The Fronde did not result in any 'ineluctable' shift in power, but the crown did learn the value of a permanent standing army and a gentler tax collection policy." M. judges the study to be "literate, clear, and always interesting."

RAYMOND, JEAN-FRANÆOIS DE, ed. Christine, Reine de Suède: Apologies. Paris: Le Cerf, 1994.

Review: Jean Lacoste in QL (1er 15 juin 1994), 20–21: Jean François de Raymond has included in this volume "deux recueils de sentences en français" (L'Ouvrage du loisir and Les Sentiments); L. says that they "montrent quelle haute idée la reine se faisait des devoirs d'un prince. Elle ne cherche pas dans ces maximes à faire preuve d'originalité; dans la tradition des moralistes français, ce sont d'abord des vérités qu'elle présente, et non des pointes; elle esquisse ainsi une politique qu'on pourrait dire cartésienne, réaliste sans cynisme, stoïcienne et pourtant chrétienne, animée par le souci de la justice et plus encore de la 'gloire' personnelle, au sens cornélien du terme ...."

RECKOW, FRITZ, ed. Die Inszenierung des Absolutismus: politsche Begründung und künstlerische Gestaltung höfischer Feste im Frankreich Ludwigs XIV. Erlangen: Universitätsbund Erlangen Nürnberg, 1992.

Review: F. Sick in PFSCL 21 (1994), 596–598: Conference papers on the positive influence of the state on the arts and their role as the "élément fondateur de l'absolutisme."

REID, JANE DAVIDSON with CHRIS ROHMANN. The Oxford Guide to Classical Mythology in the Arts, 1300–1990s. 2 vols. New York: Oxford UP, 1993.

Review: M. Nilsen in Choice 31 (1993), 589–90: This book "represents a truly innovative approach to bibliography. It includes references to the treatment of classical Greek and Roman mythological figures and stories from the 14th to 20th centuries in most media of the arts, including drama and dance, throughout the Western world. More than 30,000 works of art are cited .... Entries for figures with a complex history are subdivided thematically. For each figure, a brief narrative introduction is followed by a listing of classical sources. The references are then arranged chronologically .... Other encyclopedias dealing with mythology may include references to treatment in the artistic tradition but none," in N.'s view, "as systematically or extensively as these two volumes. This work responds to the need for a new generation of sources that cross the boundaries of individual disciplines," declares N., who considers the book to be one that "belongs in every reference collection."

REINELT, JANELLE G. and JOSEPH R. ROACH, eds. Critical Theory and Performance. Ann Arbor: U of Michigan P, 1992.

Review: David J. DeRose in TDR 38.2 (1994), 189–91: D. calls this volume "an intelligently edited collection of critical essays by some of America's top theatre and performance scholars." Included in the book is ". . . Jim Carmody's semiotic reading of Molière's The Misanthrope as produced at the LaJolla playhouse ....

REMY, PIERRE-JEAN. "Un Regard sur l'été qui s'achève." RDM (septembre 1993), 207–08.

Revue favorable des "Cantiques spirituels de Jean Racine" composés en 1694 par Pascal Colasse; enregistrement (CD Astree Auvidis E8566) d'Isabelle Poulenard avec le Concert royal dirigé par Patrick Bismrith.

REMY, PIERRE-JEAN. "Un Regard sur l'été qui s'achève." RDM (septembre 1993), 208.

Revue favorable de l'Armide de Lully—"sommet de la production lyrique de Lully." Enregistrement de Philippe Herreweghe et la Chapelle royale (2CD HM 90 1456/57).

ROBERTS, WILLIAM. "Louis XIV's Manière de montrer les jardins de Versailles: an unknown view." C17 5.1 (1991), 95–210.

Brings together a number of sources to explicate Louis' itinerary and comment on many "lost" fountains. Situates text with reference to a rare Dutch engraving of the complex from 1693.

ROEDER, MICHAEL THOMAS. A History of the Concerto. New York: Amadeus Press, 1994.

Review: D. Ossenkop in Choice 32 (1994), 295: "Although books on the development of the concerto are plentiful, R.... succeeds in writing a history that can be read with profit by both students and laypersons.... Of particular value is the author's treatment of the evaluation of first movement form, from the ritornello structures characteristic of the Baroque concerto to the ritornello sonata form combination established by Mozart and later adopted by Beethoven and others (though more emphasis could have been given to the close relationship between Baroque and Classical structures and those used in contemporaneous vocal music)."

RUSSELL, CHARLES C. The Don Juan Legend before Mozart. Ann Arbor: U of Michigan P, 1993.

Review: Armand E. Singer in SoAR 59.2 (1994), 125–30: (Reviewed with a book by Beatrix Müller Kampel on D. J. in German literature up to 1918.) "These two valuable studies . . . complement each other neatly in results. They illumine two largely unexplored terrains: R.'s preMozartian musical literary world and M. K.'s Germany .... The two authors possess something else in common as well," according to S.: "an almost total absence of literary trendiness." He points out that the critics do not use deconstruction, feminist approaches, narratology, reader-response criticism, or Freudian theory. "Theirs is rather the classic approach," states the reviewer, "simply attempting to inform the reader, not to proselytize. This may turn away trendsetters, but it will greatly extend the shelf life of two solid studies on a theme with its own timeless universality."

SAINT PULGENT, MARYVONNE DE. "Les Derniers Feux du baroque." Le Point (17–23 avril 1993), 58–60.

Interview with Pierre Goubert, who "explique la portée et les enjeux de la Fronde." G. says: "La Fronde est . . . le dernier assaut des forces du passé contre un pouvoir royal fragilisé par la minorité de Louis XIV . . . et par le fait que la régente Anne d'Autriche . . . et son ministre Mazarin sont étrangers. La xénophobie française ne date pas d'aujourd'hui!" G. answers in detail various questions concerning the Fronde. "Au fond," in his view, "il y a eu au XVlle deux 'Grands Siècles': le siècle classique un peu froid de Louis XIV . . . et le siècle baroque de la Fronde, qui se termine avec la mort de Mazarin, en 1661. On peut préférer ce dernier, sans doute moins 'français' que l'autre, mais d'une certaine façon plus riche."

SAUZET, ROBERT. "Nouveaux éclairages sur la Fronde et sa presse." RHLF 80–81 (1993), 349–355.

This is, in fact, a review article of Hubert Carrier's La Presse de la Fronde (1648–1653). 2 vols. (Geneva: Droz, 1989 and 1991). Sauzet summarizes the content of Carrier's research and concludes: "Au total, un très beau livre, d'une présentation impeccable, indispensable pour les historiens de la France moderne comme pour ceux de la littérature".

SCHMIDLIN, BRUNO et ALFRED DUFOUR, eds. Jacques Godefoy (1587–1652) et l'humanisme juridique à Genève: Actes du Colloque Jacques Godefoy. Bale: Helbing et Lichtenhahn, 1991.

Review: Philippe Zilgien in DSS 182 (janv-mars 1994), 185–86: La vie et les oeuvres du juriste et homme d'Etat de naissance française sont le sujet de ces 15 contributions dont l'intérêt est le rôle de "Genève dans l'histoire intellectuelle de l'Europe moderne. "

SEGUIN, LOUIS. "Jacob Jordaens: Les Comptes de la terreur." QL (ler 15 juin 1993), 19–20:

Article occasioned by exposition at Anvers (Musée royal des Beaux Arts). "J. J. [1593–1678] est le cadet des trois peintres qui, au XVIIe siècle, s'illustrèrent dans les Flandres.... Il est aussi le plus lié et le plus fidèle à sa classe."

SHELFORD, APRIL G. "Amitié et animosité dans la République des Lettres: la querelle entre Bochart et Huet," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13,1993). PFSCL/Biblio 17, 83 (1994), 99–108.

Explores the dispute with the Protestant in order to study H.'s character. Preliminary conclusions point to H.'s inability to accept any form of criticism and an almost aristocratic sense of honor as major factors in the polemic.

SMITH, CHRISTOPHER, AND ELFRIEDA DUBOIS, eds. France et Grande Bretagne de la chute de Charles Ier à celle de Jacques II (1649–1688). Norwich: Society for Seventeenth Century French Studies, 1990.

Review: J. Dubu in PFSCL 31 (1994), 298–301: Conference papers on the relations between the two countries including studies of English translations of Corneille, the myth of La Thébaïde, Dryden, Saint Evremond and English comedy, the performance of opera in England, political themes in the fable in France and England, and the influence of the Lettres portugaises on the English epistolary novel.

STERNFELD, F. W. The Birth of Opera. New York: Oxford UP, 1993.

Review: K. Pendle in Choice 31 (1993), 615: "The product of long study and assimilation of multidisciplinary sources and the best modern scholarship, this book is less a straightforward account of opera's origins than a discussion of certain practices whose recurrences demonstrate the continuity in dramatic music production from c. 1480 to the early 17th century. These practices—the finale, the lament, and repetition or echo—provide a fascinating way to approach the importance of convention to early opera." Although, in P.'s opinion, "this well researched and thoroughly documented study is not for beginners, . . . scholars having a basic knowledge of opera's origins will find it to be . . . [a work] that offers genuine enlightenment."

STONE, BAILEY. The Genesis of the French Revolution: A Global Historical Interpretation. New York: Cambridge UP, 1994.

Review: T. J. Schaeper in Choice 32 (1994), 187–88: "S. presents an innovative, judicious overview of the long and short range causes of the Revolution. The first few pages are filled with forbidding phrases like 'archetypical voluntarist rendering of revolutionary causation,' but most of the book is gracefully written and based on extensive research. The author posits two related theses. The first is that the Bourbon monarchy overextended itself in trying to maintain supremacy in international affairs. Whereas England concentrated on its navy and Prussia and Russia on their armies, France struggled to remain a great power on both sea and land. The second is that France's divine right absolutism led the crown to reject consultation and cooperation with the nation's elites in any sort of representative institution. The country's major competitors, however, had found ways to combine the interests of the governments with the elites. The combination of France's foreign weakness and its lack of support at home made the crown's situation precarious by 1789.

SUTTON, PETER C. The Age of Rubens. New York: Abrams, 1993.

Review: A. Golahny in Choice 31 (1994), 928: "This book, which accompanies an exhibition of paintings by R., his workshop, and other Flemish artists, offers a comprehensive survey of 17th century Flemish painting." G. mentions perceived drawbacks. "Nonetheless, this is an essential and much desired reference for the study of the intricacies—artistic, social, religious—of Flemish Baroque painting.

TAYLOR, WILLIAM B. and FRANKLIN PEASE, eds. Violence, resistance, and Survival in the Americas: Native Americans and the Legacy of Conquest. Washington: Smithsonian Institution Press, 1994.

Review: R. Detweiler in Choice 31 (1994), 1787: "Essays in this collection, which grew out of a 1989 conference to commemorate 1492 and the subsequent contact between Europeans and Native Americans, emphasize two themes: the cultural violence of Colonial conquest and the ability of Native Americans to resist, adapt, and survive ...." D. says that the editors' "12 page introduction is especially useful ...." The volume is called "a good, well edited collection."

TILLY, CHARLES. Les Révolutions européennes, 1492–1992. Trad. de l'anglais parPaul Chemla. Paris: Seuil, 1993.

Review: Robert Bonnaud in QL (1er 15 déc. 1993), 23–24: As for T.'s book, ". . . son histoire comparée des révolutions européennes . . . souffre de plusieurs étroitesses. La moins grave est spatio temporelle." Non-European events relevant to an understanding of developments in Europe are ignored. "Non seulement l'histoire comparative de T. est limitée à l'Europe, détachée du monde, mais elle est faite, au départ, de juxtapositions, que l'on retrouve à l'arrivée. Les mouvements généraux, les rythmes communs, les tournants, européens et occidentaux sont délibérément ignorés; ils ne font pas partie du projet de recherche." "La deuxième étroitesse, la plus grave, est conceptuelle. Qu'est ce que la révolution pour T.? Un remplacement relativement brusque ou brutal des détenteurs de pouvoir." This doesn't allow for distinctions between basically dissimilar upheavals. "Le refus des jugements de valeur, le refus de dire ce qui est progrès, ce qui est régression, conduit à déformer le réel." On the other hand, "ce livre discutable a un très grand mérite," in B.'s opinion: "il fait réfléchir ...."

VEILLON, OLIVIER RENE. La Poussière de Rome. Paris: Deyrolle, 1993.

Review: Marc Le Bot in QL (16–31 mai 1994), 19: The author "imagine la vie de Poussin, à Rome, après son retour de France, après ses déceptions françaises," from 1642 to 1665. "ll imagine les pensées de Poussin pendant qu'il fait son oeuvre." V.'s book "inverse la logique des biographies. Au lieu de partir de ce qu'on sait de l'homme, . . . V. part de l'oeuvre pour se donner . . . l'occasion d'une méditation qui a pour centre d'attraction le charme qu'exerce toujours sur nous l'oeuvre de P." The volume is described as "un livre de piété à l'égard de ce que nous nommons 'art.'

WARNKE, MARTIN. The Court Artist: On the Ancestry of the Modern Artist. Trans.David McLintock. New York: Cambridge UP, 1993.

Review: P. Emison in Choice 31 (1994), 1118: "Dense with details, sometimes more resembling an album of index cards than a narrative, and pan European in scope, W.'s argument is both clear and contentious. Modern art is based in Renaissance art insofar as that was created in the hothouse of noble largesse; the modern artist suffers from nostalgia for the aulic womb. Chronologically the emphasis is on the Renaissance; the French Revolution arrives suddenly like a deus ex machina to finish off noble patronage."

WEISGERBER, JEAN. Les Masques fragiles, esthétique et formes de la littérature rococo. Lausanne: L'Age d'Homme, 1991.

Review: P. Van Bever in RBPH 71 (1993), 766–67: "En connaisseur éclairé," J. W. "sait vibrer l'ensemble la correspondance des arts, de l'architecture et des arts plastiques à la musique. Ses recherches confirment le cheminement parallèle des goûts baroque et classique aux temps de l'absolutisme."

WERY, ANNE. La Danse écartelée de la fin du Moyen Age à l'age classique. Moeurs, esthétiques et croyances en Europe. Paris: Champion, 1992.

Review: E. Weber in BHR 56 (1994), 294–95: Ouvrage dont la méthodologie est globale et qui "s'impose comme une importante contribution à la reconstitution et à la filiation orchestiques, portant un regard neuf sur la perception de la danse qui participe à l'evolution culturelle, et dont la fonction cognitive est évidente."

WIESNER, MERRY E. Women and Gender in Early Modern Europe. New York: Cambridge UP, 1993.

Review: J. Harrie in Choice 31 (1994), 1642: According to H., this is "a clear and stimulating textbook that introduces undergraduates and general readers to the topic of early modern European women and to the extensive literature available in English on various dimensions of their lives. Organized around the categories of body, mind, and spirit, the book includes discussions of male ideas about women, the female life cycle, women's economic role, literacy, women's role in the creation of culture, religion, witchcraft, and the relationship between gender and power, and reflects an impressive understanding of recent scholarship. W.'s command of this scholarship and the clarity of her analysis make this the best single volume on the topic," in H.'s view. While the author "analyzes women's role within the historical developments that traditionally have defined early modern Europe and shows the effects of these developments on women, W. also explores women's private and domestic experiences and the period's gendered division between public and private power."

WIKANDER, MATTHEW H. Princes to Act: Royal Audience and Royal Performance 1578–1792. Baltimore: Johns Hopkins UP, 1993.

Review: J. W. Lafler in Choice 31 (1993), 617: "This fascinating and valuable book is not . . . a study of theatrical practices in court theaters—although theatrical practices are . . . considered—but rather an examination of the theatrical nature of monarchy, ideas about monarchy in plays, and the performance of those plays for (and in some cases, by) monarchs. W.... takes a comparative approach." The book includes material on "Louis XIV as dramatic patron and censor" and on "private theatricals and court theater in 18th century France." L., whose assessment is largely favorable, mentions a couple of "minor flaws" but measures these drawbacks "against the scope of the discussion and the penetrating observations." The study is "highly recommended for scholars of drama and theater."

WYLIE, KATHRYN. Satyric and Heroic Mimes: Attitude as the Way of the Mime in Ritual and Beyond. Jefferson, NC: McFarland, 1994.

Review: C. R. Hannum in Choice 31 (1994), 1736: The author "traces the history and evolution of mime (and pantomime) from primitive times to contemporary practice; her book can be useful to advanced students of theater history and performance studies .... A major strength," according to H., "is the author's treatment of mime (or pantomime) as an important element in several forms of theater . . . [e.g., Commedia dell'Arte, including an analysis of the mime elements in several stock characters...."

YARDENI, MYRIAM. "Paris dans les Histoires de France du XVIIe siècle." PFSCL/Biblio 17, 80 (1993), 173–184.

Examines the administrative, religious, and erudite aspects of the city as well as its role in the formation of national pride as a means of revealing the work and attitude of individual historians.

ZARUCCHI, JEANNE MORGAN. "Ludovicus Heroicus: The Visual and Verbal Iconography of the Medal." EMF 1 (1994) 131–142.

Z. explores the role of the medal in mythologizing the figure of Louis XIV. Seeing the medal as "a propagandistic instrument," Z. argues that the prolific development of the medal was part of the King's, as well as the Academy's plan to reduce "history to personality."

ZISKIN, ROCHELLE. "The Place de Nos Conquêtes and the Unraveling of the Myth of Louis XIV." Art Bulletin 76 (1994), 147–162.

Examines Louis XIV's abandonment of the first rebuilding of the Place Vendôme, one of several projects aimed at making Paris the successor to imperial Rome. Z. studies the square's role in royal ceremonial, its intended audience, and the project's failure which is "crucial to our understanding of the reign . . . ." Illustrations.

ZOBERMAN, PIERRE. "Appareil et apparat: le discours cérémoniel en son lieu." PFSCL/Biblio 17, 80 (1993), 231–243.

Studies the relationship between ceremonial discourse and the physical place in which it occurs.

• See French 17 (1993)

BROOKS, WILLIAM, ed. Le théâtre et l'opéra vus par les gazetiers Robinet et Laurant (1670–1678). PFSCL/Biblio 17, 78 (1993).

Review: J. Emelina in PFSCL 21 (1994), 560–561: Articles on the two genres with a "poussière d'extraits" concerning Corneille, Molière, and Racine. Despite the sparseness of the information available, a "long, patient, scrupuleux et minutieux travail d'érudition. . . ."

BURY, EMMANUEL. Le classicisme: l'avènement du modèle littéraire français (1660–1680). Paris: Nathan, 1993.

