FRENCH 17

• See French 17 (1996).

BERRIOT-SALVADORE, EVELYNE, éd. Les représentations de l'Autre du Moyen Age au XVIIe siècle. Saint-Etienne: Publications de St.-Etienne, 1995.

BERTRAND, DOMINIQUE. Dire le rire à l'âge classique. Représenter pour mieux contrôler. Aix-en-Provence: Publications de l'Université de Provence, 1995.

Review: D. Mathieu in RSH 245 (1997), 188–189: "B. entreprend, à propos des multiples représentations du rire par les 'savants,' les théologiens, les écrivains, les peintres, un parcours critique au coeur du discours à l'âge classique. Elle s'emploie d'abord à 'décrire le rire et les rieurs' ...: l'analyse classique des passions s'intéresse au rire à travers ses marques extérieures. Associé à une déformation du corps, il relève d'une esthétique grotesque qui s'oppose aux canons classiques. ... [ce qui] suscite ... une volonté de mise en ordre chez les théologiens et les auteurs de traités de civilité. Elle désigne nettement l'origine populaire, elle porte la marque de la folie, elle évoque la jouissance sexuelle. En même temps, la raillerie maîtrisée est utile à la conversation...." "[Le rire] apparaît à l'âge classique comme un simulacre imparfait du verbe. Dans les pratiques littéraires, on s'emploie à lui donner une légitimité.... On élabore aussi une rhétorique du rire.... Au théâtre, il trouvera une place privilégiée.... Les peintres ... mettent l'accent sur sa théâtralisation...." "Dans la seconde moitié du XVIIe siècle, le ridicule prend le pas sur le rire. Il apparaît comme le partenaire de la déraison, du faux, de la sottise.... Dans les écrits, il constitue la frontière en deça de laquelle règnent vraisemblance et bienséance. Sur le plan idéologique, on exclut en son nom certains échantillons de population...." "Dans cet ouvrage nourri de recherches abondantes, riche d'angles d'analyse variés, D. B. met en relief, à l'aide des traces effectives recueillies sur le rire, la normalisation par les élites des moeurs et de la culture. Par ailleurs, les historiens signalent une résistance des mentalités populaires à cette mise au pas...: le discours officiel sur le rire laisse alors entrevoir la face cachée d'une 'passion' fugace, subversive, incontrôlable."

• See French 17 (1996).

BEUGNOT, BERNARD. Le discours de la retraite au XVIIe siècle. Paris: PUF, 1996.

Review: BCLF 581 (1996), 342: Synthèse réussie et vigoureuse d'un spécialiste de la rhétorique du XVIIe siècle "qui des Bergers d'Arcadie de Poussin au Misanthrope de Molière, en passant par la Princesse de Clèves, éclaire maints chefs-d'oeuvre sous un nouveau jour, sans jamais négliger le reste de la production littéraire ou picturale de cet Age de la retraite, qui est celui où à travers et grâce à cette dernière s'élabore la notion de littérature."

BILLARD, PIERRE. "Comédie Française: la révolution silencieuse." Le Point 1263 (1996), 114–115.

An account of recent reforms and rebuilding at the Comédie Française, and also of Frederick Wiseman's recent documentary about the artists of the Comédie Française. These reforms allowed productions of Phèdre and Clitandre in December 1996 and have also led to renewed interest in Corneille's theater in particular.

BILLARD, PIERRE. "Branle bas sur le Grand Sciècle." Le Point 1278 (1997), 124–127.

Discusses renewed interest in Corneille's theater in conjunction with the publication of M. Fumaroli's book on La Fontaine, Le poète et le roi. Attributes interest in Corneille to efforts of Jean Pierre Miguel, Jean Marie Villégier and Brigitte Jaques. Similarly, according to P.B., Fumaroli's magisterial work on La Fontaine restores the poet to his right place in literary history, that of "le plus grand poète lyrique français."

BIRKETT, JENNIFER and JAMES KEARNS. A Guide to French Literature. Early Modern to Postmodern. New York: St. Martin's Press, 1997.

BOLDUC, BENOIT. "Les lieux de la pastorale dramatique: l'Arcadie à Suresne et au Forez." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 241–254.

Studies the locus in France of the pastoral genre: the garden and the cave seen as fundamental.

BORNECQUE, PIERRE, ed. Les procédés comiques au théâtre. Paris: Les Editions du Panthéon, 1995.

Review: D. Bertrand in PFSCL 24 (1997), 285–286: A compendium of high comic moments in French theater from the medieval farce to the contemporary stage: theories of laughter, classification of comic devices, and the function of laughter in the theater. A very valuable research tool. Index and bibliography.

BRAY, BERNARD, éd. Art de la lettre: Art de la conversation à l'époque classique en France. Paris: Klincksieck, 1995.

Review: P. France in MLR 91 (1996), 1005–06: Proceedings of a 1991 conference held in Wolfenbuttel. Contributions equally divided between theory and practice; however, reviewer finds it difficult "to see any general rationale underlying the choice of subjects, whether it be Malherbe's letter-writing practice, Racine's letters to his sister or an epistolary novel by Pradon."

