FRENCH 17

• 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.