Review: F. Lagarde in PFSCL 21 (1994), 608–610: The Zuber survey (see below) is "un petit chef d'oeuvre de savoir et d'intelligence" that depicts the century as one of imagination and taste rather than reason. Bury's study is of uneven quality and the reviewer questions the great emphasis placed on neo classical works as imitations of the ancients. The definition of classicism is also too formulaic. Bury does have the merit of addressing the role of the plastic arts and opera and the influence of French neo classicism abroad.

CHAUVEAU, JEAN PIERRE, ed. L'épître en vers au XVIIe siècle. Littératures classiques, no. 18 (Spring 1993). Paris: Klincksieck, 1993.

Review: M. Slater in PFSCL 21 (1994), 566–567: Twenty studies of a neglected genre addressing questions of definition, origin, tone, and the frame of mind of the writer. Contains a valuable bibliography.

COLLINS, KATHLEEN. "Lyrics, Laughter, and Pleasure in Context." PFSCL 31 (1994), 205–215.

Addresses the problem of finding relevance of poetry—epigrams—written in the 17th century to provoke laughter. Pleasure in its various guises is the key to their lasting interest.

COLOMB, GREGORY G. Designs on Truth: The Poetics of the Augustan Mock-Epic. University Park: Pennsylvania State UP, 1992.

Review: D. N. DeLuna in PQ 72 (1993), 260–63: In this work C. "tries to provide a useful summary description of the Augustan mock-epic," and "he wants to shed light on the poetics of the genre." Although D. considers C.'s goals to be "commendable," the reviewer finds the study disappointing. D. explains: ". . . C. does not present his materials cohesively, and his stance is pretentious." In D.'s view, "there is . . . little that is innovative about C.'s sense of what constitutes an Augustan mock-epic ...." Stating that the critic "has borrowed his formulation wholesale from theorists of satire . . . ," D. adds that ". . . C. does not even acknowledge his debt here." Failing to "position his formulation in relation to longstanding modern commentaries on the mock epic . . . ," C. "does not, moreover," according to D., "show any evidence of having read a number of more recent commentaries." "C. does not even cursorily discuss the mock epics of Tassoni or Boileau."

DANAHY, MICHAEL. The Feminization of the Novel. Gainesville: University of Florida Press, 1991.

Review: A. Hughes in MLR 89 (1994), 208: ". . . a useful contribution to the already flourishing discussion on the relationship between gender and the novelistic genre. His account of how the feminine mystique surrounding the novel came into being is lucid and rigorously argued, and the readings he offers in the second part of his study offer compelling insights into the texts he focuses on [La Princesse de Clèves, Madame Bovary, La Petite Fadette.]

DE JEAN, JOAN. Fictions of Sappho: 1546–1937. Chicago: University of Chicago Press, 1989.

Review: Patricia Hannon in EMF 1 (1994) 171–174: "This study examines a variety of texts including scholarly editions and novels, and concludes that the French Sapphic tradition is characterized by a refusal on the part of scholars...to distinguish between the biographical author and the writing subject." With respect to the seventeenth century, De J. analyzes "two opposing Sapphic fictions" in Racine's Phèdre and Scudéry's "Histoire de Sapho." H. concludes that "this is an important book, not only for the study of seventeenth-century novel and feminist criticism, but also for those who wish to reflect on the meaning of scholarship."

DEJEAN, JOAN. Tender Geographies: Women and the Origins of the Novel in France. New York: Columbia University Press, 1991.

Review: Jeanne Fourneyron in SubStance 73 (1994), 126–28: The critic explores such issues as these: "Comment peut on expliquer l'apparition d'un nouveau genre littéraire, le roman, création féminine, sous l'ancien régime dans la première moitié du 17ème siècle en France? Pourquoi dès son émergence y a t il eu acharnement pour réduire la foison d'ouvrages et de collaborations littéraires à quelques titres et à quelques noms d'auteurs et encore aujourd'hui hésitation sur l'attribution de certains textes, préférant l'option masculine . . . ?" "La force de ce livre," according to F., "réside non seulement dans la nouveauté de l'interprétatìon, repenser l'écriture féminine du 17ème comme acte politique, mais dans le refus de penser l'émergence du roman en termes modernes."

DELMAS, CHRISTIAN, dir. Didion à la scène: Scudéry, Didion (1637); Boisrobert, La vraye Didion, ou la Didion chaste (1643). Toulouse: Société de Littératures classiques, 1992.

Review: E. Dutertre in PFSCL 21 (1994), 573–576: A "riche et savant ouvrage collectif" that goes well beyond the scope of a critical study: Didion in European theater; Italian, Spanish, and French opera; the theme in French tragedy; and studies and critical editions of Scudéry and Boisrobert.

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

Review: Oscar Haac in RR 85.2 (1994) 327–330: D's book looks at the impact of Cartesian concepts of the body on Marivaux, Diderot, Rousseau and Laclos, in part by applying Foucault's "historical view" and "archeology." H. praises the controversies D. raises, as well as the "quality" of D.'s "style" as well as its "originality." While the review is generally quite favorable, commending D. for her "imaginative interpretations," it nonetheless questions, in the case of Laclos, whether or not Merteuil and Valmont can be considered "followers of Descartes."

DICTIONNAIRE UNIVERSEL DES LITTERATURES. Publié sous la direction de Béatrice Didier. 3 volumes reliés. Paris: PUF, 1993.

Review: Nicole Casanova in QL (1er 15 avril 1994), 10–11: C. found coverage gaps in "cette montagne de noms, dates, titres et exposés généraux" and considers the treatment uneven, but also has positive comments to make. "ll vaut . . . mieux garder chez soi le Larousse des littératures de 1989, . . . [qui] laisse passer dans ses mailles moins de gros poissons. En revanche, pour ceux qui, lors d'un travail universitaire ou journalistique, ont besoin d'y voir un peu clair dans des domaines qu'ils connaissent mal, [ces] trois volumes . . . rendront de très grands services. Ils ont leur place chez les professionnels de la littérature, dans les bibliothèques et universités, à condition de n'en point détrôner les autres." Singled out as being especially useful is the 1984 Bordas reference work dealing with French literature, "où l'on trouve des chronologies détaillées et des bibliographies irremplaçables."

DIPIERO, THOMAS. Dangerous Truths and Criminal Passions: The Evolution of the French Novel, 1569–1791. Stanford, CA: Stanford UP, 1992.

Review: Susan Read Baker in SoAR 58.4 (1993), 148–50: This "impressive study of the rise of the French novei is far from staid," in B.'s view. "Contesting received ideas about the genre—that it arose as a specifically bourgeois art form whose realism sprang from incessant critical attack on its moral and aesthetic status—D. postulates that the novel is a determinate political practice. No mere reflection of its culture, the literary text can arguably produce meaning and yield interpretations beyond the intentions of its author ...." Works treated include d'Urfé's L'Astrée, Alluis's Escole d'amour, Furetière's Roman bourgeois, and La Fayette's La Princesse de Clèves, which "opened a new zone of fiction in which master narratives were demystified through the creation of novice characters/readers seeking to manipulate the discursive strategies observable in their social milieu." "Expertly crafted, D.'s book will be welcomed by students of European literature and cultural history. Informed by broadly ranging scholarship and a finely honed critical methodology, . . ." this book is "one of the best works available on the subject," according to B.

DOUTHWAITE, JULIA. Exotic Women: Literary Heroines and Cultural Strategies in Ancien Regime France. Phliadelphia: University of Pennsylvania Press, 1992.

Review: Susan Yates in RR 85.1 (1994) 161–63: D.'s book deals with the representation of "the non-European woman in the French exotic novel of the seventeenth and eighteenth centuries." According to Y., D.'s purpose is twofold 1) to "revise" conventional views of "Enlightenment exoticism and anthropology" and 2) to bring attention to the "situation of women writers in Old Regime society. Y. argues that while the first aim is not reached largely because D. strays from her intended "revision," the second is achieved because the book analyzes valuable texts by women who, "although immensely popular in their own day, have disappeared from the canon."

DUCHENE, ROGER et RONZEAUD, PIERRE. Ordre et contestation au temps des classiques: Actes du 21e colloque du Centre Méridional de Rencontres sur le XVlle siècle jumelé avec le 23e colloque de la North American Society for Seventeenth Century French Literature. PFSCL/Biblio 17, 73 (1992).

Review: Michael Moriarty in FS 48 (January 1994), 98–99: "A valuable and thought provoking volume" on the tension between the submissive and subversive which permeated literary creations in the 17th-century.

DUCHET, MICHELE, ed. L'inscription des langues dans les relations de voyage (XVI–XVIIIe siècles). Actes du Colloque de décembre 1988 à Fontenay aux Roses. Cahiers de Fontenay 65/66 (mars 1992).

Review: X. Citton in BHR 55 (1993), 716–19 "Les plus suggestifs des [13] articles regroupés ici sont ceux qui se servent du traitement de la langue de l'Autre pour éclairer l'un de ces quatre moments de l'exploration [la conquête, le commerce, le sexe, la christianisation]." Articles de B. Gervais sur Samuel de Champlain, G. Thérien sur Jean de Brébeuf, J. Warwick sur Gabriel Sagard, K. Mourad sur J. Thévenot.

DUNKLEY, JOHN and BILL KIRTON, eds. Voices in the Air: French Dramatists and the Resources of Language. Glasgow: University of Glasgow French and German Publications, 1992.

Review: D. Whitton in MLR 89 (1994), 750: "All the thirteen essays in this volume, ranging across three centuries of French drama are concerned in some way with the imperatives, constraints, and opportunities created by speech communication in the theatre." Articles on 17th century drama include D. Hartley's examination of Molière and the language of authority; H. T. Barnwell's analysis of Racinian nouns and verbs; H. Phillip's study of the substitution of voices in Racinian theater; C. J. Gossip's exploration of the confident's voice in classical tragedy.

EKSTEIN, NINA. "Women's Images Effaced: The Literary Portrait in Seventeenth-Century France." Women's Studies 21 (1992), 43–56.

Insightful examination of literary portraiture and women writers which traces the evolution of the genre and discusses how it is treated in twentieth-century criticism. E. convincingly argues that "a significant body of work, largely composed by women, has been denigrated in its own time as well as in our time for reasons which often seem more related to the sex of the authors than to the merits of the texts." Allusions to Mlle de Scudéry, Mlle de Montpensier, Mme de Sévigné, and Mme de Lafayette.

ELDRIDGE, RICHARD. "How Can Tragedy Matter for Us?" JAAC 52 (1994), 287–298.

Studies the place of tragedy in modernity. Discusses Descartes' role in the modern rejection of happiness as the aim of human life.

FALLON, STEPHEN M. Milton among the Philosophers: Poetry and Materialism in Seventeenth Century England. Ithaca, NY: Cornell UP, 1991.

Review: Dennis Danielson in MP 91 (1994), 495–98: D. calls this study "one of the most excellent and satisfying books ever written on Milton and intellectual history, thoroughly researched, moderate but at times rather dashing in its argument ...." According to F., "... while Descartes pays lip service to a realm of minds, his philosophy's practical effect is to ascribe preeminent reality to the world of machines or to the world as a machine. And so the choice between the Cartesian world and the Hobbesian world is not much of a choice after all." Descartes's thought is treated at various points in the study. The reviewer finds F.'s "discussion of seventeenth century poetry and materialism . . . stimulating, discriminating, and lucid."

FENOLTEA, DORANNE and DAVID L. RUBIN, eds. The Ladder of High Designs: Structure and Interpretation of the French Lyric Sequence. Charlottesville/London: University Press of Virginia, 1991.

Review: R. Killick in MLR 89 (1994), 749–50: "These essays perform a valuable task in initiating a more sustained reflection on a possible poetics of the collection and its different manifestations in a variety of French poetry." Rubin attempts "to define a pattern of adherence and deviance to a 'model' fable in Book 7 of La Fontaine's Fables.

FINAS, LUCETTE. "De l'éprouvette gastronomique à l'orgue de bouche." QL (1er 31 août 1994), 35–36.

"Comment mimer la saveur et la donner à entendre, au propos et au figuré? Interrogeons pêle mêle Villon, La Fontaine, Brillat Savarin et Huysmans." Briefly discusses lines from "Le Loup et le Chien" ("Os de poulets, os de pigeons, / Sans parler de mainte caresse") in which, F. declares, ". . . les consonnes et les voyelles alternent régulièrement, et tout l'appareil, manducatoire et phonatoire, s'ébranle . . . pour une large manducation poétique."

FORSYTH, ELLIOTT. La Tragédie française de Jodelle à Corneille(1553–1640): le thème de la vengeance. Paris: Champion, 1994.

Nouvelle édition.

FOURNIER, NATHALIE. L'Aparté dans le théâtre français du XVlIe siècle au XXe siècle. Paris: Peeters, 1991.

Review: W. D. Howarth in MLR 89 (1994), 207: Originally a doctoral thesis, this valuable study is divided in three parts: "Définition et dramaturgie de l'aparté," "Linguistique de l'aparté," and "Les Fonctions de l'aparté." Excellent documentation and index.Reviewer feels that the analysis could be more nuanced with regard to qualitative difference in use of the aparté by authors cited.

FOURNIER, NATHALIE. "Comment définir un genre? la Lettre sur l'origine des romans," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 109–117.

F. concludes from H.'s attempt to define the genre that he wished to elevate its status to equal that of tragedy and epic and to attribute it to ancient models. In this domain H. functions essentially as a linguist.

FUMAROLI, MARC. La diplomatie de l'esprit: De Montaigne à La Fontaine. Paris: Hermann éd, 1993.

Review: John E. Jackson in QL (16–30 sep. 1994), 21–22: (Reviewed with L'école du silence, also by M. F. [Flammarion].) "Deux forts volumes dont la juxtaposition traduit le double versant des intérêts de l'auteur, l'histoire de l'art, l'histoire de la littérature. Ces deux versants s'articulent l'un à l'autre par le moyen d'une base qui leur est commune, celle de l'eloquentia." "Des Essais aux Contes, en passant par Blaise de Vigenère, Charles Paschal, le genre des Mémoires, le rôle des femmes et des Salons, Descartes 'autobiographe' ou encore une introduction aux Fables de La Fontaine, quinze chapitres qui, sans être jamais déclarée comme telle, ne me paraît pas moins sous tendre l'ensemble de l'entreprise: la conviction que la parole humaine, telle que la littérature en réfracte la puissance virtuelle, ne trouve pas à s'épanouir de façon plus haute que dans la noblesse d'une communauté dont la conversation serait en quelque sorte la forme suprême.

GAINES, JAMES F. "Viva Voce: Bakhtin and Seventeenth Century Literature." PFSCL 31 (1994), 125–129.

Reviews the application of Bakhtin's theories to 17th century French literature (introduction to papers presented at the 1992 MLA Convention).

GAUDIANI, CLAIRE, ed. Création et recréation: un dialogue entre littérature et histoire. Tübingen: Gunter Narr Verlag, 1993.

Review: A. Niderst in PFSCL 21 (1994), 581: A festschrift of 20 studies that are often brillant and whose unity is more or less maintained.

Review: J.L. Pallister in SCN 52.1–2 (1994), 27–28: "These Mélanges, presented in honor of Marie-Odile Sweetser, offer widely diversified commentary on 17th-century French literature made by some of the most illustrious scholars of the field". These various essays on novels, classical theatre and moralists "are connected by their topos —literature and history—" but "each remains an entity". All in all, they are "a fitting tribute" to an eminent scholar.

GAUDREAULT, ROMAIN. "Textes narratifs, descriptifs et autres: Une approche sémiotique." Semiotica 99 (1994), 297–317.

Presents the "éléments de base de la typologie de Jean Michel Adam, les types de séquences textuelles, ainsi que des règles de combinaison de ces éléments ...." The article contains "l'étude de la fable de La Fontaine Le Loup et l'agneau selon l'approche sémiotique préconisée et la comparaison avec l'étude du même texte selon l'approche par les séquences textuelles."

GENETIOT, ALAIN. Les genres lyriques mondains (1630–1660). Genève: Droz, 1990.

Review: Allen G. Wood in EMF 1 (1994) 195–197. W. finds that the two main axes of the book, i.e., "the competing genre and author prinicples," ultimately" limit the scope of the investigation." Yet, W. argues that G's work "does contain much valuable information," about an often overlooked lyric form.

GEORGE, DAVID J. and CHRISTOPHER J. GOSSIP, eds. Studies in the Commedia dell'arte. Cardiff: U of Wales P, 1993.

Review: P. Koch in Choice 31 (1994), 932: The 12 essays in this volume "should be considered . . . as selective soundings along a historical continuum ...." Includes reference to "'commedia' influence on ... Molière ...." Although "this book [will be] of interest only to advanced undergraduate and graduate students, . . . [readers of this study could be] in disciplines ranging from English and Continental/Latin American literatures to music, theater, and fine arts.

GETHNER, PERRY. Femmes dramaturges en France (1650–1750). Pièces choisies. PFSCL/Biblio 17, 79 (1993).

Plays by Pascal, Françoise; Villedieu, Madame de; La Roche-Guilhen, Anne de; Bernard, Catherine; Barbier, Marie-Anne; Graffigny, Françoise de.

GETHNER, PERRY. "La mémoire agent de consécration et génératrice du spectacle." PFSCL/Biblio 17, 80 (1993), 297–305.

Examines "la présence [of the allegorical figure of] Mémoire dans un groupe de spectacles dont presque tous furent composés pour la cour, et qui consiste de comédies ballets, de tragédies à machines et de tragédies lyriques."

GOULEMOT, JEAN M. and DANIEL OSTER. Gens de lettres, écrivains et bohèmes: L'imaginaire littéraire, 1630–1900. Paris: Minerve, 1992.

Review: Maurice Nadeau in QL (16–31 janv. 1993), 17: "ll s'agit . . . de la 'naissance de l'écrivain' ou . . . du 'champ littéraire'. De quand datent l'existence de ce 'champ', ses caractéristiques, la place des écrivains, leur fonction propre et leur importance dans la société française? Propos sociologique." For these authors "c'est . . . plus tôt [than for Pierre Bourdieu, in Règles de l'art] qu'on peut parler de 'littérature': dès le règne de Louis XIV, des grands classiques, de Port Royal, de la fondation de l'Académie. Le pouvoir politique, qui encourage et protège les Corneille, Racine et Molière, 'détourne en la laïcisant une des fonctions de l'Eglise: la maîtrise du temps, l'accès médiatisé à l'invisible, ici la beauté." N. adds that "on serait même tenté d'écrire qu'il fallait que l'Etat absolutiste existât pour qu'advînt la littérature."

GREENBERG, MITCHELL. Subjectivity and Subjugation in Seventeenth-Century Drama and Prose: The Family Romance of French Classicism. New York: Cambridge University Press, 1992.