• See French 17 (1996).

BROOKS, W. S., AND P. J. YARROW, eds. The Dramatic Criticism of Elizabeth Charlotte, Duchesse d'Orléans. With an annotated chronology of performances of the popular and court theatres in France (1671–1722). Lewiston-Queenston-Lampeter: The Edwin Mellen Press, 1996.

Review: C. McCall Probes in PFSCL 24 (1997), 287–289: According to reviewer this volume "unravels mysteries, settles questions on several misdated letters, clarifies terms . . . , and, in general, collects Madame's fascinating reflections on the theatre."

BROOKS, WILLIAM. "Louis XIV's Dismissal of the Italian Actors: The Episode of 'La Fausse Prude'." MLR 91 (1996), 840–47.

Reassessment of familiar evidence and introduction of new testimony on two issues related to the explusion of the Italian actors in 1697. The author concludes that the play was definitely performed by the Italians and that the dauphin did not intercede to save the company.

BRYSON, SCOTT. "Rules and Transgression: Imitatio naturae and the Quarrel of the Anicents and the Moderns." EMF 3 (1997) 121–48.

Article shows how the Quarrel "redefined as transgressive the concept of imitatio naturae, the relationship between nature and fiction. This he traces from the writings of the seventeenth-century antagonists to the work of Diderot."

BRYSON, SCOTT. "Louis-Sébastien Mercier and the Birth of the Modern." EMF 3 (1997) 169–81.

B. claims that "the true birth of the 'Modern' in France takes place some seventy years after the Querelle des Anciens et des Modernes with the writing of Mercier (1740–1814)." Article deals in part with B's favorable analysis of Jean-Claude Bonnet's "impressive anthology of critical essays on Mercier's work," entitled "Louis Sébastien Mercier: un hérétique en littérature." For B., Mercier's contribution is that his portrait of the "people, the general population without distinction of origin or class, are fully inscribed as legitimate objects of study alongside with . . . great historical events."

BURY, EMMANUEL. Littérature et politesse. L'invention de l'honnête homme (1580–1750). Paris: PUF, 1996.

Review: BCLF 577 (1996), 1693: Ouvrage érudit "qui dessine avec rigueur et fermeté un panorama de l'évolution du savoir-vivre et de la culture de l'homme moderne que le savoir-écrire littéraire a progressivement rendu possible."

Review: J.-P. Dens in PFSCL 24 (1997), 298–290: A fine study whose principal merit, according to the reviewer, is to have shown how the ideal fell apart under the onslaught of criticism emanating from the Christian moralists, Pascal, La Rochefoucauld and Jacques Esprit.

BURY, EMMANUEL. "Le mythe arcadien." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 207–223.

"La plasticité du mythe permet donc la métamorphose poétique: l'Arcadie renaissante se trouve placée dans un espace mental qui va de l'humour à la mélancolie, de la fantaisie comique aux lisières du tragique."

CAGNAT, CONSTANCE. La mort classique. Ecrire la mort dans la littérature française en prose de la seconde moitié du XVIIe siècle. Paris: Champion, 1995.

Review: E. Safty in PFSCL 24 (1997), 291–294: Studies the representation of the moment of death in the correspondence and memoirs written by the sociocultural elite. Reviewer deems this a very valuable study despite the author's failure to make more frequent reference to the influence of antiquity and the "quasi-absence" of theoretical discussions and the effect of religious controversy on the matter.

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

Review: Mark Franko in EMF 3 (1997) 214–17: Reviewer says that while the work "seems to reconcile both French and British performance and their critical traditions, the book lacks a deep critical awareness of problem-ideas central to the formation of state power, Western subjectivity, and representational practices in modernity." F. praises author for "handling such an encyclopedic corpus," but criticizes her for not "treat[ing] images of spectacle as much as disparate quotations from librettos." Reviewer does conclude, however, by calling the book "a valuable reference for those interested in the interplay between text and performance."

• See French 17 (1994).

CARLSON, MARVIN. "The Haunted Stage: Recycling and Reception in the Theatre." ThS 35.1 (1994), 5–18.

C. discusses the role of the spectator's reception of classical works in shaping her/his analysis of a theatrical production. Contains several references to reception of Molière's plays.

CARRUTHERS, MARY J. The Book of Memory: A Study of Memory in Medieval Culture. Cambridge: Cambridge UP, 1990.

Review: Jody Enders in EMF 3 (1997) 183–86: Reviewer calls the book "a crucial work for all scholars of Western literary tradition." E. claims that C "brings an immense erudition and verve to the study of memory, mnenomics, and commemorative cultures." The work "is sure to become required reading for anyone studying rhetoric, literature, and even the visual arts in antiquity, the Middle Ages, the Renaissance, and their classicist continuations."

CHARBONNEAU, FREDERIC. "Portrait du mémorialiste en bière." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 315–323.

Studies the treatment of death in memoirs.

CHARD, CHLOE and HELEN LANGDON, eds. Transports: Travel, Pleasure, and Imaginative Geography, 1600–1830. New Haven: Yale UP, 1997.

