FRENCH 17

• 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.