Review: C. Randall Coats in SCN 52.1–2 (1994), 12–13: "A thoughtfull, often brilliant, reading of much read texts" which offers "many insightful, interesting, original interpretative paths for the canon of 17th-century French literature" (Corneille, Molière, Racine; L'Astrée and La Princesse de Clèves). However, the reviewer has some reservations about the author's "impasto of psychoanalytical terminology" and his "apparent failure to edit the separate essays that compose the book".

GREENBERG, MITCHELL. Canonical States, Canonical Stages: Oedipus, Othering, and Seventeenth Century Drama. Minneapolis: U of Minnesota UP, 1994 .

Review: W. Miller in Choice 32 (1994), 466–67: "G. presents 17th-century drama as a predominant literary form because it was a crucial public space upon which people could safely explore a variety of oedipal sexual and political conflicts central to western Europeans at that time. Theater, according to G., provided a place where kingship could be simultaneously affirmed and rejected, conflicts between individual desire and society's needs explored, and society rebelled against yet reaffirmed, while 'othering' those who threatened its uniformity—including Muslims, Jews, foreigners, and women." In M.'s judgment, "the Freudian mists are thick here—and a fog of complex syntax and arcane vocabulary occasionally obscures rather than clarifies—but the central ideas are clear and brilliantly argued." Among the plays analyzed are "Corneille's Le Cid and other dramas, and Racine's Bérénice. G. argues that these works have retained their place in the Western canon because they are archetypical expressions of 17th century psychosocial conflict."

GUELLOUZ, SUZANNE. "Entre baroque et classicisme: Le faux Ynca ou Diane de Castro," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 119–132.

An assessment of the strengths and weaknesses of H.'s novel: "La Faux Ynca est loin d'être ce 'roman médiocre' . . . ."

GUTWIRTH, MARCEL. Laughing Matter: an Essay on the Comic. Ithaca/London: Cornell University Press, 1993.

Review: F. Lagarde in PFSCL 21 (1994), 587–588: An essay on the definitions of laughter and the comic in general with frequent reference to Descartes, Corneille, Pascal, Molière, and Bossuet. G. proposes a positive and happy view of laughter in contrast to the traditional view that it is "diabolical."Reviewer deems it "une des meilleures introductions qui soit à cette grave question."

HALLYN, FERNAND. "'A Light Weight Artifice': Experimental Poetry in the 17th Century." Trans.Roxanne Lapidus. Substance 71/72 (1993), 289–305.

". . . there appeared a systematic practice of anagrams, best illustrated by the 'anagramme de mots' which turns . . . on the permutation of words within a verse. Jules César Scaliger . . . gave this process the name 'vers protéens' [in 1581] .... S. himself had put together an example that lends itself to 64 different word orders, remaining a perfect Latin verse, and that he considered emblematic, since it concerns the god Proteus ...." In this article H. discusses "some aspects of this practice, which was widespread in the seventeenth century."

HAMPTON, TIMOTHY, ed. Baroque Topographies: Literature / History / Philosophy. Special issue of Yale French Studies (80), 1991.

Review: C. Randall Coats in SCN 51.3–4 (1993), 41–42: "A fine volume combining sound scholarship and an insightful application of theory .... Unlike some collections of essays ... the theme is sustained throughout, and the essays often dovetail quite effectively .... Baroque Topographies constitutes an important endeavor in defining the significance of space and structure and elucidating the manifold variations of the implementation of power through spatial coordinates."

HOWARTH, W. D. and D. H. WALKER, eds. Encounters with French Literature and Film: Six Essays on Molière, Balzac, Sartre, Anouilh, Truffaut, Etcherelli. Edinburgh: Lockharton Press, 1992.

Review: P. Thody in MLR 89 (1994), 750–51: Essays on Le Misanthrope, Le Père Goriot, Les Mains sales, Les 400 Coups, and Elise, ou La vraie vie. Excellent analysis of Molière's work by J. Trethewey.

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

Review: S. Bamforth in MLR 89 (1994), 477–78: "The author's thesis is that the evolution of Béroalde's writing (from the relatively structured prose treatises and poems which make up the collection Les Apprehensions spirituelles of 1583 through to the miscellanier of Le Palais des erreurs and of Le Moyen de Parvenir itself) is the reflection of tensions which beset the concept of Renaissance encyclopaedism as a whole." Richly documented work.

• See French 17 (1993).

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

Review: Michèle Longino in EMF 1 (1994) 210–212: L. finds that K.'s study of R.'s salon and of the exchange of letters within R.'s coterie to be "well documented" and "enjoyable" from the standpoint of biography and social history. Yet, from the perspective of literary criticism, L. argues that the book lacks "depth, rigor and proof," as K.'s thesis about the flawed characterstics of the members of R.'s salon is based on "innuendo, titillation and conjecture."

KRAMER, DAVID B. Imperial Dryden: The Poetics of Appropriation in Seventeenth Century England. Athens: U of Georgia P, 1994.

Review: Roberta Davidson in P&L 18 (1994), 370–71: The author's "analysis of the stages of D.'s career reveals an engaging figure of both opportunism and originality .... Employing misquotation, 'ventriloquism' (i.e., a strategy of inventing another's words so that one's own thoughts seem to emerge from the other's mouth), and plagiarism, D. pillaged the works of Corneille and others."

LALLEMAND, MARIE GABRIELLE. "Le Huetiana: contribution à l'étude d'un genre," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 155–167.

In this learned ana L. discerns an autobiographical experiment: the open and incomplete form of the ana allows H. to leave his work unfinished and to remain in dialog with it.

LANDRY, JEAN PIERRE, AND ISABELLE MORLIN. La littérature française du XVIIe siècle. Paris: Colin, 1993.

Review: F. Lagarde in PFSCL 31 (1994), 257–258: A survey that "ne brille pas par son originalité . . . mais il donne la bonne impression d'être assez complet et de viser d'abord à l'information."

LAUGAA, MAURICE. "Le pseudonyme comme lieu de mémoire." PFSCL/Biblio 17, 80 (1993), 245–258.

Studies the use of pseudonyms and the status of the writer.

LEPERE, PIERRE. L'Age du furieux (1552–1859). Paris: Hatier, 1993.

Review: François Boddaert in QL (16–31 juillet 1994), 19: "Voici 'une légende dorée de l'excès en littérature' qui réécoute des voix étranges, tue par les anthologies, ou nous invite à trouver moins sages et moins conformes à l'histoire littéraire des figures tutélaires trop vite pacifiées." ". . . [C]'est avec le père de la tragédie française [Etienne Jodelle] . . . que commence l'annuaire fantasque des agités du Parnasse." ''[Jean François] Sarasin ... occupe une place de choix dans cette galerie ...." S. is viewed as "une manière de plaque tournante autour de qui gravitent Voiture, Chapelain, Madame de Longueviile, Mademoiselle de Scudéry, Pellisson, Benserade, D'Assoucy ou Tristan l'Hermite ...."

LEVI, ANTHONY. Guide to French Literature, vol. 2: Beginnings to 1789. Chicago/London: St. James, 1994.

Review: E. Sartori in Choice 31 (1994), 1273: This volume treats "French literature from the Renaissance to the Revolution, not from the beginning as the title states. The entries are mostly devoted to the life and work of individual writers, although some substantial essays discuss literary, theological, and philosophical movements and literary controversies .... L. provides extremely detailed accounts of writers'lives and, in his discussion of their works, emphasizes the ideological, sociological, and political context." S. finds the book "weak in its treatment of women writers."

LEVINE, JOSEPH M. The Battle of the Books: History and Literature in the Augustan Age. Ithaca, NY: Cornell UP, 1991.

Review: John Traugott in MP 91 (1994), 501–08: T. views this book as "a massive concatenation of almost every document one could think of, or discover, relating to the woolly disputes in the period 1690 1740 between 'ancients and moderns' ...." "The essential absurdity of [Sir William] Temple's attitudes [as expressed in the essay Upon Ancient and Modern Learning, 1690] is shown by the fact that both the French querelle and the English battle gave rise to mock heroic treatments." "L. gives a good account of the French imbroglio and curiously has no difficulty at all in seeing its absurdity, possibly because it is French and not English." T. states that the author "has pretty well exhausted his subject, done a remarkable scholarly labor, always interesting and helpful, and given food for thought, even if some of his arguments are plainly objectionable."

LYONS, JOHN D. Exemplum: The Rhetoric of Example in Early Modern France and Italy. Princeton: Princeton University Press, 1989.

Review: H. Stone in PFSCL 31 (1994), 259–261: A "major contribution to studies of the early modern period" that focuses on Machiavelli, Marguerite de Navarre, Montaigne, Descartes, Pascal, and LaFayette. For the classical period the "exemplary triumphed over the example," that is, the emphasis was placed on "worthy" examples of imitation or avoidance. Both Descartes and Pascal ultimately locate truth outside of example and Lafayette relegates it to the external world of evidence.

MCCABE, RICHARD A. Incest, Drama, and Nature's Law, 1550–1700. New York: Cambridge UP, 1993.

Review: E. D. Hill in Choice 32 (1994), 108–09: "This very welcome book opens with some background materials: legal definitions and anthropological theories (ancient to modern) of incest; and literary texts of ancient drama, medieval narrative, and French and Italian Renaissance tragedy. M. perhaps overstates the contrast between the allegedly dogmatic plays of the Elizabethan period and the more skeptical works produced by what he calls the nominalist crisis of thought in the 17th-century. The book's strength," according to H., "lies not in its overall developmental thesis of growing secularization; rather, one will read M. for his many incisive remarks on particular plays.... Telling juxtapositions between Renaissance plays and classical and Biblical models abound; M. has the learning and the critical aplomb to benefit both novice and veteran play readers. Fully annotated.

MABER, RICHARD. "'De l'imitation et du larcin des poètes.'" PFSCL/Biblio 17, 80 (1993), 209–217.

Examines the debate between imitation and originality in literature during the century. The author sees a link between the individualism of a philosophy such as Cartesianism and increasing liberation from the servile imitation of past writers during the second half of the century.

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

Review: Nicole Boursier in EMF 1 (1994) 242–244: A quite favorable evaluation in which B. commends M's ability to examine traditional critical rejection of epistolary novels (such as the Lettres portuguaises) as "romans sans clôture." In particular, B. praises M. for encouraging the rethinking of "la définition même du roman..."

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

Review: J. Serroy in PFSCL 31 (1994), 262–263: Papers devoted to the computerized study of "common places" in the novel. The first part of the volume deals with the difficulties inherent in the undertaking. The second contains presentations of intitial research on four "topics": the frustrated love of the couple, interventions of the narrator author, secrets, and parodical texts. The reviewer finds much potential in the group's work.

MACKSEY, RICHARD. "Longinus Reconsidered." MLN 108 (1993), 913–34.

Essay surveys the continuing relevance of Longinus to contemporary debate. Abridged version appears in Johns Hopkins Guide to Literary Theory and Criticism, edited by Groden and Kreiswirth.

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

Review: P. J. Smith in MLN 109 (1994), 315–17: ". . . a highly conscientious and scholarly piece of work. It will prove of great interest to Hispanists whose specialisms range from the Golden Age to the twentieth century and to all those concerned with the interrelation of power, gender, and language in literary texts."

• See French 17 (1993).

MATZAT, WOLFGANG. "Mythe et identité dans le théâtre classique: l'Oedipe cornélien et l'Iphigénie racinienne." PFSCL/Biblio 17, 80 (1993), 161–172.

"Le fait que la mythologie soit ainsi perçue comme un imaginaire réduit à la fonction d'agrément est très révélateur de la transformation de l'identité culturelle au cours du XVIIe siècle."

MAZOUER, CHARLES. "La mémoire des classiques chez Regnard et Campistron." PFSCL/Biblio 17, 80 (1993), 277–296.

Examines the influences of Corneille, Racine, and Molière on the two playwrights.

MECHOULAN, ERIC J. "De la mémoire à la culture: la fabrication des contes de fées à la fin du XVIIe siècle." PFSCL/Biblio 17, 80 (1993), 91–102.

Studies the relationship between the oral nature of the fairy tale and collective memory: ". . . la mémoire et la tradition ne valent quelque chose qu'à la condition que le code de la culture les mette en valeur, ce qui fait aussi de la mémoire le trivial faire valoir de la culture."

MELTZER, FRANÆOISE. Hot Property: The Stakes and Claims of Literary Originality. Chicago: U of Chicago Press, 1994.

Review: A. Thiher in Choice 31 (1994), 1722: "This somewhat disjointed work strives to study originality as part of 'masculinist literary criticism.' The valorization of originality is an epistemological consequence of phallocentric discourse, or so it is asserted several times. With this presupposition, M. takes the reader on a lively tour of several test cases wherein originality plays a role in interpreting what is at stake in a writer's or thinker's work. First she deals with accounts of . . . Descartes's dreams, and Freud's relation to Descartes in Freud's desire to lay claim to originality for his discoveries." T. finds that "none of the historical research is especially original, though this may perhaps be the point: believers in intertextuality consider the notion of other texts as a basis for writing to be a platitude. More interesting," in T.'s opinion, "is M.'s attempt at a feminist reading of originality. This well written book will interest feminist theorists of literature and culture."

METZIDAKIS, STAMOS, ed. Understanding French Poetry: Essays for a New Millennium. New York: Garland, 1994.

Review: A. Thiher in Choice 32 (1994), 290: This is "a collection of 15 essays on French poetry . . ., dealing with varied subjects from the Renaissance to the present. M. wants to address the question of the marginalization of poetry today as a literary discourse, though few of the essays deal directly with that topic.... Clive Scott's defense of translating poetry, as part of literary studies, offers a spirited commentary on the decline of poetry and how it might be revived; and Anna Balakian's lamentation about the disappearance today of the surrealist exploration of language also points up why poetry has lost its place. The problem is . . . that this volume will only appeal to those already deeply interested in the fate of poetry, the specialists in French literature ....

MIGUET OLLAGNIER, MARIE. Mythanalyses. Paris: Annales Littéraires de l'Université de Besançon, 1992.

Review: Bernard Alazet in RSH 231 (1993), 139–40: This book "regroupe un grand nombre d'études qui prennent pour objet d'analyse des écrivains apparemment aussi éloignés que Claudel et Barbey d'Aurevilly, Nerval et Cyrano de Bergerac, mais aussi des auteurs plus contemporains .... L'ensemble offre cependant tout le contraire d'un éparpillement; c'est selon une problématique rigoureusement définie et toujours maintenue à l'horizon de la recherche que se déploie le projet de M. M.: chercher comment chacun de ces écrivains 'se réapproprie une histoire des commencements'." "L'originalité de ce travail, par ailleurs extrêmement informé, est sans doute liée à sa démarche: distinguant . . . mythe et allégorie—ce qui reste latent dans le premier est explicité par le texte allégorique—M. M. décèle la présence du mythe dans ce qui précisément ne le dit pas.

MOLES, ELIZABETH, and NOEL PEACOCK. The Seventeenth Century: Directions Old and New. Glasgow: University of Glasgow, 1992.

Review: M. Slater in PFSCL 31 (1994), 277–278: Conference papers by British researchers on LaFontaine, Poussin, Descartes, Pascal, Corneille, Molière, comédie ballet, and Racine.

MOLINIE, GEORGES. "Mémoire: de quel lieu parle t on?" PFSCL/Biblio 17, 80 (1993), 39–45.

Argues that "rewriting" is the basis of literary invention in the 17th century.

MOLINIE, GEORGES. "La Forme et le contenu: La portée du concept de baroque littériare." EMF 1 (1994) 1–7.

M. explores definitions of the baroque both in terms of "la critique française" and "la critique extra-française," opting for a vision conforming to an "esthétique générale," discernable in Europe during the late sixteenth and early seventeenth centuries. Arguing that discussion of the baroque distills into debate over substance, i.e., "la matière," and semiotics, M. suggests that re-examination of the baroque should focus on the novel (romans "comiques," romans "à la grècque"), and the theatre, since both concentrate on the "condition humaine individuelle."

NEPOTE DESMARRES, FANNY. "Classicus scriptor et écrivain classique: un lieu de mémoire." PFSCL/Biblio 17, 80 (1993), 353–362.

"Ainsi au delà du concept régulé d'une fausse dogmatique classique, faut il comprendre en réalité le 'Classique' comme un rapport à l'articulation de la maîtrise politique de l'art oratoire et de la maîtrise culturelle de la conceptualisation de l'ordre, à la jonction de l'oral et de l'écrit, du monde des idées et de celui de la vie urbaine."

PATTERSON, ANNABEL. Fables of Power: Aesopian Writing and Political History. Durham, NC: Duke UP, 1991.

Review: Anne Lake Prescott in MP 91 (1994), 546–49: The reviewer calls this book "a smart and eloquent study of the fable's shifting function in political commentary and analysis." "Chapter 3, on the fable from 1628 to 1700, traces how it was conscripted into constitutional and political debate. Yet, as P. shows, the dynamics of Aesopian tradition (e.g., the lion's role as king of beasts) mandated ambiguities and strategic evasions in some retellings." "One of this book's most attractive qualities," according to A. L. P., ". . . is its refusal to let the fable be made safe for modern academic consumption." "Any discomfort with P.'s history [a point the reviewer has explored in some depth] should not diminish one's admiring pleasure in how she handles her other aim: to show the conflicting ways in which the Aesopian fable served intellectually interesting political analysis.

PERRET, DONALD. Old Comedy in the French Renaissance 1576–1620. Geneva: Droz, 1992.

Review: Catherine E. Campbell in CompD 27 (1993–94), 481–83: This volume is described as "a very valuable study to add to the growing body of literature on the French Renaissance theater ...." P. discusses "seven plays which 'illustrate late Renaissance experiments in comedy that rival the highly conventional and domestic kind favored by the Pleiade' ...." Playwrights whose work is treated: Le Loyer, Gérard de Vivre, Bonet, Marc Papillon de Lasphrise, and Pierre Troterel. "This is an exceptional study of seven unjustly neglected comedies . . . ," in C.'s opinion. "The book adds greatly to the knowledge of both Renaissance literature and theater history."

Review: A. Hindley in MLR 89 (1994), 758: ". . . a study which enriches our understanding of the 'unofficial' theatre of the period and which sets it clearly within the theatrical framework of the Renaissance and beyond." Plays treated include Pierre Le Loyer's Le Muet insensé and La Nephélococugie; Gérard de Vivre's De la fidélité nuptiale; Claude Bonet's LaTasse; Marc Papillon's La Nouvelletragi comédie; and Pierre Troterel's Les Corrivaus and Gillette.

• See French 17 (1993).

PIZZORUSSO, ARNALDO. Eléments d'une poétique littéraire au XVIIe siecle. Paris: PUF, 1992.