Review: J. S. Wood in Choice 34 (1997), 1716: "The volume's central theme is the discourse of travel, especially the Grand Tour, in shaping geographical views and aesthetic responses, and vice versa.... A must for research libraries."

CHARRON, JEAN et MARY LYNNE FLOWERS, éds. Actes de Lexington: Pierre Charron; Autour de l'année 1715 dans les Mémoires de Saint-Simon; La Mort dans la littérature du XVIIe, Actes du XXVe colloque de la North American Society for French Seventeenth-Century Literature, Lexington, Kentucky (25–27 mars 1993). PFSCL/Biblio 17, 87 (1995).

Review: D. Shaw in MLR 92 (1997), 725: This volume containing thirty-seven essays reflects the traditional NASSCFL focus on "un auteur, une oeuvre, un thème." "The Charron articles concentrate on the ambiguity of the subject, his influence on Pascal, his ideas of nature, and affinities with Montaigne. The Saint-Simon section revealingly demonstrates how the author's familiar prejudices effortlessly survive his numerous protrayals of death at Court. The final section . . . analyses the treatment of death in fields as diverse as baroque literature, the novel, Racine, Corneille, Maynard, La Fontaine, and Nicole."

CLAVILIER, MICHÈLE et DANIELLE DUCHEFDELAVILLE. Commedia dell'arte. Le Jeu masqué. Grenoble: PU de Grenoble, 1994.

Review: H. Klüppelholz in LR 49 (1995), 350–52: A preface by Jean Anglade inaugurates this volume which is not only a study "du jeu scénique, mais aussi [un] guide pratique d'une expression théâtrale." Highly praised for the variety and rich quality of information which permits the reader to "visualiser l'esprit de la commedia dell'arte," the volume is both theoretical ("historique" "l'héritage") and practical ("conseils d'improvisation" and "réalisations pratiques"). Molière is, of course, treated under the historical rubric and Corneille's Matamore under the heritage section.

• See French 17 (1996).

CORNILLIAT, FRANÇOIS, ULLRICH LANGER and DOUGLAS KELLY, eds. What is Literature? France 1100–1600. Lexington: French Forum Publishers, 1993.

Review: C. Thiry in LR 49 (1995), 135–36: Proceedings of a 1989 colloque at Madison (Wisconsin) focuses on continuities and constants. Ten essays are organized into three parts: The Literary Event, Literary as Non-Literary, and Medieval Specificity. 17th c. specialists will particularly appreciate G. Mathieu-Castellani's article on poetic commentary which treats La Ceppède and Tristan as well as Ronsard and Desportes.

COTTERI, LUIGI, ed. Il concetto di amicizia nella storia della cultura europea. Meran: Akademie deutsch italienischer Studien, 1995.

Review: G. Walther in HZ 262 (1996), 503–504: Embracing perspectives ranging from philosophy to theology, to letters, these acts of the 22nd international convention of German Italian Studies make a contribution on the motif of friendship in European culture. 17th c. scholars will find useful discussions of political friendship and absolutism.

CULLIERE, ALAIN. Aspects du classicisme et de la spiritualité. Paris: Klincksieck, 1996.

Review: J. Marmier in PFSCL 24 (1997), 582–585: Festschrift of 47 studies.

DIYANNI, ROBERT, ed. The Reader's Adviser. The Best in World Literature. 14th edition. Vol. 2. New Providence, NJ: R. R. Bowker, 1994.

Review: C. Jansohn in Archiv 233 (1996), 350–53: Highly useful volume is organized according to genres and includes bibliographies, short biographies, author-, title- and subject indices. True to its "aim to provide the user with both a broad and a specific view of the great writings and great writers of the past and present."

DOIRON, NORMAND. L'art de voyager. Le déplacement à l'âge classique. Québec/Paris: Les Presses de l'Université Laval/Klincksieck, 1995.

Review: F. Pawyza in RSH 245 (1997), 189–192: Treats "la problématique du voyage depuis la Renaissance jusqu'à l'âge classique." "[C]et ouvrage nous invite à voyager 'avec art' à travers les différentes pratiques et les différentes théories du déplacement." "A la lumière de l'histoire, ... l'art de voyager est devenu l'expression de l'idéologie du progrès, émergeant de la pensée universaliste de la fin du XVIe siècle. Rejetant aussi les livres et leur littérature au nom de l'expérience et de la connaissance pratique, Descartes, dans les Méditations et le Discours de la méthode, adopte la philosophie du parcours et sa dynamique qui fait 'alterner le tour dans le monde et le nécessaire retour au point fixe du foyer'. L'art de voyager fait ici figure de méthode pour tout esprit qui se cherche et qui formule le projet de 'bien conduire sa raison.' Avec Les Fables de La Fontaine, le voyageur quitte ces belles valeurs humanistes et morales pour devenir 'ce rat de peu de cervelle' courant en vain après la fortune afin de 'parler tout sans avoir rien vu.' Le Voyage en Limousin transpose la dimension pédagogique du voyage dans le registre du voyage galant, divertissement dont les règles méthodiques et rigides héritées de la Renaissance s'accomplissent tant qu'elles en viennent à préferer les sinuosités des sentiers chers au libertinage: ... Chez La Fontaine, le voyageur se promène autant qu'il voyage..." "Avec la partie intitulée Voyage et rhétorique, le lecteur découvre... comment la relation de voyage et la rhétorique sauvage 'toute nue et toute simple' de son style ordinaire... contribuent à l'affirmation d'un genre littéraire dont la dynamique interne... manifeste des dimensions anthropologiques et atticistes bien définies." "En s'attachant à analyser des traités théoriques (publiés aux XVIe et XVIIe siècles) portant sur la bonne manière de voyager... la dernière partie, Voyage et poétique, inscrit le déplacement dans le paysage des mentalites collectives. Le déroulement du voyage-récit... est analysé comme la traduction symbolque de la quête individuelle qui mène à la vérité du monde." "Un index général assure à l'ouvrage une manipulation rapide et aisée. L'apparat critique, riche en références tant anciennes que contemporaines... contribue à faire de ce livre un excellent outil pour qui s'intéresse à l'histoire et à la problématique du déplacement."

DUBOIS, CLAUDE-GILBERT. Le baroque en Europe et en France. Paris: PUF, 1995.

Review: Y. Le Pestipon in RSH 244 (1996), 193–194: "Le baroque, dont le classicisme serait une branche, ... s'inscrirait entre la renaissance et la modernité. En tout domaine — politique, scientifique, culturel — il prendrait irréductiblement place entre une quête d'harmonie, typique de la première période, et le constat moderne des éclatements." "Au centre de son livre..., l'auteur construit, pour l'Europe entière, un tableau chronologique de cette époque.... On se demande ... si la spécificité baroque de l'époque étudiée ne se dissout pas dans son ampleur." Baroque in its very approach, the book is termed "brillant, riche en perspectives, mobile, miroitant, auquel nous encourageons vivement."

Review: J.-C. Vuillemin in PFSCL 24 (1997), 304–308: A study that places the concept in a longer historical context and that views it in a European rather than a strictly French setting. The reviewer appreciates the study's correction of a French nationalistic myopia.

DUBU, JEAN. "Faul-il marier Antiochus avec l'Infante du Cid?" Car demeure l'amitié. Mélanges offerts àClaude Abraham. PFSCL/Biblio 17, 102 (1997), 119–124.

D. concludes that ". . . avec quel soin [Racine] a su faire parler la voix de la raison par la bouche de Paulin, et utiliser Antiochus pour le rôle auquel Titus s'attendait le moins: celui de rival malheureux d'un empereur également malheureux."

DUCHENE, ROGER et PIERRE RONZEAUD, éds. Ordre et contestation au temps des classiques. PFSCL/Biblio 17, 73 (1992).

Review: J. Grimm in RF 107 (1995), 483–85: Proceedings of two international congresses (CMR 17 and NASSCFL at Marseille, 1991) are highly praised for the quality and diversity of the contributions centering on a theme which demonstrates the complexity of the 17th c. The NASSCFL essays focus on Molière, the young Boileau and feminism, while the CMR 17 essays treat philosophy, history, art and the history of ideas. This volume, as the congresses themselves (past and future), are judged truly valuable as a source of information and documentation of the history of scholarship on the 17th c.

• See French 17 (1996, 1994).

EDMISTON, WILLIAM F. Hindsight and Insight: Focalization in Four Eighteenth-Century French Novels. University Park: Pennsylvania State UP, 1991.

Review: Philip Stewart in EMF 2 (1996) 229–32: According to reviewer, the author, "presents fiction in memoir form as a way of resolving the double challenge of authorial credibility and psychological understanding." This problematic is applied to Les égarements du coeur et de l'esprit, Le paysan parvenu, Manon Lescaut, and La religieuse. S. praises the "meticulous" nature of E.'s writing, and commends the work as "extremely methodical." Yet, reviewer finds that author relies a bit much on "technical terms of narratological analysis" which overlook other "critical points of reference."

EL-BESHTI, BASHIR. "Signifying Texts and Displaced Contexts: Orientalism and Ideological Foundations of the Early Modern State." EMF 3 (1997) 80–93.

Author "argues that while Orientalist texts were often written or read as displaced critiques of European culture, most political and historical treatises written about Turks during the Early Modern period constructed 'Turkishness' as denial of the principles that legitimized western monarchies. This negative view, he argues, came to be deeply embedded in European political philosophy as a whole."

FAUDERAY, ALAIN. La distinction à l'âge classique. Emules et enjeux. Paris: Champion, 1992.

Review: Alain Couprie in EMF 3 (1997) 204–05: Reviewer summarizes his praise of the work, saying "L'intérêt de cette vaste entreprise est multiple. Dans sa méthodologie . . . dans son contenu, [et] dans les perspectives." C argues that the work "s'apparente autant à l'histoire des idées, qu'à une archéologie du savoir." The field of study, which extends from Descartes to Voltaire, is described as having a "découpage atypique" and "audacieux."

FILIPPI, BRUNA. "The Theater of Emblems: Rhetoric and the Jesuit Stage." Diogenes 175 (1996), 67–84.