Review: David Maskell in FS 48 (January 1994), 98: "Brief though richly documented essays" investigating the concept of literary poetics in the 17th C.

PRIMER, IRWIN. "Erasmus and Bernard Mandeville: A Reconsideration." PQ 72 (1993), 313–35.

Discusses influences on writings of ". . . Pope's contemporary, the satirist and physician Dr. Bernard Mandeville (1670–1733) ...." P. notes that "... the presence of Erasmian echoes and allusions in M.'s works, documented by F. B. Kaye in his detailed introduction to the Fable of the Bees (l924), seems to have been silently accepted by virtually all scholars of M. after Kaye." P. intends "not to challenge the primacy of Pierre Bayle as the major influence upon M.'s thought, but to examine the parallels recorded by Kaye and to extend his findings on M.'s debt to Erasmus."

PROBES, CHRISTINE MCCALL. "Les 'lieux de l'Ecriture' comme 'lieux de mémoire.' 'Memoria': ses racines bibliques et son fonctionnement dans la poésie dévote." PFSCL/Biblio 17, 80 (1993), 147–160.

Studies the role of memory in the meditative poetry of César de Nostredame and La Ceppède.

REISS, TIMOTHY J. The Meaning of Literature. Ithaca, NY: Cornell UP, 1992.

Review: Michael André Bernstein in MP 92 (1994), 83–86: ". . . R. provides a densely grounded historical account of the long process by which concepts like 'literature,' 'culture,' and 'tradition' slowly acquired their present significance." The critic "argues that the ways in which a society defines the nature and functions of its artistic productions is inherently unstable, changing radically under the pressures of new circumstances and conditions." Although the author's "claim is not unfamiliar," says B., "prior to R.'s study the case has never been presented in such detail or argued through with so much attention to local specificities." B.'s assessment though mixed, is largely favorable: "R.'s work has the rare capacity to turn debate into dialogue," states B., who also praises the critic "for the attentiveness of his research and his skill in framing questions that matter in numerous specific domains ...." Corneille is among the authors discussed in the book.

RIFFAUD, ALAIN. "Fortune du mot tragique." PFSCL 21 (1994), 533–551.

An attempt to separate the seventeenth century sense of the concept from more modern connotations. R. concludes that the century had a strong sense of the tragic concealed under a veil of figurative language.

ROMANOWSKI, SYLVIE and MONIQUE BILEZIKIAN, eds. Homage to Paul Bénichou. Birmingham: Summa, 1994.

18 essays divided into two sections, "Plays and Context," and "Values in Process." Analyses plays by Corneille, Molière, Racine, and novellas, fairy tales, and fables.

RUBIN, DAVID L., ed. Continuum: Problems in French Literature from the Late Renaissance to the Early Enlightenment. Vol. IV: "Libertinage and the Art of Writing," 2. New York: AMS Press, 1992.

Review: M. Alcover in PFSCL 21 (1994), 568–571: Seven studies: Molière's contradictory strategies in Dom Juan, the oblique in Molière, libertines and Jesuits, the libertine novel, libertinage and sensitivity, and Ninon's metamorphoses in the 18th century.

RUBIN, DAVID L., ed. EMF: Studies in Early Modern France. Volume I: "Word and Image." Charlottesville, VA: Rookwood Press, 1994.

The first volume of a themed, interdisciplinary annual, in the tradition of R's Continuum, containing perceptive and well-written essays and article length book reviews all of which are reviewed elsewhere in this issue of French 17.

RUSSELL, CHARLES C. The Don Juan Legend before Mozart: With a Collection of Eighteenth Century Opera Librettos. Ann Arbor: U of Michigan P, 1993.

Review: R. Miller in Choice 31 (1994), 1281: "R.... finds D. J. to be a universal figure, composed of many D. J.'s who live in us all, and who corresponds to no historical person." "Part I . . . traces the development of the legend and examines the many forms it has taken." Other parts of the study offer "a historical account of musical settings of the legend by 18th century composers," the text of "eight Italian opera librettos," and "a record of all known musical stage versions from 1669 through Mozart." "An extensive bibliography and a thorough index are included." "This is a work," says M., "for the historian of both legitimate and opera theaters, for musicologists, and for readers interested in the contribution of legend to literature."

RUSSELL, DANIEL. "Emblems and Devices in Seventeenth-Century French Literature." EMF 1 (1994) 9–30.

R. discusses the influence of emblems on French culture of the Grand Siècle. Emblem and emblematics become "an important aesthetic and epistemological category during the seventeenth-century, with manifestations in traditional emblem books, noble devices of the court, and, in the more general literary form of "applied emblematics."

SALAZAR, PHILIPPE JOSEPH. "Sur la mémoire sacrée des lettres." PFSCL/Biblio 17, 80 (1993), 185–193.

Examines Pierre Daniel Huet's concept of a chronological tradition and history, of a "literary memory," in letters and literature.

SCOLNICOV, HANNA AND PETER HOLLAND, eds. Reading Plays: Interpretation and Reception. Cambridge: Cambridge University Press, 1991.

Review: D. Devlin in MLR 88 (1993), 936: Volume based on papers given at the Jerusalem Theatre Conference in 1988. Among the contributions, W. Matzat "examines Moliere's Dom Juan and Le Bourgeois gentilhomme through the interrelationship between three contexts: dramatic fiction, theatricality, and the social world shared by performers and audience."

SCOTT, VIRGINIA. The Commedia dell'arte in Paris: 1644–1697. Charlottesville: University Press of Virginia, 1990.

Review: Philip Koch in EMF 1 (1994) 222–224: K. commends S. for synthesizing a work based on "extensive, if not disparate sources." He praises S.'s historical approach in which the latter divides "her subject into five successive chronological periods,...examining within each...three constant aspects: the external history, biographies and the kinds of plays performed." Nonetheless, with respect to the text's presentation, K. does find fault with "the fairly large number of typos," as well as with some errors in translation.

SINCLAIR, ALISON. The Deceived Husband: A Kleinian Approach to the Literature of Infidelity. New York: Oxford University Press, 1993.

Review: Anon. in VQR 70 (1994), 120: This book employs "two models, based on modern psychological theory, of the cuckhold [sic] (here identified as the passive manic depressive), and the man of honor (the active paranoid schizoid). There follow some quite interesting, if not always convincing, comments on Western society and male anxieties with examples drawn from the treatment in . . . [numerous authors; no 17th century French ones are named, but the list is not complete]. Some minor lapses apart, . . . the book is pleasantly free of modernist jargon," states the reviewer.

SITTER, JOHN. Arguments of Augustan Wit. New York: Cambridge UP, 1991.

Review: Gerald MacLean in MP 92 (1994), 99–107: Reviewed with A. J. Smith, Metaphysical Wit (Cambridge UP, 1991). "At its broadest, S.'s aim is to suggest that Augustan texts can illuminate some limitations of contemporary critical theory, while along the way he is intent upon showing Augustan wit to be a materialist conception and practice." The study concentrates on "the relation of truth and language, one of the arenas in which the struggles between materialism and idealism have been staged throughout the history of Western philosophy." The reviewer mentions Descartes in passing.

SMITH, A. J. Metaphysical Wit. New York: Cambridge UP, 1991.

Review: Gerald MacLean in MP 92 (1994), 99–107: Reviewed with John Sitter, Arguments of Augustan Wit (Cambridge UP, 1991)."Smith sets out to demonstrate how the English metaphysical poets of the seventeenth century—most notably John Donne—utterly transformed the extravagant style of the courtly conceit, as it was used from the late fifteenth century on in Italy, Spain, and France, into a vehicle of sacramental power." In Chapter 6 ("Metaphorical Wit") S. treats many poets, include Jean de La Ceppède, Jean de Sponde, and Agrippa d'Aubigné.

SPADA, MARCEL. "Pongemalherbe [sic] en Siciie." RSH 228 (1992), 47–49.

S. writes: "Francis Ponge m'apporta à Palerme un exemplaire de son Pour un Malherbe que Gallimard venait enfin d'éditer après bien des vicissitudes. Je le remerciai ce même mois de février [1965] avec le texte qui suit, écrit à chaud, dans l'émotion de la première lecture: POUR UN MALHERBE / AU CHIFFRE DE FRANCIS PONGE [.]" Text contains several references to Malherbe.

THEATRE ESPAGNOL DU XVlle SIECLE. Edition publiée sous la direction de Robert Marrast. Introduction générale parJean Caravaggio. Paris: Gallimard, 1994.

Review: Albert Bensoussan in QL (16–31 juillet 1994), 17: Spanish theater of the 17th century "a dû attendre ce jour pour etre accessible, enfin, dans un panorama significatif—vingt deux pièces présentées—au lecteur français." This Pléiade volume offers plays by Lope de Vega, Alarcón, Mira de Amescua, Velez de Guevara, and Guillén de Castro; a second volume will focus on Tirso de Molina and Calderón. "Le propos de R. M.... est de proposer ... un théâtre espagnol fidèlement et littéralement traduit, assorti d'un éclairage critique qui, par d'utiles introductions et des notes nécessaires, donne au lecteur les moyens d'apprécier . . . l'originalité de cette écriture."

LA TRAGEDIE CLASSIQUE. Paris: Cicero Editeurs, 1991.

Review: B. Norman in PFSCL 31 (1994), 302–303: An "indispensable collection of essays" some of which, argues the reviewer, do not fear to present the genre on its own terms.

TRUCHET, JACQUES et ANDRE BLANC, eds. Théâtre du XVlle siècle. Paris: Gallimard. 1992.

Review: William Brooks in FS 48 (January 1994), 97: The years 1673–1700 "deserve better than a volume which all but reaffirms the curmudgeonly old notion that French tragedy subsided into tragédie lyrique, French scenes in Italian comedy constituted progress, and only Dancourt and Regnard wrote worthwhile comedies after Molière."

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

W. pursues questions raised by Foucault and others concerning the relation between truth and discourse in the seventeenth century. Rather than one hegemonic "classical ideology," she discerns, like William James for religion, a "variety of linguistic experience" depending on author, genre, and context. The link among these classical discourses is not so much an ideology of rationalism as a faith, lost today, in the "grounding" of language in referenciality.

Review: M. Escola in RHL 94.2 (1994), 291–92: W. "...étudie le concept de vérité tel qu'il apparaît..." dans l'oeuvre de Corneille, Racine, La Bruyère, et Pascal.

Review: S. Romanowski in ECr 33 (1993), 118: "W. has succeeded in being both 'innovative and preservative' in her examination of the relation between language, concepts of knowledge, and the specific qualities of these literary texts."

ZUBER, ROGER. La littérature française du XVIIe siècle. Paris: PUF, 1993.

• See French 17 (1993).

BAILLY, ALBERT

• See Part III:  Costa, M.

BALZAC

• See Part V:  MAYNARD; Roberts, William.

BAYLE, PIERRE

CHARNLEY, JOY. "La vie et l'oeuvre d'Antoinette Bourignon jugées par Bayle." PFSCL 21 (1994), 443–452.

Studies Pierre Bayle's sexist attacks against Bourignon.

• See also Part IV:  Primer, Irwin

BEROALDE DE VERVILLE

BAMFORTH, STEPHEN. "Béroalde de Verville and Les Appréhensions Spirituelles." BHR 56 (1994), 89–97.

"The purpose of this article is to make a modest contribution to this area [the poet's early years], chiefly by drawing attention to one or two striking features of the dedications contained in Béroalde's first published collection of his own work, Les Appréhensions spirituelles of 1583."

GIORDANO, M. J., ed. Studies on Béroalde de Verville. PFSCL/Biblio 17, 72 (1992).

Review: C. Randall Coats in PFSCL 52.1–2 (1994), 28–29: "This provocative, eclectic collection compiles interdisciplinary approaches to the important but hitherto neglected oeuvre of Béroalde de Verville.... In addition ... it includes a groundbreaking archival discovery by Gisèle Mathieu-Castellani which definitively ascribes L'Amour brave en faveur des dames to Beroalde .... While it should be obvious that the entire collection is one of great scholarly merit ... the most exciting contribution is the essay by Tom Conley".

Review: J. R. Fanlo in BHR 56 (1994), 266–67: "Ce petit volume associe aux essais d'exégèse l'information érudite, qui nous vaut deux decouvertes: un recueil de sonnets, L'Amour brave en faveur des dames, digne d'un mystérieux pseudonyme, est restitué à Verville par G. Mathieu Castellani, et N. Kenny, en se fondant sur l'examen des ornements typographiques, parvient à fixer la date et le lieu de la première édition du Moyen de parvenir (Paris, 1616, Chez Anne Sauvage, Veuve Guillemet, qui avait déjà imprimé le Palais des Curieux.)"

Review: Michel Renaud in DSS 182 (janv-mars 1994) 199–200: Collection d'articles "diversement convaincants" permettant de mieux connaître l'oeuvre d'un auteur longtemps négligé.

• See French 17 (1992)

• See also Part IV:  Kenny, Neil

BENSERADE

• See Part IV:  Lepère, Pierre

BEYS, CHARLES

ELMARSAFY, ZIAD. "Actors, Lovers and Madmen: Theatricality and Identity in Charles Beys' Les illustres fous." PFSCL 31 (1994), 81–94.

Views the play as a "meditation on the fluid nature of human subjectivity" through the equivalence set up between madness and acting.

BOILEAU

JORET, PAUL. Nicolas Boileau Despréaux: Révolutionnaire et conformiste. PFSCL/Biblio 17, 49 (1989).

PINEAU, JOSEPH. L'univers satirique de Boileau: L'ardeur, la grâce et la loi. Geneva: Droz, 1990.

Provides a convincing appraisal of B.'s "personnalité satirique" as it appears in his verse writings.

Review: Robert T. Corum in EMF 1 (1994), 236–238: C. praises P.'s treatment of Boileau's various personae, i.e., "legislator of Parnassus, theorist of the sublime... plagiarist, [and] master of bad taste," among others. Supporting P's argument that incisive analysis of Boileau lies in noting the "association des éléments antilogiques," C. nonetheless criticizes P. for looking only at parts of poems, instead of entire works. C. states that Joret "shares many of Pineau's psychological preoccupations," but that ultimately J.'s interpretation of Boileau relies on "an anti-rationalist operation which aligns Boileau with Pascal." Although valuable, J.'s book suffers from "a self-conscious style" and occasionally "interminable sentences."

• See also Part I:  Declerq, Gilles
• IV:  Chauveau, Jean-Pierre

BOISROBERT

• See Part IV:  Chauveau, Jean-Robert
• Delmas, Christian

BOSSUET

RILEY, PATRICK,trans. Bossuet: Politics Drawn from the Very Words of Holy Scripture. Cambridge: Cambridge University Press, 1991.

A solid and scholarly introduction avers the historical importance of Bossuet in spite of the neglect his catholicism and his royalist absolutism have earned him.

• See also Part IV:  Gutwirth, Marcel

BOUHOURS

DECLERCQ, GILLES. "Rhétorique des Entretiens d'Ariste et d'Eugène du père Bouhours (1671) ou la grâce de la bagatelle." PFSCL/Biblio 17, 80 (1993), 195–208.

An attempt to demonstrate the literary and esthetic qualities of the work.

BOYER, ABEL

• See Part II:  Barrel, Rex

BRANTOME

COATS, CATHARINE RANDALL. "Drink Deep from the Text: Wooing and Warning the Reader in Brantôme's Dames galantes and Dames illustres." MLS 23.2 (1993), 84–91.

Whereas Robert Cottrell, in his 1970 study (Droz), called B. "the portraiturist of his age," C. "would like to suggest a complementary critical reading . . . of B.'s Dames galantes, in which B., through the medium of his text, also becomes the portraiturist of himself." For C., the French writer's "self portrait is a representation of B. caught in the creative process, reacting to life and art, creating art, writing and assessing his audience."

BUSSY RABUTIN

DUCHENE, JACQUELINE and ROGER, eds. Bussy Rabutin, Histoire amoureuse des Gaules. Paris: Gallimard, 1993.

Review: V. Maigne in PFSCL 31 (1994), 238–239: The original edition of 1665; includes a history of the manuscripts, excerpts of the version that was most often reprinted during the century, and excerpts of Bussy's and Mme de Motteville's memoirs. The preface demonstrates how Bussy inaugurates a new form of the novel at a time when the historical roman fleuve reigns supreme: "Grande innovation: Bussy raconte sans masque à l'antique des histoires contemporaines, essentiellement des galanteries; sa technique narrative, proche de celle de Madame de Lafayette, consiste à coudre des faits réels à des aventures fictives sans suture apparente." An edition that shows the true importance of this work belonging to the "textes fondateurs de la prose classique."

DUCHENE, JACQUELINE ET ROGER. "Bussy Rabutin, ou les chances de l'exil." PFSCL 21 (1994), 337–343.

The unexpected results of Bussy's unhoped for exile in Burgundy in 1666: "Sans l'exil, point de Bussy ni de Sévigné dans la littérature française."

CAMPISTRON

• See Part IV:  Mazouer, Charles

CAMUS

VERNET, MAX. "Cueillette, recueil et recueillement: Jean Pierre Camus, du rhétorique au narratif (et retour)." PFSCL/Biblio 17, 80 (1993), 219–229.

Examines the relationship between exemplum and short story in Camus.

CHALLE, ROBERT

ARTIGAS-MENANT, GENEVIEVE, JACQUES POPIN, et MARIE-EMMANUELLE PLAGNOL, eds. Leçons sur Les illustres Françaises de Robert Challe. Actes de la Table Ronde de Créteil. Paris: Université Paris Xll Val de Marne; Diffusion Champion Slatkine, 1993.

Review: Malcolm Cook in JES 24 (1994), 57–58: Almost all the essays collected in this book began as papers presented at a 1993 Créteil conference. "The principal aim was . . . to clarify the text, to seek out the truth about the author and his work." "Many of the contributions try to put C. into a contemporary context . . . ," and numerous approaches are employed. "This . . . volume will be of use to students of the text looking for authoritative interpretations. There is little in the way of new research here," nor was that intended. "The book itself is poorly produced," in the reviewer's opinion: "the binding is weak and soon comes unstuck and the illustration on the front cover is so poor as to be useless."

DELOFFRE, FREDERIC. Robert Challe., Un destin, une oeuvre. Textes et documents inédits. Paris: SEDES, 1992.

Review: M. H. Cotoni in RBPH 71 (1993), 775–76: Ouvrage en deux parties complémentaires: 1) une synthèse biographique; 2) un choix de textes divers: des lettres de Québec, des fragments du Journal ou des Mémoires, la continuation de Don Quichotte, des lettres sur Les illustres Françaises, deux morceaux des Difficultés sur la religion.