Studies the use of emblems in public events organized by the Jesuits in the 17th c. "These verbal iconographic compositons, which were used to illustrate the principle themes of the ceremony, were not a mere period detail or an ornamental device, but constituted a means of expression which, by virtue of the particular relations governing the association of text and image, mobilized complex rhetorical, moral, and spiritual elements simultaneously. By associating an image seen as the 'body' with a textual element (inscriptio et subscriptio) the 'soul' the emblem maker sought to achieve a unity of meaning in which the two forms of communication complemented each other." F. then attempts to provide an "analytical framework" for the study of metaphor "by focusing [her] observations on emblematic compositions produced in the scholastic milieu of the Society of Jesus," particularly in the theatrical setting. "There existed, in the 17th century, a theater of emblems, since each emblem proved to be a 'portrait' of the theater itself: not a mere drawing that represented the theater, but a picture offering the very same kind of play of mirrors as the one being presented on stage."

FORCE, PIERRE and DAVID MORGAN, eds. De la morale à l'économie politique. Dialogue franco-américain sur les moralistes français. Pau: Publications de l'Université de Pau, 1996.

Review: M. Bourgeois-Courtois in PFSCL 24 (1997), 590–593: Conference papers reflecting on the moralistes and their implications for U.S. economic liberalism.

FRANCE, PETER, ed. The New Oxford Companion to Literature in French. Oxford: Oxford UP, 1995.

Review: Anon. In FMLS 32 (1996), 380: Recommended as indispensable, this welcome publication complements and extends its predecessor.

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

Review: William O. Goode in EMF 3 (1997) 206–11: G claims that in this book dealing with "French classical discourse," the author "locate[s] beneath its surface order a subversive element, a disorder, which nevertheless gives richer definition to the order it opposes." F emphasizes the representation of politeness in language, character, and the "compromise of the artist with society." Reviewer states that "anyone interested in French classical literature will read this book with profit."

FRIEDEMANN, JOË. "'Cet inquiétant rire de l'art": William Shakespeare et l'oeuvre critique de Victor Hugo." LR 49 (1995), 263–78.

Focusing on "le rire de Hugo," F. concludes that "le rire" is at once "l'apparence d'une surface" and "d'une profondeur, car porteuse d'une signification métaphysique, voire mythique." When Hugo writes of M. ("Pour comprendre ce qui manque à Molière, il faut lire Shakespeare"), he stresses esthetic divergeances ("si le rire de M. a pour origine le scepticism ironique d'un comédien dont le premier objet est d'abord d'amuser . . . celui de Shakespeare . . . se révèle mise en question philosophique."

FUMAROLI, MARC. "'I is an Other': Delusions of Identity." Diogenes 177 (1997), 111–122.

An historical interrogation of the notion of identity, including a brief stop in the 17th c., with references to Louis XIV's imposition of a single identity on his kingdom ("metaphysically freezing [his subjects'] 'self' or ... 'state' into an architecture closed onto itself in the image of the Supreme Being") and Descartes' Cogito (which "freezes the identity of the 'self' in the downstream exercise of a thought applied to inert matter, but dispensed from knowing itself upstream").

GAINES, JAMES F. "'La relation de l'isle imaginaire': variations burlesques sur le mythe arcadien." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 285–292.

G. attributes authorship of work to Segrais and shows how he updated the myths inherited from the Renaissance.

GANAULT, JOËL. "Le bord des larmes." RSH 243 (1996), 61–79.

First half of article evokes Malherbe, Malebranche, Descartes, Pascal and LeBrun (among others) as G. muses on the status of le visage and le masque in philosophical and artistic writings. "La philosophie doit se masquer pour démasquer, disparaître pour faire apparaître se cacher pour découvrir. Descartes ne sait pas encore à cette époque qu'à retirer les masques des sciences, à les dénuder, il défera aussi ses propres masques, ses épaisseurs sensibles ou charnelles, se fixant dans la posture du cogito.... Quelle pensée pouvait bien habiter Descartes lorsqu'il réclamait ainsi le masque pour lui, la nudité et la transparence pour le monde?" On LeBrun's lecture on "L'expression des passions": "Le Brun part d'une idée, d'une passion, de l'idée d'une passion, et construit la figure archétypale de cette passion... [Il] nous donne, qu'il le veuille ou non, une leçon nominaliste. Jamais la figure n'atteint le singulier, toujours la figure s'en tient à la généralité abstraite, qui dans son abstraction veut tout dire et ne veut rien dire, dit tout le monde et ne dit personne, dit la générosité sans généreux, le courage sans courageux, l'amour sans amoureux."

GELFERT, HANS-DIETER. Die Tragödie. Théorie und Geschichte. Göttingen: Vandenhoeck & Ruprecht, 1995.

Review: R. Breuer in Archiv 233 (1996), 353–55: Small volume is informative, interesting and well-written. B. singles out as superior G.'s discussion of Racine, Jansenism and Catholicism.

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

Review: R. A. Cave in ThR 21.3 (1996), 262–263: "Much has been written authoritatively about [the tradition of the commedia dell'arte in the 17th & 18th centuries] and there is a sense of dutifulness about the essays on Shakespeare, Molière and Marivaux and on the steady emasculation of the commedia as it was assimilated within more codified forms of French cultural expression." Essays treating the 17th century in this volume are judged by Cave to be lacking in interest.

Review: H. Klüppelholz in LR 49 (1995), 347–49: Focus is the influence the commedia dell'arte has had in Europe and Latin America from the 17th c. to the 20th c. Helpful preface sketches the major stages of this influence. 17th c. specialists will benefit from John Tretheway's essay on stage and audience in Molière.

GETHNER, PERRY. "The Staging of the Sinister in Machine Plays." CdDS 6.2 (Fall 1992) 101–09.

In his examination of machine plays, G. proposes to look at "how the frightening episodes contribute to the aesthetic unity of the play, and how they were actually staged." Focusing on ghosts, monsters and demons, G. says of the former that they "largely disappeared from French drama by the middle of the century because of critical insistence on vraisemblance and because of practical difficulties. G. cites two examples of ghosts, the first in Quinault's La Comédie sans comédie, and the second in Molière, Corneille and Quinault's Psyché. With respect to monsters, G. discusses Pierre Corneille's Andromède and La Toison d'or, as well as Thomas Corneille's Circé. These evil characters are allegorical in nature, and "have little will of their own." The purpose of these creatures in machine plays is twofold: They 1) satisfied the visual need for dazzling mechanical effects and for strikingly unusual costumes and 2) allowed for the effective integration into the plots of the most extreme moral, physical, and psychological states.

GLEIZE, JEAN-MARIE. La poésie. Textes critiques, XIVe–XXe siècle. Paris: Larousse, 1995.

Review: BCLF 577 (1996), 1684: Une anthologie de la poésie "par elle même" en trois périodes: 1) "Invention poétique" (des troubadours à Chénier); 2) "Question poétique" (de Schlegel à Mallarmé); 3) "Explosion poétique" (période "qui met fin au procès du romantisme").

GRAFTON, ANTHONY. Joseph Scaliger: A Study in the History of Classical Scholarship, II: Historical Chronology. Oxford: Clarendon, 1993.

Review: T. Reiss in RenQ 49 (1996), 669–71: This nearly 800 page volume is rich with detail, providing corrections to scholarship and testifying to S.'s creation of "the basic techniques of historiographical research." 17th c. scholars will particularly appreciate the section devoted to S.'s Corpus inscriptionum (1602) and the Thesaurus temporum (1606).

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

Review: Anne M. Menke in EMF 3 (1997), 200–03: Favorable review in which M. describes G.'s task of "articulating the relationship between the emergence of [a] new order of things and the forms of subjectivity and sexuality called upon to subtend it." M. calls G.'s studies of Molière, Corneille and La Fayette, among other, as "compelling," "clear," and "precise." Reviewer clams that G's work is a "fine study" that "affords a timely analysis of an extraordinarily complex historical period."

• See French 17 (1996, 1995).

GREGOIRE, VINCENT. "Avatars de la pratique théâtrale adoptée par Mme de Maintenon à Saint-Cyr." PFSCL 24 (1997), 35–52.

Despite her growing conservatism, Mme de Maintenon "n'a jamais complètement abandonné ses goûts de mondaine et son amour pour l'élégant parler."

GUTWIRTH, MADELYN. The Twilight of the Goddesses: Women and Representation in the French Revolutionary Era. New Brunswick New Jersey: Rutgers UP, 1992.

Review: Josephine V. Arnold in EMF 3 (1997) 242–45: Reviewer claims that G.'s "multi-faceted representations of eighteenth-century French women are alive with sparkling insights, with countless bits of information that simultaneously pique our curiosity and satisfy our thirst for understanding." The focus of the book is the female body that is "constantly being dismembered, dissected, analyzed, assembled and reassembled by and for male manipulators."

GUTWIRTH, MARCEL. "De Pertharite à Andromaque, ou les aléas de l'invraisemblance." Car demeure l'amitié. Mélanges offerts àClaude Abraham. PFSCL/Biblio 17, 102 (1997), 15–24.

Compares and contrasts Corneille and Racine's dramatic systems in order to confirm the reasons for the former's failure.

HABICHT, WERNER, WOLF-DIETER LANGE und DIE BROCKHAUS-REDAKTION, eds. Der Literatur-Brockhaus. Leipzig: B. I. Taschenbuchverlag, 1995.

Review: R. Moritz in Archiv 233 (1996), 348–50: Some 12,000 authors, 2,000 subjects are treated in over 3,000 pages. M. finds the volume richly informative and trustworthy as far as titles and dates, but expresses reservations about editorial judgments.

HARTH, ERICA. Cartesian Women: Versions and Subverisons of Rational Discourse in the Old Regime. Ithaca/London: Cornell University Press, 1992.

Review: Faith Beasley in EMF 3 (1997) 218–21: Reviewer calls the book "meticulously researched, innovative and provocative, far-reaching and fascinating." B. claims that author "evokes an entire intellectual climate and places these voices in constant dialogue not only with that climate but with current theoretical and historical concerns." H. strives to "give a more complete vision of the intellectual world of the middle-to-late seventeenth century," by analyzing the works of female intellectuals of this period.