WEIL, MICHELE. Robert Challe romancier. Genève: Droz, 1991.

Review: Pierre Malandain in RSH 228 (1992), 255–56: Book described as the "première véritable étude sur l'oeuvre texte de C." In M.'s opinion, W.'s "point fort est de rendre clairement sensibles l'émergence de l'idéologie des Lumières, l'expérimentation de formes nouvelles ...." M. calls C. not only "l'aventurier, le déraciné, l'anticlérical militant," but also "le principal artiste, entre Molière et Watteau, de cette période obscure et fervente de notre histoire (1680–1715)."

CHAPELAIN

• See Part IV:  Lepère, Pierre

CHARRON

ADAM, MICHEL. "Pierre Charron en son milieu." RFHL 80–81 (1993), 337–348.

A study of Charron's two stays in Bordeaux from 1576 to 1588 and from 1589 to 1594. His life in Bordeaux and the way in which he performed his religious duties contradict Father Garasse's views and attacks.

COLLETET

MAGNIEN, MICHEL, ed. Guillaume Colletet. Vie d'Etienne Dolet. Geneva: Droz, 1992.

In 1648, while preparing vitae of various 16th-century literary figures, the scholar Guillaume Colletet composed, though he left unpublished, a life of Dolet (printed here from a non-autograph manuscript, NAF 3073 in the Bibliothèque Nationale, Paris), with the intention of correcting the extreme evaluations, both favorable and unfavorable, of the poet".

CORNEILLE, PIERRE

BAKER, SUSAN READ. Dissonant Harmonies: Drama and Ideology in Five Neglected Plays of Pierre Corneille. Tübingen: Gunter Narr Verlag, 1990.

Review: François Lagarde in EMF 1 (1994) 218–221: L. finds B.'s study to be "original," "éclairant," and "un bon exemple d'équilibre entre la théorie critique et la critique historique." Agreeing with B.'s argument that the five Corneille plays in question failed because of a sizable disparity between "personation" and "impersonation," L. recommends the work to specialists, but warns that B's approach is often overly expansive and scattered.

CLARKE, DAVID. Pierre Corneille: Politics and Political Drama under Louis XIII. Cambridge: Cambridqe University Press, 1992.

Review: D. A. Watts in MLR 89 (1994), 767–68: Study of Corneille's "serious plays from 1630 to 1643" is based on the author's conviction that in France, under Richelieu,"'matters of poetics were never very far from matters of political ideology'." The first part of the study provides insights into C.'s "Normanness" along with contextual quotes from novelists, theologians, and political commentators of the period. The second part deals with dramatic theory and explores the tension between the pleasure prinicple and the utilitarians. Reviewer finds this study a major authoritative work on C.'s "place in the history of moral and political ideas." However, he is uneasy with "suggestions of a rigorous ideological determinism. "

• See French 17 (1993, 92).

CLARKE, DAVID. "Plutarch's Contribution to the Invention of Sabine in Corneille's Horace." MLR 89 (1994), 39–49.

Clarke examines Plutarch's "real, if indirect contribution to the genesis of Horace" through the 'Lives' of Romulus, Numa, and Coriolanus. These narratives "show just the same preoccupation with the moral ambiguities of the City's first steps to Empire as does Corneille's invented Sabine at the outset of his play."

DRAGACCI PAULSEN, FRANÆOISE. "L'héroïsme féminin dans Attila." PFSCL 31 (1994), 95–112.

Sees the play as announcing the end of aristocratic individualism. The heroine is subject to the same decline as the male hero: "Tous deux dès lors ne sont plus ni héros ni héroïne mais favori et favorite du roi; toute prééminence aristocratique en eux a été aplanie par le nivellement social auquel procède la monarchie." Cornelian heroism thus has two successive moments, one masculine and the other feminine.

FORESTIER, GEORGES, ed. Suréna, général des Parthes, Tragédie, 1674. Paris: Librairie Générale Française, 1993.

Review: M. O. Sweetser in PFSCL 31 (1994), 242–243: An excellent addition to the "Livre de poche classique" collection. The introduction summarizes modern research on the play.

FOX, DOREEN ANN. "Corneille, an Artisan of History." (Purdue Univ. 1993) DAI 54:3 3457A.

F. contends that C.'s five major tragedies are largely influenced by historical sources. As a result, C. evolves into a historian as well as a dramatist. While C. generally respects historical fact, he nonetheless embellishes and manipulates it to serve his aesthetic purposes. Thus, the key to C.'s genius lies in discerning between the dramaturge's "autonomy" as an artist and his accuracy as a reader of history.

KNIGHT, R. C. Corneille's Tragedies: The Role of the Unexpected. Cardiff: University of Wales Press, 1991.

Review: D. A. Watts in MLR 88 (1993), 975–76: "This eminently readable book, often incisive, sometimes profound, will quickly take its place among the more important recent studies of Corneille but one may feel that the perfect introduction in English to this elusive dramatist remains to be written."

• See French 17 (1993, 92).

LASSERRE, FRANÆOIS. Corneille de 1638 à 1642. La crise technique d'Horace, Cinna et Polyeucte. PFSCL/Biblio 17, 55 (1990).

Review: Alain Couprie in DSS 182 (Janvier-Mars 1994), 200–01: Remettant en question la perspective traditionnelle, ce livre présente C. de cette époque en pleine crise artisitique et morale.

MAHER, DANIEL. "La vraisemblance au XVIIe siècle: Corneille lecteur d'Aristote?" PFSCL 21 (1994), 519–531.

Maher concludes that C. makes fine distinctions among the kinds of verisimilitude in order to limit the role of the concept and place truth itself on an equal footing with it.

MURATORE, M.J. Cornelian Theater: The Melodramatic Dimension. Birmingham, Alabama: Summa Publications, 1990.

Review: Jacqueline Van Baelen in EMF 1 (1994) 201–204: Van B. finds M's study both "exciting" and "disappointing." On the one hand, Van B. contends that M.'s assertions are "suggestive, in some cases excellent," especially with respect to Horace. On the other hand, Van B. believes M's reliance on Abel's concept of metatheatre to be both misapplied and, at times, excessive to the point of "exclud[ing] moral considerations."

POIRIER, GERMAIN. Corneille témoin de son temps. II: Le Cid (1636). PFSCL/Biblio 17, 84 (1994).

Review: Susan Read Baker in EMF 1 (1994) 198–200: B. finds P's assertion that Corneille's tragicomedy Clitandre was written "to defend the Society of Jesus against its detractors," to be unconvincing. According to B., P. undermines his own argument by contending that while the genesis of Clitandre is drawn from extra-textual concerns, Corneille's objective "was total textual self-containment."

SERROY, JEAN, ed. Pierre Corneille, Le Cid. Paris: Gallimard, 1993.

Review: M. O. Sweetser in PFSCL 31 (1994), 296–297: A volume in the "Folio Théâtre" series that "nevertheless bears the marks of a serious scholarly endeavor." Edition stands out from the crowd because of its textual accuracy and excellent critical apparatus.

TRETHEWEY, JOHN. Corneille: L'Illusion comique and Le Menteur. London/New York: Grant and Cutler, 1991.

Review: W.D. Howarth in FS 47 (1993), PAGE: A well written guide to C. s plays which presents " a rounded and complete picture of the dramatist at work."

Review: N. A. Peacock in MLR 89 (1994), 766–67: ". . . a useful and informative introduction to two richly theatrical works." Focus for L'Illusion comique is on "theatrical illusion, structure, characters, and themes"; focus for Le Menteur is on "sources, moral issues, theatricality, and poetry."

• See French 17 (1993)

WATTS, DEREK A. Corneille: Rodogune and Nicomède. London: Grant & Cutler, 1992.

Review: Christopher Smith in JES 24 (1994), 175–76: This volume, published in Critical Guides to French Texts collection, offers what S. calls "an excellent commentary" on these two plays; he judges the book to be a "brisk, informative and jargon free study." "The perennial problem of the Cornelian concept of tragedy is discussed sympathetically, with special attention to the notion of 'admiration.' "Above all, however," says the reviewer, "W. leaves us with the impression that C.'s abiding ambition was to create absorbing entertainment in the theatre."

• See also Part II:  Costantini, Michel
• Marin, Louis
• Smith, Christopher
• Part IV:  Biet, Christian
• Brooks, William
• Gaudiani, Claire
• Greenberg, Mitchell
• Gutwirth, Marcel
• Kramer, David
• Matzat, Wolfgang
• Mazouer, Charles
• Moles, Elizabeth
• Reiss, Timothy
• Romanowski, Sylvie
• Woshinsky, Barbara

CYRANO DE BERGERAC

ALCOVER, MADELEINE. "Cyrano in carcere." PFSCL 21 (1994), 393–418.

The search for additional original editions of Les Estats et Empires de la Lune uncovers a Harvard University edition whose different "paratexte" sheds new light on both the Lune and the Soleil.

SICK, FRANZISKA. "Cyrano de Bergerac: le monde dans la perspective de l'Autre monde." PFSCL 31 (1994), 65–80.

Argues that the author adopts both the biblical thesis of man's greatness and the contemporary Copernican view of man's place in the world, viewing humanity as having a "destination intramondaine." Cyrano thus contributes to the break with Scholastic thought.

• See also Part IV:  Miguet-Ollagnier, Marie

D'AUBIGNE

FANLO, JEAN RAYMOND. "Deux pamphlets anonymes d'Agrippa D'Aubigné." BHR 55 (1993), 611–44.

Découverte de deux nouvelles oeuvres de D'Aubigné écrites en 1622: L'Explication Familière, Et toutefois mystérieuse, de l'excellente lettre qui porte pour titre, A Nostre Trescher fils en Christ, Louys de France tres chrestien, Gregoire Pape XV & c. par Pere A. de la vraye Société de Jesus (s.l. 1622) et Le docteur d'Hildeberg traduit d'Allemand en Français (s.l.1623).

• See also Part IV:  Smith, A. J.

D'AULNOY, MME

SALIBA, JAIMEE R. "Regulating the I you: Gender, Dialogue, and the Epistolary Text." PFSCL 31 (1994), 177–185.

Explores topics of Bakhtinian dialogue, identity formation, and subjectivity in novels written by women in the late 17th century, especially in Mme d'Aulnoy: "To the demand for this sort of epistolary writing that limits the potential for interaction between a writer and her various interlocutors, she [Mme d'Aulnoy] offers a novel instead that calls into question the prescriptions of male editors and critics through the character of Mendosa, an alternative Portuguese writing woman."

DE ROSSET, FRANÆOIS

KNUTSON, MILTON BUSH. "(Dis)simulation and tromperie in the works of François de Rosset." (Univ. of Arizona, 1993) DAI 54:4 3767A.

K. examines the concepts of intertextuality, dualism and semeiology in de R.'s poetry and prose, arguing that de R.'s texts "reflect tensions between a near-medieval worldview and an emergent, but sporadic rationalism."

DE SALES, FRANÆOIS

LEGROS, PHILIPPE. "L'esthétique de Saint François de Sales. Etude de quatre méditations de l'Introduction à la vie dévote." PFSCL 31 (1994), 9–30.

Studies meditations five through eight to show the influence of contemporary painting techniques. Concludes that there is nothing ostentatious about the method because of the goal of creating an edifying work.

PERRIN, JEAN-FRANÆOIS. "Rousseau et Saint François de Sales: Les lettres à Sophie ou la voie spirituelle." RHL 94.2 (1994) 221–30.

P. argues that Rousseau's Lettres morales reveal a contemplative process akin to that found in Introduction à la vie dévote and Traité de l'amour de Dieu. R's assertion that the exploration and conservation of memory leads the human mind to a pure state of consciousness derives from St. F., and also manifests itself in the Confessions and the Emile.

DESCARTES

BAILLET, ADRIEN. Vie de M. Descartes. Paris: Éditions de la Table Ronde, 1992.

Review: J. Brun in EP 3 (1993), 409: This edition — though not a critical one — is deemed very useful: "Il faut remercier les Editions de la Table Ronde d'avoir publié en livre de poche la biographie de Descartes par Baillet".

CARR, THOMAS M., JR. Descartes and the Resilience of Rhetoric: Varieties of Cartesian Rhetorical Theory. Carbondale/Edwardsville, Ill: Southern Illinois University Press, 1990.

Review: Sylvie Romanowski in EMF 1 (1994) 205–209: R. praises C.'s work for illuminating "the situation of rhetoric in the seventeenth century, when serious problems began for it with Descartes' reconfiguration of knowledge." According to R., C. argues convincingly that rhetoric affirms its presence in Port Royal writers such as Malebranche and Lamy.

COLE, JOHN R. The Olympian Dreams and Youthful Rebellion of René Descartes. Urbana: U of Illinois P, 1992.

Review: Richard Parish in FS 48 (January 1994), 94–95: Questions the importance and the centrality to the 17th century thinkers of the endeavors attributed to D.'s famous dream.

Review: Robert Stoothoff in P&L 18 (1994), 154–55: "D. had three bizarre dreams on the night of 10 November 1619, the fateful day when he conceived his plan for reforming the sciences. He recorded and interpreted his dreams in a notebook, now lost .... As the author points out, commentators . . . have rationalized the dreams, explained them away, ignored them, or even denied that they ever occurred. None has attempted seriously to relate them to D.'s personal life or to his philosophical work. In this fascinating book . . . C. does just that." The French thinker's "intellectual declaration of independence is clearly associated with D.'s personal rebellion against the established vocational path which his father had expected him to follow .... C. connects the dreams with another aspect of D.'s philosophy: his identification of the self as a pure res cogitans." The study is described as "a model of scholarship," and the reviewer "recommend[s] it highly."

COTTINGHAM, JOHN, ed. The Cambridge Companion to Descartes. New York: Cambridge UP, 1992.

Review: M. Losonsky in Choice 31 (1994), 1307: "An important collection that both specialists and general readers will find very useful. All the essays combine clarity, good philosophy, and sensitivity to historical contexts. C.'s introduction elegantly serves both as a general introduction to the philosophy of D. and as an overview of the 13 essays in this volume. The essays . . . are arranged chronologically, from [D.'s] early development and scholastic background to his last Treatise on the Passions and the reception of his philosophy in 17th century Europe." Also included in the collection are pieces on D.'s "method, algebra, physics, physiology, epistemology, rational theology, and philosophy of mind."

GARBER, DANIEL. Descartes: Metaphysical Physics. Chicago: University of Chicago Press, 1992.

Review: Abraham Anderson in PhQ 44 (1994), 101–09: G.'s book is reviewed along with Kant and the Exact Sciences, by Michael Friedman (Harvard UP, 1992). "G. stands in the historicist tradition of the history of ideas ...." A.'s assessment of G.'s work is mixed. "... G. is unable to take seriously, or even to understand . . ., D.'s claim to be unconditioned by influences and contexts: G.'s understanding of historical method tends to make this claim inconceivable for him. Yet that claim is the ground of this method. On the philosophical side, G.'s failure to understand the radicalism of D.'s method deprives him of the opportunity to reflect on the relation between that method and subsequent versions of the project of modernity ....

Review: A. Menuge in SCN 52.1–2 (1994), 18–19: "Garber provides the first systematic attempt to link Descartes' work in physics and metaphysics as Descartes himself understood it." This book is "impressive in its scope and the power of its synthesis. Arguably, it marks out a new genre in scholarship: history of metaphysical physics".

HEYNDELS, RALPH. "Camera obscura de la mémoire: Descartes." PFSCL/Biblio 17, 80 (1993), 259–266.

The role of remembering and forgetting in D.'s thought.

MARION, JEAN-LUC. Questions cartésiennes. Méthode et métaphysique. Paris: PUF, 1991.

Review: J.-M. Gabaude in RPL 92.1 (1994), 121–122: This new book by Marion is a collection of seven major essays published between 1975 and 1991. "L'unité du présent recueil provient du questionnement histo-historique et métaphysique de Descartes par l'auteur à propos des rapports entre méthode et métaphysique et des problèmes de l'ego, de la cogitatio et de l'ontologie". The quality of these essays confirm the importance of Marion's research which has "radicalement renouvelé, depuis 1975, l'approche de Descartes".

RUNG, DONALD. "Images of Rainbows: the Rhetoric of Admiration in Descartes"s Les Météores." PFSCL 21 (1994), 453–469.

A study of the "passion of admiration" as the inspiration for the composition of Descartes' work: "The 'poétique d'admiration' so useful to the Jesuits in their goal of ascending from the terrestrial to the divine realms, plays a similar role in Descartes's scientific works."

SENIOR, MATTHEW. "Quand même je dormirais": Philosophy and Secondary Revision in Descartes." RR 84.2 (1993) 405–422.

S. discusses the role of dreams in Cartesian reasoning, especially in terms of the relationship between language and the "cogito." D's first work, Olympica, serves as a guide for the process of transforming disordered "dream language" into ordered, "philosophical discourse."

• See also Part III:  Barber, Kenneth
• Bar On, Bat-Ami
• Blay, Michel
• Cascardi, Anthony
• Clarke, Desmond
• Gorham, Geoffrey
• Harth, Erica
• Hermans, Hubert
• Kochnar-Lindgren, Gray
• Kretzmann, Norman
• Kvanvig, Jonathan
• Lampert, Laurence
• Lloyd, Genevieve
• Manns, James
• Marion, Jean-Luc
• Morgan, Vance
• Morot-Sir, Edouard
• Pichot, André
• Rahe, Paul
• Revel, Jean-François
• Rodis-Lewis, Geneviève
• Zwicky, Jan
• Part IV:  Armogathe, Jean-Robert
• Deneys-Tunney, Anne
• Eldridge, Richard
• Fallon, Stephen
• Gutwirth, Marcel
• Lyons, John D.
• Meltzer, Françoise
• Moles, Elizabeth

DESMARETS DE SAINT SORLIN

TOMLINSON, PHILIP, éd. Jean Desmarets de Saint Sorlin: Aspasie: comédie. Geneve: Droz: 1992.

An edition highlighting the role of C.'s play in supporting Richelieu's cultural policies.

Review: J. Dryhurst in MLR 89 (1994), 479: Welcome critical edition of D.'s first play "based on the Comédie Française Library's copy of the 1636 Camusat version." Tomlinson discusses "the moral, allegorical, and symbolic significance of Aspasie and notes the influence on Molière.

• See French 17 (1993).

DROUIN, NICOLAS

DOGLIO, MARIANGELA MAZZOCCHI, ed. Nicolas Drouin, dit Dorimond, Théâtre. Fasano/Paris: Schena Nizet, 1992.

Review: C. Mazouer in PFSCL 21 (1994), 594–595: D's complete theatrical works.Reviewer finds the edition to be important and carefully done although the editor appears not to have produced her own extended analysis of the works.