HAYES, JULIE CHANDLER. Identity and Ideology: Diderot, Sade and the Serious Genre. Amsterdam/Philadelphia: John Benjamins Publishing Company, Purdue University Monographs in Romance Languages, 1991.

Review: Herbert Josephs in EMF 2 (1996) 233–36: J. states that "Hayes's study of the drame is a compelling exploration of the Enlightenment's creation of a hybrid stage genre that was the natural outgrowth of a milieu dominated by an increasingly powerful middle-class." Reviewer accepts H.'s interpretation on Diderot and the bourgeois drama, but finds "more questionable her discussion of Sade's influence on the genre." Overall, however, the work is termed "refreshing," and "much-needed."

HENRY, GILLES. Promenades littéraires en Normandie. Condé-sur-Noireau: Charles Corlet, 1995.

Review: BCLF 580 (1997), 19: Recensement d'une grande quantité de renseignements; des citations abondantes; des illustrations pertinentes et nombreuses; un index géographique; un index des auteurs et des personnages.

HEYNDELS, RALPH. "L'intraitable (Emergence de l'irrationalité moderne)." CdDS (Fall 1992) 79–86.

H's article deals with this fundamental paradox: "A l'instant où la métaphysique cherche son fondement en elle-même, dans le geste cartésien d'inventer une nouvelle économie conceptuelle qui serait entièrement soumise à la raison, elle va produire simultanément un nouveau mode d'irrationalité—que l'on pourrait qualifier de 'moderne'—c'est-à-dire un intraitable susceptible, comme dans un effet de contraste nécessaire de 'justifier' l'émergence des catégories de la rationalité conquérante." Article then discusses the "intraitable" as defined by 1) challenging the cogito 2) the pascalian oxymoron of the "raison du coeur," 3) the transition from the "cogito rationaliste" to the "volo mystique," and 4) what H. terms "le renversement de la mémoire indépassable," which comprised the cartesian response to Gassendi's and Hobbes's objection to his method.

HILGAR, MARIE-FRANCE. "L'ombre de Molière dans le théâtre de Dancourt." Car demeure l'amitié. Mélanges offerts àClaude Abraham. PFSCL/Biblio 17, 102 (1997), 63–73.

Studies D.'s relative lack of success: "Molière a choisi un type et l'a rendu universel tandis que Dancourt a sauté à pieds joints dans l'universalité."

HILGAR, MARIE-FRANCE, ed. Actes de Las Vegas. Théorie dramatique. Théophile de Viau, Les Contes de fées. PFSCL/Biblio 17, 60 (1991).

Review: P. Dostie in LR 49 (1995), 158–62: Proceedings of the 1990 NASSCFL colloque at Las Vegas celebrates the 400th anniversary of V.'s birth as well as the rediscovery of an author and his work. Sections on dramatic theory and fairy tales round out the volume. The section on V. begins with an essay on the critical fortune of V. by his editor Guido Saba. Four other essays treat V.'s poetry and one presents Pyrame et Thisbé as a "composition minimaliste." The section on theatre examines Marxist aspects in Molière, Racine and his contemporaries, and exemplarity in Corneille's theoretical texts. The subject of fairy tales lends itself to analyses of mythological topoi, genre, and inspiration for the theatre. A round table discusses the question of gender and fairy tales — "le sexe de l'auteur est-il identifiable, laisse-t-il des marques distinctives dans la structure même du conte?" D. closes the review with high words of praise for the quality and editorship of the collections of Biblio 17 (Wolfgang Leiner, editor).

HOFFMAN, KATHRYN A. "Of Innocents and Hags: The Status of the Female in the Seventeenth-Century Fairy Tale." CdDS 6.2 (203–11).

Focus of the article is the contrast between the "virgin" and the "vieille." H. states that "[B]etween them lies a space that is perhaps more compelling because in the fairy tales it is silenced, elided or transformed. It is the place of fecundity incorporated into society: the place of the mother." H. claims that between these two extremes forms "an abyss of narration [which] opens around the space of the maternal uterus." The figure that best represents the space between the virgin and the "vieille" is the "devouring mother/stepmother," who "is the center of the female in the strange dreams of purity and fecundity, transformation and decay, that animate images of the female in the fairy tales of early modern Europe."

HOWE, ALAN. "La place de la tragédie dans le répertoire des comédiens français à la fin du XVIe et au début du XVIIe siècle." BHR 59 (1997), 283–303.

H. se propose un nouvel examen des données et de nouvelles conclusions concernant "1) la place globale que la tragédie semble avoir occupée à cette époque dans le théâtre professionel, 2) le rôle de Valleran Le Conte et du fournisseur de son répertoire vis-à-vis de la tragédie, et 3) la validité de certaines théories soutenues jusqu'à présent par les historiens du théâtre."

HUNT, PETER & SHEILA RAY, eds. International Companion Encyclopedia of Children's Literature. London: Routledge, 1996.

Review: J. E. Sheets in Choice 34.6 (1997), 944–946: "Topics covered include theory and critical approaches..., types and genres..., and the context of children's literature. The final section surveys children's literature throughout the world...."