D'URFE

GREGORIO, LAURENCE A. The Pastoral Masquerade: Disguise and Identity in L'Astrée. Saratoga, Ca.: Anma Libri, 1992.

Review: G. J. Mallinson in MLR 89 (1994) 766: Examination of the theme of disguise which "moves from an analysis of its different forms (sexual, social, and behavioral) to a discussion of the problems of identity implicit in the recurrent confusions which it causes." Reviewer finds some valuable insights, but also finds the study lacking in analytical rigor."

Review: John Trethewey in FS 48 (January 1994), 94: Despite a confusing abundance of details, the monograph's political perspective of the motif of disguise is an original interpretation.

• See French 17 (1993).

JUDOVITZ, DALIA. "Emblematic Legacies: Hieorglyphes of Desire in L'Astrée. EMF 1 (1994) 31–54.

After examining the relation between visual metaphor, trompe l'oeil, and the baroque, J. discusses how emblem corresponds to baroque allegory in L'Astrée. She argues that while the text does not present actual emblems, it is "structured emblematically," since the novel's preoccupation with "illusion," "doubling," and "transvestitism," among others, convey d'Urfé's "emblematic world view."

• See also Part IV:  Dipiero, Thomas
• Greenberg, Mitchell

DU RYER

R0HOU, JEAN, ed. Pierre Du Ryer: Dynamis. Exeter: University of Exeter Press, 1992.

Review: C. Shith in MLR 89 (1994), 768–69: Dynamis interpreted "as an orthodox tragi comedy that reflects both the political concerns of the late 1640's and the developments in dramaturgy which had taken place over the previous decade or so."

• See French 17 (1993).

FONTENELLE

MARVICK, LOUIS W. "Fontenelle and the Truth of Masks." MLS 23.4 (1993), 70–78.

"The device of the mask has been recognized as a favorite property and symbol of Mannerism in every period.... By the beginning of the Enlightenment, however, F. was putting his consciously mannered style to a new purpose: that of clothing truths which were directly or indirectly subversive of the Ancien Régime and the scholastic tradition in a garb which asked not to be taken seriously.... Yet his mask, his manner, is more than just a disguise: it epitomizes the nature of the truth he had to tell. Each mask conceals, not a living face, not a vital core of certainty, but another mask, another partial and imperfect likeness of a face which is always elsewhere." "What distinguishes Mannerism," says M., "is not which tropes it uses but how it uses them. The debate as to whether Mannerism is passionate or dispassionate might be resolved if this point were taken: for Fontenelle, as for Marino, for Gongora, for Desportes, for Sir Thomas Browne, the passion is in the doing, not in the thing done."

GUILLERAGUES

MURATORE, M. J. "Loveless Letters: Narrative Deceits in Guilleragues's Lettres portugaises." SYM 47.4 (1994): 289–300.

"Throughout the letters, the preoccupation with masking real sentiments, the preference for style over sincerity, the expressive (as opposed to communicative) tenor of the documents suggest that for Marianne, writing is not a means to an end, but an end in itself." Muratore examines how G. "subverts the conventional function of epistolary exchanges, transforming it from a dialogue into a monologic endeavor."

• See Also Part II:  Smith, Christopher
• IV:  Macarthur, Elizabeth

HUET, PIERRE DANIEL

MATHIEU, JEAN MARIE. "Huet et Origène," in Pierre Daniel Huet (1630–1721). Actes du colloque de Caen (November 12–13, 1993). PFSCL/Biblio 17, 83 (1994), 29–236.

Assesses H.'s roles as editor and critic of the thinker's works.

• See also Part I: Declerq, Gilles
• Poulouin, Claudine
• Part II: Le Saulnier, Jean
• Shelford, April
• Part III: Bury, Emmanuel
• De Pontville, M.
• Malbreil, Germain
• Niderst, Alain
• Quantin, Jean-Louis
• Rodis-Lewis, Geneviève
• Salazar, Philippe-Joseph
• Waquet, Françoise
• Part IV: Fournier, Nathalie
• Guellouz, Suzanne
• Salazar, Philippe-Joseph

LA BRUYERE

GARAPON, ROBERT, ed. Journée La Bruyère, Cahiers de l'Association Internationale des Etudes Françaises, 44 (May 1992), pp. 245–377.

Review: P. J. Salazar in PFSCL 31 (1994), 244–245: Seven papers: two on practitioners of the genre other than LaB., two on LaB. as critic and ideologue, and three studies of rhetoric in Les Caractères.

RICORD, MARINE. "Les mangeurs de La Bruyère." PFSCL 21 (1994), 419–429.

The author's critique of gluttony: "Le réseau de portraits s'affirme contre une pensée linéaire et contribue par un système d'échos, de rappels et de touches successives à déterminer les caractéristiques de la passion de la nourriture et à en élaborer le contrepoint moral et la condamnation." R. concludes that "les portraits des mangeurs constituent donc une mise en garde contre le pouvoir corporel, danger pour la vie en société."

• See also Part IV:  Gaudiani, Claire
• Woshinsky, Barbara

LA CEPPEDE

GANIM, RUSSELL. "Emblem as Meditative Icon in La Ceppède's Théorèmes." PFSCL 31 (1994), 31–44.

"Many of La C.'s sonnets can be read as emblems which . . . reveal the human in the divine through the iconographic portrayal of images, either written or graphic."

• See also Part IV:  Probes, Christine M.
• Smith, A. J.

LAFAYETTE, MME DE

HENRY, PARTICK, ed. An Inimitable Example: the Case for the Princesse de Clèves. Washington, D.C.: The Catholic University of America Press, 1992.

Review: E. Pósfay in PFSCL 21 (1994), 589–590: A study that is "une plaidoirie collective en faveur de l'héroïne . . . ." Feminist, sociological, religious, and psychological studies. Contains an introduction on the critical reception of the novel from 1678 to the present. A volume that is "un ensemble brillant . . . ."

KELLY, VAN. "Reducing Polyphony: The Princesse de Clèves Among Voices." PFSCL 31 (1994), 157–175.

Studies character in the context of Bakhtin's notions of polyphony and dialogue and concludes that the novel "remains discreetly dialogistic": "Mme de La Fayette's refusal to continue the depiction of her heroine's inner thoughts may appear to limit the freedom of the character's voice, but this closure also permits both heroine and author to have the last word.

NIDERST, ALAIN. "L'exil dans les romans de Mme de Lafayette." PFSCL 21 (1994), 357–362.

Exile as separation from court life: "Quitter la cour, c'est peut être échapper aux passions, mais c'est se rapprocher de la mort."

REDHEAD, RUTH WILLARD. Themes and Images in the Fictional Works of Madame de La Fayette. New York: Peter Lang, 1990.

Review: Byron R. Wells in EMF 1 (1994) 239–241: W. evaluates R's thesis that four of La Fayette's main works present the protagonist's dilemma as "a four-stage process" involving "deception, separation, disillusionment and death." While W. praises the book's "originality" and "formal structure," he nonetheless faults R. for excessive plot summary and general lack of "critical reading."

TERZIAN, DEBRA LYNN. "Growing up Female in Fiction: Reading Women's Developmental Narrative in Madame de La Fayette, Germaine de Staël and George Sand." (Brown Univ. 1993) DAI 54:4 3770A.

T. cites L. as the inspirational model for her nineteenth-century successors. Besides emphasizing intertextuality, T. stresses that the three novels focus on "relational issues": among them "the heroines's relationto the preoedipal."

• See also Part IV: Beasley, Faith
• Danahy, Michael
• Dipiero, Thomas
• Ekstein, Nina
• Gaudiani, Claire
• Greenberg, Mitchell
• Lyons, John D.

LA FONTAINE

DANDREY, PATRICK. La Fabrique des Fables: Essai sur la poétique de La Fontaine. 2nd ed. Paris: Klincksieck, 1991.

Review: T. Allott in MLR 89 (1994), 480–81: ". . . important study of La Fontaine's poetry and poetics aims to demonstrate the coherence of the fabulist's project. His motto of diversity is to be taken not as a sign of careless dispersion but as a pointer to an aesthetic of ambiguity and glissement."

• See French 17 (1993, 92).

DROST, WOLFGANG. Jean de La Fontaine dans l'univers des arts: Richesses inconnues et inédites du Musée Jean de La Fontaine à Château Thierry. Heidelberg: Carl Winter, 1991.

Review: Honor Levi in FS 48 (January 1994), 96–97: A guide to the Museum's collections revealing the importance and continued influence of La F.'s visual poetry.

LEPLATRE, OLIVIER. "'Tirer marrons du feu,' ou comment un discours critique parasite la production d'une fable ("Le Singe et le Chat"), La Fontaine, Fables, IX 17." PFSCL 21 (1994), 431–442.

An "economic" study of one fable that draws a parallel between the theme of the parasite—the creation of something extra—in that fable and in the genre of the fable in general: "Prendre du plaisir aux fables, c'est se rappeler que le désir n'aime pas la rectitude de la raison et lui préfère les volutes délicieuses de l'imagination. Toujours reculer la jouissance, la fin de l'inépuisable prélude, du lent désordre du texte, c'est gagner les limites du plaisir et toujours les repousser en les contournant."

RUBIN, DAVID LEE. A Pact with Silence: Art and Thought in the "Fables" of Jean de La Fontaine. Columbus: Ohio University Press, 1991.

Review: T. Allott in MLR 89 (1994), 481: Three essays and a concluding section present a series of provocative hypotheses. His first essay offers a broad theoretical consideration of the fable genre, seeking to define it in a formalist way . . . . The chapter on the influence of Lucretius in the Fables teases out the innovations and modifications that the poet introduced in his borrowinq. The third chapter employs the defining categories to tackle the perennial problem of the organization of the books within La Fontaine's collection of fables. . . . To round off the book and take again the broad viewpoint, R. briefly examines the place of the Fables within the context of seventeenth-century lyricism.

Review: B. Norman in PFSCL 21 (1994), 599–601: A general study of the Fables: the relevance of genre, La F.'s lucretian epicureanism, the charting of a "contour" or "norm" for each book, and La F.'s debt to 17th century lyricism. A rich study that "helps free us from the blinders of an 'order centric' view of classicism."

• See French 17 (1993).

VINCENT, MICHAEL. Figures of the Text: Reading and Writing (in) La Fontaine. Amsterdam/Philadelphia: Benjamins, 1992.

Review: T. Allott in MLR 89 (1994), 769: Skillful, rewarding examination of seven short texts informed by critical theories of reader reception and intertextuality. V.'s aim is "to explore the ways in which La Fontaine is not simply producing texts but using texts to mediate on textuality itself."

Review: Jean Pierre Collinet in DSS 182 (Janvier mars 1994), 204: Un "séduisant ouvrage" qui réunit 7 études fines et bien documentées sur l'oeuvre de La Fontaine.

Review: Maya Slater in FS 48 (January 1994), 95–96: A perspicacious application of modern critical theory to demonstrate the complexity of the reader writer relationship in La Fontaine.

• See French 17 (1993)

• See also Part II:  Costantini, Michel
• Marin, Louis
• Part IV:  Chauveau, Jean-Pierre
• Finas, Lucette
• Fumaroli, Marc
• Gaudiani, Claire
• Gaudreault, Romain
• Moles, Elizabeth

LA MOTHE LE VAYER

• See Part II:  Edmiston, William

LA ROCHEFOUCAULD

DANIELOU, CATHERINE F. "'Ils détruisent leur espèce': La Rochefoucauld et l'amenagement des rapports humains." SYM 47.4 (1994): 275–88.

R. "entend avant tout rapprocher les hommes et les encourager à 'aménager' le désordre [qui caractérise les rapports humains], ce à quoi ils peuvent parvenir en suivant un idéal d'honnêteté."

LA ROCHE-GUILHEN, ANNE DE

• See Part IV:  Gethner, Perry

LE BRUN, CHARLES

• See Part II:  Marin, Louis

LE MOYNE, PIERRE

KUIZENGA, DONNA. "Mixed Media: Word and Image in Les peintures morales." EMF 1 (1994) 76–89.

K. discusses the dynamic at work between the engravings and the poetic and prose texts in the Peintures morales. Examining the variety of rhetorical registers Le M. presents to his readers, K. contends that Le M. "plays constantly with the interface of discourse and illustration." While both visual and verbal image exist in a semi-symbiotic state, it is the verbal which holds a wider range of interpretive possibilities for Le M., as "only discourse can show both the thing and its hidden significance."

VINCENT, MICHAEL. "Ekphrasis and the Poetics of the Veil: Le Moyne's "Acteon" and La Fontaine's "Le Tableau." EMF 1 (1994) 90–112.

V. applies the Horatian concept of "ut pictura poesis" to Le M. and La F., focusing on the technique of ekphrasis, which V. defines as "descriptions in literary texts of visual art works." In both authors, the development of ekphrasis relies on the aesthetic of the veil, which represents "a metavisual and metalinguistic figure." Ekphrastic technique, by blending speech, painting and thought, allows writing to evolve "from the intersection of the visual and the discursive."

LE NOBLE

HOURCADE, PHILIPPE. Entre Pic et Rétif, Eustache le Noble (1643–1711). Paris: Klincksieck, 1990.

Review: Jacques Chupeau in DSS 182 (Janvier-Mars 1994), 202–03: Une contribution soignée et importante aux recherches sur les romanciers du 17e siècle.

LONGUEVILLE, MADAME

• See Part IV:  Lepère, Pierre

LOUIS XIII

• See Part III:  Makarian, Christian

LOUIS XIV

• See Part II:  Logette, Lucien
• Wikander, Matthew
• Zarucchi, Jeanne Morgan
• Ziskin, Rochelle

LULLY

• See Part II:  Rémy, Pierre-Jean

MALBRANCHE

NADLER, STEVEN. Malebranche and Ideas. New York & Oxford: Oxford University Press, 1992.

Review: W. H. North in SCN 51.3–4 (1993), 61–62: "Pursuing a twofold radical revision, Nadler focuses on Malebranche's Theory of Ideas." He seeks to present the "correct interpretation" of "the nature and role of ideas" in Malebranche's philosophy. Although the reviewer has reservations about Nadler's theses, he finds his ideas "ingenious ... provocative, boldly presented and worth consideration.

RILEY, PATRICK, trans and ed. Treatise on Nature and Grace. Oxford: Clarendon Press, 1992.

Review: W. H. North in SN 51.3–4 (1993), 62–63: The reviewer is impressed with "the richness of Riley's commentary" and deems his translation of Malebranche's treatise to be "admirable".

• See also Part III:  Pichot, André

MALHERBE

• See Part IV:  Spada, Marcel

MAYNARD

GIRAUD, YVES. "Quelques observations sur l'édition de 1646 des Oeuvres de Maynard." CM 18 (1992–93), 9–13.

Compares certain variants noted in personal copy with Garrisson ed., criticizes Roberts' typology method (CM 16, pp. 5–10). Suggests further research to be done.

LASSALLE, JEAN PIERRE. "Du nouveau sur l'Ode 'Alcippe reviens dans nos bois.'" CM 18 (1992–93), 14–15 & 2 n. p.

L. has found an early version of Ode cited in a sale catalog and wrongly attributed to Balzac. Hopes MS. will reappear, to be studied for all its variants.

LASSALLE, JEAN PIERRE. "Un sonnet inédit de Maynard; Une copie manuscrite du sonnet à Puget de la Serre." CM 18 (1992–93), 4–8 & 3 n. p.

Reproduces, transcribes, analyzes MS discovered in private coll. Satirical sonnet represents author's ambivalent attitude toward an ungrateful Mazarin. Second sonnet not in M's hand, but contains many typical variants from the 1646 publ. version.

LASSALLE, JEAN PIERRE. "Notes diverses." CM 18 (1992–93), 70–75.

Treats critical reception of 1810 Tristan; reproduces MSS. from Delmas collection, including Drouhet letters, and other notarial docs.

LESTRADE, MICHEL. "Un procès de Charles de Maynard." CM 18 (1992–93), 16–21.

Transcription, situation of legal docs. concerning litigation against M's son.

NAJID, ABDELLATIF. "L'adverbe dans la poésie de François Maynard (Recueil de 1646)." CM 18 (1992–93), 22–65.

Extract from N's thesis. Close, classified study of M's syntax discusses source, etymology, exact meaning and use. Supported by quotes from numerous 17th c. authors. Includes frequency tables, bibliography. A precise tool for more exact analysis of M's poetry.

NAJID, ABDELLATIF. Etude sémantique du lexique de la poésie de François Maynard (Recueil de 1646). Toulouse: Université de Toulouse le Mirail, 1991.

Doctoral thesis in linguistics, directed by J. P. Lassalle, is the second on M. after that of Drouhet. Treats adverb, adjective, verb, tenses, modes, & structures, lexico semantic fields of the noun.

ROBERTS, WILLIAM. "De nouvelles anomalies dans le recueil de 1646." CM 18 (1992–93), 78–87.

Reply to Giraud article outlines difficulties of critically establishing M's text, because of differing layouts and variants in extant copies. Attempts to localize Garrisson's original source base. Hypothesizes rationale for M's last minute inclusion of Ode to Balzac.

MENESTRIER

MATHIEU CASTELLANI, GISELE. "'Consacrer la mémoire': art de la mémoire et rhétorique dans le traité Des décorations funèbres du Père Menestrier." PFSCL/Biblio 17, 80 (1993), 343–352.

M. "a su convertir les préceptes de l'art profane en préceptes de l'art sacré, en se rappelant que ce lieu de mémoire qu'est l'édifice lors des obséques solennelles peut devenir un livre entièrement lisible, plus persuasif qu'un texte lu."

MERSENNE

ARMOGATHE, JEAN-ROBERT. "An sit Deus: les preuves de Dieu chez Marin Mersenne." EP 1–2 (1994), 161–170.

Armogathe examines the origin of the "an sit deus" theological argument, which at the beginning of the 17th century had become central in religious controversies between Catholics and Protestants, and studies its evolution in Mersenne from his Quaestiones in Genesim (1623) to his letter to Crusius in 1645. This evolution corresponds to the changes in the intellectual context: "il convient de s'en souvenir lorsqu'on commente son illustre contemporain et ami René Descartes".

BAILHACHE, PATRICE. "L'harmonie universelle: la musique entre les mathématiques, la physique, la métaphysique et la religion." EP 1–2 (1994), 13–24.

Bailhache studies Mersenne's theory of sound and music in his Harmonie universelle. Though we can criticize his methodology and "lui reprocher de manquer parfois de netteté dans la décision intellectuelle" we should acknowledge his "qualité inestimable, celle qui est à la base de sa fécondité ...: son infatigable curiosité".

BEAULIEU, ARMAND. "Les pédagogies de Mersenne." EP 1–2 (1994), 1–12.

Beaulieu analyzes Mersenne's relationships with friends and scientists and shows how his pedagogical approach served in his contribution to scientific discussions among his younger peers.

BLAY, MICHEL. "Mersenne expérimentateur: les études sur le mouvement des fluides jusqu'en 1644." EP 1–2 (1994), 69–86.

Blay shows how Torricelli was influenced by Descartes and Mersenne's research. "Mersenne et Descartes, l'un plus expérimentateur et l'autre plus théoricien, sont donc bien parvenus en 1643 à la loi dite de Torricelli .... La loi de Torricelli mériterait, sans conteste, de s'appeler loi de Torricelli-Descartes-Mersenne".

BUZON, FREDERIC DE. "Harmonie et métaphysique: Mersenne face à Képler." EP 1–2 (1994), 119–128.

De Buzon studies Mersenne's Traité de l'harmonie universelle (1627) and its links with Kepler's musical theory. In his later years, Mersenne will reject some of own views and take an anti-keplerian attitude but "il ne renonce nullement à une métaphysique qui ne peut s'expliciter que dans l'image du concert et des harmonies ineffables".

CARRAUD, VINCENT. "Mathématique et métaphysique: les sciences du possible." EP 1–2 (1994), 145–159.

According to Carraud, Mersenne's work as a mathematician and meta-physician should be evaluated in a theological perspective: "Mersenne, exégète et savant, ne fait oeuvre ni de métaphysicien ni de théologien, mais travaille en permanence à partir de principes et pour des enjeux théologiques".

DEAR, PETER. "Mersenne et l'expérience scientifique." EP 1–2 (1994), 53–67.

P. An appraisal of Mersenne's contradictory views on scientific experience: "Ce que Mersenne entendait par expérience scientifique s'enracinait dans les préceptes banals de la scolastique aristotélicienne, mais son engagement de temps en temps dans la pratique littéraire de l''expérience expérimentale' montre combien sa sensibilité réflétait aussi les tendances émergeant au XVIIe siècle dans la science de la nature".

LAGREE, JACQUELINE. "Mersenne traducteur d'Herbert de Cherbury." EP 1–2 (1994), 25–40.

Lagrée analyzes Mersenne's translation of the treatise De Veritate published by his English contemporary, Herbert, Lord of Cherbury. Even though Mersenne was motivated by a spirit of "irénisme religieux", he adapted and distorted Cherbury's conception of God since he could not accept his "naturalisme stoïcien à peine christianisé".

MARION, JEAN-LUC. "Le concept de métaphysique selon Mersenne." EP 1–2 (1994), 129–143.

Marion assesses the "contribution négative" of Mersenne to the history of the concept of metaphysics. Though he developed ideas and values borrowed from Thomistic scholastics, he was more than instrumental in Descartes's shift from emphasis on theology and ontology to emphasis on epistemology.

NARDI, ANTONIO. "Théorème de Torricelli ou théorème de Mersenne" EP 1–2 (1994), 87–118.

Nardi elaborates a comparative study of Torricelli's Opera geometrica and Mersenne's Cogitata Physico-Mathematica, both published in 1644, and assesses their scientific and epistemological value.

WARUSFEL, ANDRE. "Deux textes mathématiques de Mersenne." EP 1–2 (1994), 41–51.

Wondering if "Mersenne: minime mathé-maticien, ou mathématicien minime?", Warusfel explores Mersenne's errors and omissions as a mathematician.

MOLIERE

ALBANESE, RALPH, JR. Molière à l'école républicaine. De la critique universitaire aux manuels scolaires (1870–1914). Saratoga: Anma Libri, 1992.

Review: L. Riggs in PFSCL 31 (1994), 219–221: An erudite study of the 19th century's appropriation of Molière for its own purposes as a "national resource."Reviewer is fascinated by this "comic image of Third Republic French education presided over by the femmes savantes!"

BERMEL, ALBERT. Molière's Theatrical Bounty. Carbondale: Southern Illinois University Press, 1990.

Review: Susan W. Tiefenbrun in EMF 1 (1994) 229–232: T. explores B.'s approach to Molière's plays as "dramatic production[s] which [are] for the most part enigmatic and ambiguous," as opposed to "finished work[s] of literature." T. is generally sympathetic to B's "directorial" perpsective, a critical viewpoint which emphasizes "roles and the interactions among characters and settings" over the discovery of "systems" and "structures" which can lead to closed interpretations. Yet, T. does find B's "anti-analytical," "anti-systematic" approach to be somewhat nebulous, stating her wish that the "essence" of B's method would have been better formulated.

BOURQUI, CLAUDE. Polémique et stratégies dans le Dom Juan de Moliere. PFSCL/Biblio 17, 69, (1992).

Review: J.L. Pallister in SCN 51.3–4 (1993), 72–73: "In this revision of his mémoire de licence, Claude Bourqui offers a two part study of Molière's Dom Juan. In part I, he studies the polemical context of the play .... In part II, Bourqui considers Molière's state of mind and his intention in writing a play based on ... Le Festin de pierre .... The bibliography is somewhat out of date and limited; and while some of the ideas here are iconoclastic, the outline approach itself is old-fashioned in style".

Review: D. C. Potts in MLR 89 (1994), 481–82: "Lively and intelligent monograph" demonstrates that Molière's polemical intention in Dom Juan is not incompatible with artistic integrity. "However, to let the fact that it was polemical ardour which first fuelled Molière's writing of the play determine its interpretation once and for all, as Bourqui (fortified by a dose of E. D. Hirsch) seems to want to do, is misguided.

• See French 17 (1993)

CALDER, ANDREW. Molière: The Theory and Practice of Comedy. London: Athlone, 1993.

Review: Christopher Smith in JES 24 (1994), 55–56: "Written with enthusiasm as well as erudition and offering both information and insights, this . . . study . . . presents M. in a serious light" without ignoring "the funny side" of his comedies. C. argues "that to understand . . . [M.] best we need to view him in the perspective of the great moraliste tradition stretching from antiquity through Montaigne to seventeenth-century Paris where it crystallized into the concept of honnêteté. Similarly M.'s concept of his craft is related . . . to the theories and methods of the New Comedy. Both cases are argued well ...." Dom Juan and Le Tartuffe receive special attention. In a chapter on "M.'s Philosophy," C. asserts "that the function of his comedies is to please with a unique blend of New Comedy and closely observed topical satire which dramatically highlights mankind's limitless capacity for self deceit." S. describes the book as an "attractive, thoughtful and accessible critical study."

CARMODY, JIM. Rereading Molière: Mise en Scène from Antoine to Vitez. Ann Arbor: University of Michigan Press, 1993.

Review: R. A. Naversen in Choice 31 (1994), 1447–48: Although N. considers this study to be "a must for directors, designers, and dramatists involved in staging the plays of M.," the reviewer asserts that the work "is not suitable for undergraduate collections." "The author provides detailed descriptions and interpretations of five significant productions of M.'s works .... Using these productions, C. constructs a chronicle of the interpretation of M.'s works within the context of 20th century production practices and demonstrates the evolutionary process of dramatic genres from naturalism to postmodernism. The book examines the critical issue of the directors' attitudes toward M.'s neoclassical texts and their individual strategies for adapting the performative, dramaturgical, and scenographic aspects of production to modern audiences .... Unfortunately," N. states, "the only production photograph is on the book jacket, depriving the reader of the opportunity of accompanying C. into the mise en scènes"[sic].

Review: K. Wolfe in PFSCL 21 (1994), 564–565: A study that "goes further than most to date in exploring the implications of approaching M's work as creations that exist fully only in staged performances . . . ." Because of the lack of information about 17th century performances, C. chose to focus on 20th century ones. A very valuable study of the "changing perceptions of French cultural history . . . ."

CLARKE, JAN. "The Function of the Décorateur and the Association of the Crosnier Family with Molière's Troupe and the Guénégaud Theatre." FS 48 (January 1994), 1–16.

Article discusses the functions of and the essential role played by the décorateur in 17th century theater.

DE PHALESE, HUBERT. Les mots de Molière. Les quatre dernières pièces à travers les nouvelles technologies. Paris: Nizet, 1992.

Review: M. Vernet in PFSCL 31 (1994), 282–285: A statistical computer study of the lexical elements and certain themes by a group of Paris university professors writing under a pseudonym and for readers preparing for the 1993 Agrégation exam. Despite many problems, the study is a valuable reference tool which sheds new light on the four plays: for example, characters are differentiated on the basis of differences in the language they use.

GOODKIN, RICHARD E. "Molière and Bakhtin: Discourse and the Dialogic in L'école des femmes." PFSCL 31 (1994), 145–156.

Argues that Bakhtin's theories, contrary to their author's own reservations, may be used to illuminate classical theater. Molière's text contains a dialogism that goes beyond the apparent dialogism of his characters.

GRIMM, JURGEN. Molière en son temps. PFSCL/Biblio 17, 75 (1993).

Review: H. Knutson in PFSCL 31 (1994), 246–247: A French translation of a study written originally in German: ". . . within a limited historico ideological framework, the Molière student will appreciate an informative, cogently argued and occasionally insightful introduction to the dramatist."

HALL, HUGH GASTON. "Le répertoire de l'Illustre Théâtre des Bejart et de Molière." AJFS 30.3 (1993), 276–91.

H. trace une liste des pièces crues représentées par la troupe avant 1658 et propose des influences possibles sur Molière dramaturge. Allusions à Magnon, Desfontaines, Du Ryer, et Tristan l'Hermite.

KAPP, VOLKER, éd. Le Bourgeois gentilhomme: Problèmes de la comédie ballet. PFSCL/Biblio 17, 67 (1991).

Review: D. Whitton in MLR 88 (1993), 976–77: Nine articles in French and German treat a range of issues—aesthetic, ideological, generic—but are weighted toward historical studies. Collection is uncertain in focus.

• See French 17 (1993).

RIGGS, LARRY W. Molière and Plurality. Decomposition of the Classicist Self. New York/Bern/Frankfurt/Paris: Peter Lang, 1989.

Review: M. Vialet in PFSCL 31 (1994), 288–290: For the author, "Molière's comedies mock the entire classical enterprise of legitimizing a system of master values through a metaphysics of rationality, unity and universalism."Reviewer deems the study "thought provoking" but calls for "more precise textual evidence."

• See French 17 (1993, 1992).

RONZEAUD, PIERRE, ed. Les femmes savantes et Le malade imaginaire. Paris: Magnard, 1992.

Review: C. Mazouer in PFSCL 31 (1994), 291–292: The 1682 version of the two plays prepared as class editions and accompanied by 20 chapters of lengthy excerpts of critical commentary.

RONZEAUD, PIERRE, ed. Molière, des Fourberies de Scapin au Malade imaginaire. Paris: Klincksieck, 1993.

Review: M. O. Sweetser in PFSCL 31 (1994), 293–295: Six conference papers on M.'s last plays: "La Comédie du ridicule," "M. et la comédie fantasmatique," "La Comtesse d'Escarbagnas et Le Malade imaginaire: deux comédies ballets," "La Question des tons dans Le Malade imaginaire," "M. et le jeu des mots," and a study of the problem of Cartesian dualism in the context of comedy.Reviewer calls this a volume "d'une extrême richesse."

ROTHBERG, MICHAEL. "Marketing Power: The Seduction of Rhetoric in Dom Juan." RR 84.2 (1993) 387–404.

R. examines the historical, financial and aesthetic reasons behind the notion that DJ becomes "a substitute" for the Tartuffe in Louis XIV's France. The play strives to avoid censorship through rhetorical strategies which correspond to the economic, political and philosophical norms of the period.

SCHULTZ, ROBERT EDWARD. "L'Ecole des femmes: Experiment in Comedy, Challenge to Tragedy, (Columbia Univ., 1993). DAI 54:1, 2603A.

S. argues that the Ecole consitutes M.'s closest link to the dramatic theory of Corneille and d'Aubignac. Tragedy serves as a surprising inspirational model for M's characters, as the dramatist parodies the traditional heroic protagonist so as to "reinvent" character on a "dialectic basis."

TESSON, PHILIPPE. "Masques." RDM (janv. 1994), 193–95.

Réflexions sur "la superbe représentation" de Dom Juan de Jacques Lassalle à la Comédie Française. La vision de L. "est intellectuellement très séduisante: elle rompt avec la sacro sainte interprétation de la séduction; Dom Juan ici a un destin, et il est condamné à un parcours tragique qu'il acoomplit paisiblement. Il va à la mort avec certitude et élégance. Avec une esthétique, à défaut d'une morale." A. Sewerin , joue le rôle de D.J.; mise en scène "très élaborée, fondée sur des décors et des costumes recherchés."

TOBIN, RONALD W. Tarte à la crème: Comedy and Gastronomy in Molière's Theater. Columbus, Ohio: Ohio State University Press, 1990.

Review: James F. Gaines in EMF 1 (1994) 225–228: A highly favorable review in which G. commends T's examination of "ingestion, digestion and elimination in Molière's canon." Of particular note is the distinction raised between "manger" and "goûter" in L'Ecole des femmes, as well as the analysis of appetite in Dom Juan.

WHITTON, DAVID. Molière: Le Misanthrope. Glasgow: University of Glasgow French and German Publications, 1991.

Review: C. J. Gossip in MLR 88 (1993), 976: Excellent study of play as a performance script "aiming to examine the playwright's use of the theatre and the nature of the dramatic experience thus created." The majority of the monograph is a "detailed and sensitive lecture expliquée of each of the five acts in turn, concentrating on the theatrical procedures and audience responses.

• See French 17 (1993).

• See also Part II:  Gaines, James
• Huebner, Steven
• Le Roux, Monique
• Pascal, Michel
• Reinelt, Janelle
• Part III:  Hjort, Mette
• Part IV:  Brooks, William
• Dunkley, John
• Gaudiani, Claire
• George, David
• Greenberg, Mitchell
• Gutwirth, Marcel
• Howarth, W. D.
• Mazouer, Charles
• Moles, Elizabeth
• Romanowski, Sylvie
• Scolnicov, Hanna

MONTPENSIER

GARAPON, JEAN. "Mademoiselle et l'exil." PFSCL 21 (1994), 345–355.

The effects of exile on the writer: "C'est l'exil qui révèle son goût, et lui fait enfin entrevoir peu à peu un mode de vie indépendant, à la fois féminin et propice à l'héroïsation, unissant la civilité de cour et l'innocence d'une vie proche de la nature, la vie mondaine et la retraite."

• See also Part II:  Le Moël, Michel
• Part IV:  Beasley, Faith
• Ekstein, Nina

NICOLE, PIERRE

• See Part III:  Hjort, Mette

NOSTREDAME, CESAR DE

• See Part IV:  Probes, Christine M.

NYNAULD

NYNAULD, JEAN DE. De la Iycanthropie, transformation et extase des sorciers, 1615. Edition critique augmentée d'études sur les Iycanthropes et les loups garous. Paris: Frénésie Editions, 1990.

Review: Jean Decottignies in RSH 227 (1992), 247: "Très intéressante édition d'un texte peu connu. Plusieurs études la complètent, ainsi qu'une abondante bibliographie et un lexique. Les premières sont relatives à l'auteur et au texte. Maxime Préaud propose une courte et précise notice biographique. Jean Céard présente les sources, parmi lesquelles il distingue Bodin et Jean Wier." Other essays in the volume are also mentioned. "Le parti pris d'admettre que la figure du loup garou soulève un 'problème métaphysique' suffit à signaler l'originalité de ce recueil."

PARADIS DE MONCRIF, FRANÆOIS AUGUSTIN

ASSAF, FRANCIS, ed. Les Aventures de Zéloïde et d'Amanzarifdine. PFSCL/Biblio 17, 82 (1994).

PASCAL

BOLD, STEPHEN CHRISTOPHER. "Pascal Geometer." (New York Univ. 1993). DAI 54:1 2600A.

B. explores geometry as "a means of discovery" in P.'s collected works up through the Pensées. Geometry is fundamental to understanding P.'s "concern with the problem of invention," which derives from Classical rhetoric as well as notions of "method" held by Ramus, Bacon and Descartes. P.'s invention is based on the "combinatoire"—a series of creative processes stemming from "medieval meditative and dialectical practices" which aid P.'s reinterpretation of Cartesian epistemology.

CARRAUD, VINCENT. Pascal et la philosophie. Paris: Presses Universitaires de France, 1992.

Review: J.-F. Tock in RPL 91.92 (l993), 472–473: The book's objective is to study the relationship between Pascal and philosophy. Though the problem is not new, Carraud's contribution brings forward "un apport essentiel qui met en lumière plusieurs thèses originales". Pascal may have claimed to discredit Epictetus and Montaigne but, by doing so, he took over Descartes's concepts and method while subverting them. Carraud is also able to study the formation and evolution of Pascal's logical lines, and he offers "une confrontation quasi quotidienne avec les mécanismes de l'auteur des Pensées".

JAOUËN, FRANÆOISE. "From Faith to Bad Faith: Pascal, Valéry, Nietzsche." FLS 20 (1993), 21–30.

J. discusses Pascal's "bad faith," or authorial deception, as a part of the construction of the Pensées, relating this notion to Valéry's comments on Pascal, as well as to Nietzsche's theory of aphoristic writing.

KELLY, VAN. Pascalian Fictions: Antagonism and Absent Agency in the Wager and Other Pensées. Birmingham, AL: Summa, 1992.

Review: E. Koch in PFSCL 21 (1994), 591–593: Kelly's "exegesis of [the two fragments on the wager] displays remarkable analytical rigor and patience while pointing to a general strategy of fictionality that subtends Pascal's entire apologetical conversional discourse."

Review: Louis MacKenzie in P&L 18 (1994), 407–09: This book "is a densely written, deftly argued reading of two important fragments from the Pensées. From those fragments, numbers 135 and 418 in the Lafuma edition, V. K. mines the riches of Pascal's anti Cartesianism." "Chapters 2 through 4, comprising the bulk of the book, amount to a breath-by-breath reading of the Pascalian wager." The reviewer judges the study to be essential reading for "anyone remotely interested in Pascalian thought ...." M. raises questions in passing about some aspects of K.'s analysis, but praises his "brilliant and resourceful commentary" and concludes by saying, "I do not hesitate to reiterate my enthusiasm and . . . my gratitude for this altogether remarkable book."

Review: David Wetsel in SoAR 59.1 (1994), 131–34: "The meticulous source and linguistic scholarship of this new study is accompanied by an equally imaginative exercise in postmodern literary interpretation." K.'s book "presents the thesis that in fragments 135 and 418 (in Lafuma's edition)—and a fortiori, throughout the Pensées—we see a coherent dialectic with Descartes and Cartesian thought. K. asserts that these two fragments contain a strident and active attempt on the part of P. to grapple with and subvert D.'s ontological premises and to replace them with categories more germane to his system of Christian apologetics." The study "focuses—via an innovative analysis of structure, form, and syntax—on narrative fiction as a mode of discourse in the Pensées and particularly in the famous pari." W. raises questions about K.'s "methodology and conclusions." As. for K.'s use of narrative theory, W. asks: "Might it not be more appropriate to appreciate P.'s fragments as a poetics rather than as a 'narrative' . . . ?" But W. has also made clear that this study "will certainly prove required reading for those seeking the Cartesian shadow over fragments 418 and 135."

KIM, HYUNG KIL. De l'Art de persuader dans les Pensées de Pascal. Paris: Nizet, 1992.

Review: E. Van Der Schueren in RBPH 71 (1993), 781–85: L'auteur "entreprend la lecture du texte inachevé de Pascal "De l'esprit géometrique" et . . . en extrait une theorie de la persuasion dont il retrouve la pratique dans les Pensées." Des "lacunes effarantes de bibliographie" et manque de situer les textes "dans leur statut respectif."

• See French 17 (1993)

MAGNARD, PIERRE. Pascal, la clé du chiffre. Paris: Editions universitaires, 1991.

Review: J.-F. Tock in RPL 91.92 (1993), 472: Magnard shows a profound knowledge of Pascal's works. He defines what he thinks Pascal attempted throughout his Pensées: to find a language. Anguished by the new Copernician universe, he sought to "retrouver la langue de la Nature qui n'est plus audible pour tous à tout moment". Thus Pascal's intention did not pertain to apologetics but to hermeneutics. "On en retire un grand plaisir et l'ouvrage nous permet de retrouver un Pascal étrangement humain et proche".

MESNARD, JEAN, ed. Pascal, Abrégé de la vie de Jésus Christ. Paris: Desclée de Brouwer, 1992.

Review: D. Wetsel in PFSCL 31 (1994), 271–276: An edition of one of the oldest of Pascal's "grands écrits religieux." Mesnard shows that Pascal deliberately sought an archaic, poetic style that would contrast with the popular speech of pedantic humanism. Pascal's Berullian Christology consists "à se situer par rapport à lui." The editor presents the work as a "profound and extended meditation on the mystery of the Incarnation."

THIROUIN, LAURENT. Le Hasard et les règles: Le Modèle du jeu dans la pensée de Pascal. Paris: Vrin, 1991.

Review: Christian Meurillon in RSH 234 (1994), 194–96: Book published in Bibliothèque d'Histoire de la Philosophie series. According to M., the critic "prend le jeu au sérieux" and is justified in doing so: "sa lecture des Pensées comme du reste de l'oeuvre selon ce point de vue unifiant se révèle toujours féconde et souvent lumineuse." The study focuses on three "domaines de réflexion . . .: le hasard, constitutif de la condition humaine; le jeu des hommes, dans les règles politiques; et le grand jeu de Dieu, où se pense le pari." M. finds T.'s writing style "à la fois alerte et rigoureuse ...." "ll est agréable de recommander une telle lecture," declares the reviewer. "Située dans l'important courant actuel d'étude des notions élaborées par P., elle ouvre superbement une perspective majeure et originale pour qui veut saisir la pensée de cet auteur dans son dynamisme et son amplitude."

WETSEL, DAVID, ed. "Meaning, Structure and History in the Pensées de Pascal. PFSCL/ Biblio 17, 56 (1990).

Review: C. Randall Coats in SCN 52.1–2 (1994), 27: This "volume does clearly delineate how, methodologically, Pascal scholars come out on the issue of interpreting the Pensées". Ranging from textual exegetis to "focus on the flawed nature of language", the essays put together constitute, according to the reviewer "an inflated rubric for an insubstantial volume".

WETSEL, DAVID. "Pascal's Attack on Deism: the Pensées and the Quatrains du déiste." PFSCL 31 (1994), 45–63.

Uses the Quatrains to define a "religion à la mode"—a pot pourri of libertine ideas et deism proper—that was the object of P.'s attack.

• See also Part I:  Heller, Lane
• Part II:  Mesnard, Jean
• Part III:  Cascardi, Anthony
• Marion, Jean-Luc
• Mitchell, Donald
• See also Part IV:  Armogathe, Jean-Robert
• Bamps, Yvan
• Gaudiani, Claire
• Gutwirth, Marcel
• Lyons, John D.
• Moles, Elizabeth
• Woshinsky, Barbara

PASCAL, FRANÆOISE

• See Part IV:  Gethner, Perry

PEIRESC

BRESSON, AGNES, ed. Lettres à Claude Saumaise et à son entourage (1620–1637). De Nicolas Claude Fabri de Peiresc. Firenze: Olschki, 1992.

Review: M. C. Pitassi in BHR 55 (1993), 785–86: Cette édition "impressionnante de rigueur, de savoir et de richesse informative" contient 67 lettres, 39 de P. à S. et 28 de P. à d'autres correspondants.

• See French 17 (1993).

PERRAULT

SIMONSEN, MICHELE. Perrault: Contes. Paris: PUF, 1992.

Review: R. Howells in MLR 89 (1994), 211–212: "This is a short and fairly straight forward study, directed to,the wider readership, as the series [Etudes Litteraires] requires."

• See French 17 (1993).

• See also Part II:  France, Peter

POUSSIN

• See Part II:  Carrier, David
• Enthoven, Jean-Paul
• Fumaroli, Marc
• Lévi-Strauss, Claude
• Pierrard, Jean
• Veillon, Olivier-René

PRECHAC, JEAN DE

GEVREY, FRANCOISE, ed. Jean de Préchac, Contes moins contes que les autres précédés de L'illustre Parisienne. Paris: S.T.F.M., 1993.

Review: E. Méchoulan in PFSCL 21 (1994), 582–583: A critical edition of works aimed more at the "masses" that add perspective to the role of more "important" works.

PREVOST

• See Part IV:  Biet, Christian

PUGET

• See Part II:  Gaines, James

QUINAULT, PHILIPPE

BASSINET, STEPHANE, ed. Philippe Quinault, Atys. Edition critique avec introduction et notes. Genève: Droz, 1992.

Review: B. Norman in PFSCL 31 (1994), 222–223: The text of the first edition (1676), variants, glossary, notes and an introduction to this tragédie en musique. An excellent edition, but reviewer calls for a presentation of the genre on its own terms.

NORMAN, BUFORD. "'Le théâtre est un grand monument': l'évocation du passé et des passions dans l'Alceste de Quinault." PFSCL/Biblio 17, 80 (1993), 321–329.

The interplay between emotion and memory in the play.

RACINE

DESCOTES, MAURICE. Racine: guerre et paix. Réalités et mythe. Pau: Université de Pau et des pays de l'Adour, 1991.

Review: C. Spencer in PFSCL 31 (1994), 236–237: A traditional biographical historical approach to the study of the war theme. The reviewer states that ". . .on a affaire ici à un travail curieusement démodé, d'une pesante littéralité."

FORESTIER, GEORGES, ed. Racine, Bajazet. Paris: Librairie Générale Française, 1992.

Review: J. Dubu in PFSCL 31 (1994), 240–241: A worthy addition to the "Livre de poche classique" collection. The introduction contains a good analysis of action in the play and fruitful comparisons with the pastoral genre and Corneille. The reviewer regrets that the poetic qualities of the play are ignored.

HAMMOND, NICHOLAS. "Racine et la mémoire." PFSCL/Biblio 17, 80 (1993), 307–319.

Examines the theme in the contexts of R.'s rhetoric, Augustinian theology, and prudence.

LOW, PETER. "Credulity and Credibility: Pellegrin's Critique of Racine's Thésée." AUMLA 80 (1993), 81–92.

L. discusses "the Phèdre of Racine and another wonderful tragedy . . ., arguably one of the highest peaks in the long range of eighteenth century opera, . . . Hippolyte et Aricie (1733), a tragédie lyrique with music by Rameau and text by Pellegrin." This is abbé Simon Joseph Pellegrin (1663–1745). L. cites ". . . P.'s critique of Racine's Thésée, that the king's credulity is incredible, and that credibility should matter to an author, since it matters to the spectators." L.states his own opinion "that T.'s credulity is indeed a problem, but . . . one that can be remedied by presenting him on stage as an impetuous man of action. Good acting and directing," in L.'s view, "can make Racine's T. credible where he wouldn't be otherwise." Unlike R., P. "opts to contrive a happy ending for the young lovers." "R.'s tragic vision . . . seems flawed," says L: "events in real life are more often affected by virtuous love (such as that of Hippolyte and Aricie, on whom P. focuses) than by the insane passion experienced by Phèdre."

MASKELL, DAVID. Racine: A Theatrical Reading. Oxford: Clarendon Press, 1991.

Review: W. D. Howarth in MLR 88 (1993), 977–78: "Not only does Maskell seek to make us more aware of the missing visual dimension as we read the plays; he is at the same time arguing that this is a far more vital component of Racine's dramaturgy than has been generally conceded."

• See French 17 (1993, 92).

PARISH, RICHARD. Racine: The Limits of Tragedy. PFSCL/Biblio 17, 74 (1993).

Review: R. Tobin in PFSCL 31 (1994), 279–281: Shows how Racine deals with and turns to his own advantage the limits of genre, stage, order, and language. The reviewer, despite the author's failure to cite some previous scholarship and propensity at other times to cite too much, finds real strengths which are ". . . based on one of the most minute examinations of Racine's tragic corpus . . . ."

PITTALUGA, MARIA G. Aspects du vocabulaire de Jean Racine. Fasano/Paris: Schena/Nizet, 1991.

Review: M. O. Sweetser in PFSCL 31 (1994), 286–287: Studies key words and images including "feu," "nature," devices used to create local color, and hunting imagery.Reviewer calls it an "excellent petit livre."

PITTAS-HERSCHBACH. Time and Space in Euripides and Racine: The Hippolytos of Euripides and Racine's Phèdre. New York: Peter Lang, 1990.

Review: Richard Goodkin in EMF 1 (1994), 233–35: While finding the study's goal of exploring the link between "theatrical architecture and drama" to be instrinsically valuable, G. claims that P-H. largely fails to "integrate" these two elements in any effective manner. G's principal criticism is that the "background material" concerning the "conditions of Athenian [and French neo-classical] dramatic production" is, "not put to good use in the discussion of the plays." Nonetheless, G. claims that some of P-H's historical contextualization could be of use "to those teaching undergraduate or graduate courses on theater."

ROHOU, JEAN. Jean Racine: Entre sa carrière, son oeuvre et son Dieu. Paris: Fayard, 1992.

A clear and scholarly study in which the life and works of R. are examined as the manifestations of a dramatist presented as a psychic enigma.

VENESOEN, CONSTANT. "Le dénouement de Britannicus: le sens du récit d'Albine." PFSCL 31 (1994), 113–120.

"Albine a été le témoin de la déchéance du prince [Néron]."

WORTMANN, ANKE. Das Selbst und die Objektbeziehungen der Personen in den weltlichen Tragödien Jean Racines. Würzburg: Königshausen & Neumann, 1992.

Review: V. Schröder in PFSCL 21 (1994), 605–607: A Freudian analysis of R.s characters.Reviewer states that although the study "ne manque certes pas d'intérêt," W. fails to take historical and literary factors into account.

WYGANT, AMY. "Leo Spitzer's Racine." MLN 109 (1994), 632–49.

"My project in what follows will be to trace the lines of argument which results in the baroqueing of the voice of Théramène, and, working at the level of Racine's language itself, to try to understand the critical modalities through which Spitzer reads the wave.

• See also Part II:  France, Peter
• See also Part IV:  Berchtold, Jacques
• Biet, Christian
• Brooks, William
• DeJean, Joan
• Dunkley, John
• Gaudiani, Claire
• Greenberg, Mitchell
• Matzat, Wolfgang
• Mazouer, Charles
• Moles, Elizabeth
• Romanowski, Sylvie

RAMBOUILLET, MADAME DE

• See Part IV:  Krajewska, Barbara

REGNARD

• See Part IV:  Mazouer, Charles

RENTY, GASTON DE

• See Part III:  Triboulet, Raymond

RETZ, CARDINAL DE

BERTIERE, SIMONE. "Un récidiviste de l'exil au XVIIe siècle: le Cardinal de Retz." PFSCL 21 (1994), 363–373.

Reviews Retz'life as one that was constantly under the shadow of exile.

RICHELIEU

• See Part II:  Le Roy Ladurie, Emmanuel

ROTROU

LYONS, JOHN D. "Saint Genest and the Uncertainty of Baroque Theatrical Experience." MLN 109 (1994), 601–616.

"The present essay is meant not to invalidate current interpretations of Saint Genest, by proposing a 'pagan' view but to complement earlier studies by restoring to the text its problematical, and hence dramatic, quality, a quality that arises from the text's contradiction and ambiguity. The central rhetorical figure of the play might well be aporia or doubt."

WATTS, DEREK, ed. Jean Rotrou. Vencelas. Exeter: University of Exeter Press, 1990.

Review: W. Brooks in MLR 88 (1993), 974: Excellent edition "concentrates on the playwright's successful reconciliation of baroque exuberance with the influence of Cornelian sobriety in his adaptation of a chaotic Spanish original."

• See French 17 (1993).

• See also Part IV:  Biet, Christian

SAINT-AMANT

COSPER, DALE. "Iconophilia and Iconophobia in Saint-Amant." EMF 1 (1994) 55–75.

C. considers the paradox of pictorialism and anti-pictorialism operating at the same time in Saint-Amant's later poetry, especially Moïse sauvé. Ultimately, a "conceptual shift" occurs which renders Saint-Amant's lyric "more discursively narrative and less iconic."

• See also Part IV:  Chauveau, Jean-Robert

SAINT-EVREMOND

• See Part II:  Smith, Christopher

SAINT PIERRE FOURIER

SAINT PIERRE FOURIER. Correspondance 1598–1640. Nancy: Presses Universitaires, 1991.

Review: Jacques Hennequin in DSS 182 (janvier-mars 1994), 189–90: Ce 5e tome d'une entreprise monumentale est essentielle à l'intelligence des premiers tomes.

SAINT-SIMON

• See Part III:  Coirault, Yves

SCARRON

MERRY, BARBARA L. Menippean Elements in Paul Scarron's Roman comique. New York/Bern/Frankfurt/Paris: Peter Lang, 1991.

Review: D. Kuizenga in PFSCL 31 (1994), 264–265: The shifting role of the primary narrator, the text's residual orality, dialogism, and the inclusion of other genres exemplify in the novel the rupture that is the essence of Menippean satire.Reviewer finds that the definition of rupture is so broad as to be of debatable usefulness.

• See also Part IV:  Chauveau, Jean-Robert

SCUDERY, GEORGES DE

BIET, CHRISTIAN AND DOMINIQUE MONCOND'HUY, eds. Georges de Scudéry, Le cabinet de Monsieur de Scudéry. Paris: Klincksieck, 1991.

Review: F. Faré in PFSCL 31 (1994), 224–230: Edition of this work of 110 poems commenting on 110 real or imaginary paintings by the same number of artists. Nationalist tendencies, art criticism, and poetry stand out in this work. An excellent edition that will interest both the art historian and the literary scholar.

DUTERTRE, EVELINE. Scudéry, théoricien du classicisme. PFSCL/Biblio 17, 66 (1991).

Review: T. Allott in MLR 88 (1993), 974–75: "The analysis presented by Dutertre, sometimes in schematic form, brings us a useful source book and guide to a neglected contributor to classical theory."

• See French 17 (1993).

DUTERTRE, EVELINE and DOMINIQUE MONCOND'HUY, eds. Georges De Scudéry: Le Prince déguisé. La Mort de César. Paris: Société des Textes Français Modernes, 1992.

Review: Valerie Worth Stylianou in FS 48 (January 1994), 95: An interesting juxtaposition of two very different plays.

• See also Part IV:  Delmas, Christian

SCUDERY, MADELEINE DE

NIDERST, ALAIN. "Sur les clefs de Clélie." PFSCL 21 (1994), 471–483.

Niderst makes a foray into the web of links between fictional characters and real personages arguing that such an undertaking both clarifies the text and draws the modern reader into a position similar to that of the readers of 1660.

• See also Part IV:  De Jean, Joan
• Ekstein, Nina
• Lepère, Pierre

SEVIGNE

DUCHENE, ROGER. Madame de Sévigné et la lettre d'amour. Nouvelle édition augmentée. Paris: Klincksieck, 1992.

Review: André Blanc in DSS 182 (Janvier-Mars 1994), 205: Cette réédition de la thèse de M. Duchêne est "plus agréable à lire" et augmentée de 2 chapitres.

LADENSON, ELISABETH. "The Law of the Mother, Proust and Madame de Sévigné." RR 85.1 (1994) 91–112.

L. discusses the "cult of Sévigné in Sodome et Gomorrhe, examining how S's Lettres become the "texte-matrice," if not "Scripture" for the grandmother and mother of Proust's hero. The reason for the primacy of the Lettres in P's text, L. asserts, is that "the mother-daughter relation is what is specifically at issue, and Sévigné is the exemplary canonical mother." L. suggests that within the contexts of mother-worship and text-worship, a high degree of idolatry exists which in turn translates into Freudian and Lacanian models of fetishism.

• See also Part IV:  Ekstein, Nina

SOREL

DEBAISIEUX, MARTINE. Le procès du roman: écriture et contrefaçon chez Charles Sorel. Saratoga, California: Anma Libri, 1989.

Review: Andrew G. Suozzo, Jr. in EMF 1 (1994) 182–184: S. claims that D.'s book "makes a significant contribution to an ever growing body of critical literature on Sorel's comic novels." What S. finds particularly valuable is D's emphasis on Sorel's "modernity" which takes the form of "discontinuity" in the portrait of Sorel's "most famous character, Francion."

TALLEMENT DES REAUX

• See Part IV:  Biet, Christian

TOUSSAINT DU BRAY

• See Part I:  Arbour, Romeo

TRISTAN L'HERMITE

• See Part IV:  Chauveau, Jean-Robert
• Lepère, Pierre

VIAU, THEOPHILE DE

VIALET, MICHELE E. "Portrait d'un poète en prison: 'Lettre de Théophile à son frère' (1624)." PFSCL 31 (1994), 191–203.

Study emphasizes both the emotional and the rhetorical traits of the poem.

VIGNON, CLAUDE

• See Part II:  Pierrard, Jean

VILLEDIEU, MADAME DE

• See Part IV:  Beasley, Faith
• Gethner, Perry

VOITURE

• See Part IV:  Lepère, Pierre