JACKSON, GUIDA M. Encyclopedia of Literary Epics. Newton, MA: ABC-Clio, 1996.

Review: J. R. Luttrell in Choice 34.11/12 (1997), 1780: Focuses on "literary epic," defined by J. as "works 'written by one person to be read by another,' as opposed to the 'traditional epic,' which is part of the oral tradition and was intended to be recited or sung to an audience." Limited to "poetry and to a few 'poetic' prose works. Mock epics are also in scope.... A typical entry presents a detailed summary of the 'story'..., often chapter-by-chapter." Includes quotes (in translation). "Some biographical data on authors and their literary milieu is included."

JAOUEN, FRANÇOISE. De l'art de plaire en petits morceaux. Pascal, La Rochefoucauld, La Bruyère. Paris: PU de Vincennes, 1996.

Review: BCLF 581 (1996), 343: Exploration "d'un rapport nouveau entre le livre et son lecteur" sous "l'obligation de repenser une rhétorique de la persuasion qui passe par une modification de l'énonciation." Parfois les remarques de l'auteur "tranchent un peu hâtivement des questions débattues ailleurs avec plus d'arguments."

JAUMANN, HERBERT. "Zur Rhetorik der Literaturkritik in der frühen Neuzeit." CollG 28 (1995), 191–202.

Incisive treatment of the rhetoric of literary criticism includes Gregorio Leti's allegory Critique Historique, Politique, Morale, Economique et Comique sur les Lotteries (1697). Leti characterizes criticism as "une Dame bien faite de sa personne, et qui ne peut soufrir la compagnie de qui que ce soit, qui ait la moindre imperfection dans l'esprit." Similarly to César Vichard de Saint-Réal in the 1691 De la critique, L. warns that "la Critique cesse d'être Critique & dégénère en Satire."

KAPLAN, LINDSAY M. "Ars Infamia: The Poetics of Defamation in Early Modern England." EMF 2 (1996) 101–28.

"Assuming that changes in social attitudes about language influence poetic representation, K's article connects shifts from indifference to anxiety in the Early Modern English law of defamation with varying depictions of slander from Chaucer's House of Fame to Spenser's Fairie Queen."

KREIGER, MURRAY. Ekphrasis: The Illusion of the Natural Sign. Baltimore/London: The Johns Hopkins UP, 1992.

Review: Michael Vincent in EMF 3 (1997) 187–91: Reviwer states that "There can be no doubt that Murray Krieger has written a thorough, cogent, challenging study of the history of the ekphrastic principle in Western aesthetics that will fairly reward the reader willing to follow where Krieger leads." Yet, V. claims that K.'s "exhilaration and exasperation with ekphrasis" is somewhat irregular for a book of this type, and renders the work "somewhat less amenable to standard academic practice."

LAGARDE, FRANÇOIS. "Critique savante et critique littéraire: l'exemple du XVIIe siècle." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 325–335.

Studies the relationship between literature and history and concludes that literature "reste affaire de sentir plus que de savoir, davantage expérience du présent que du passé."

LAUDIN, GÉRARD and EDGAR MAAS. Représentations de l'histoire. Koln: Janus, 1993.

Review: F. Wolfzettel in RF 108 (1996), 263–64: Themes such as history and narrative, historical reality, "longue durée," representations of history, historical theatre, testify to the far-ranging and ambitious aims of their collection. 17th c. scholars will appreciate Pierre Ronzeaud's "Formes et enjeux de la récriture moderne des crises du XVIIe siècle . . . ."

LEEMING, DAVID ADAMS and KATHLEEN MORGAN DROWNE. Encyclopedia of Allegorical Literature. Newton, MA: ABC Clio, 1996.

Review: E. J. Carpenter in Choice 34.8 (1997), 1310–1312: "The 400 illustrated articles in this encyclopedia cover the entire Western literary allegorical tradition.... Entries ... treat allegorical works, authors, characters, definitions, literary devices, and terms.... But ... the brief introduction does not adequately describe the breadth and complexity of the genre, nor the response of critics to it. Entries vary greatly in length and level of treatment.... It is a wide ranging, illustrated, encyclopedic treatment of literary allegory, and its excellent appendixes, cross references, index, and 17 page bibliography provide novices a pathway to advanced scholarship."

LEFKOVITZ, LORI HOPE. Textual Bodies: Changing Boundaries of Literary Representation. Albany, NY: SUNY Press, 1997.

Review: R. R. Warhol in Choice 34.9 (1997), 1492: "[A]n edited collection of essays on representation of the body through many centuries of Western literature." Essays draw "on historicist, psycholanalytic, and poststructuralist critical methodologies.... The essays 'illustrate changing cultural definitions of bodily limits, integrity, transgressions, sexuality, and violation in the history of the Western literary canon.' The editor's introduction helpfully summarizes each essay and surveys influential theoretical work on the body in history and culture; it also contains what seems to be a fragment of an essay on representation of the body in the Bible."

LEINER, WOLFGANG. Etudes sur la littérature française du XVIIe siècle. PFSCL/Biblio 17, 95 (1996).

Studies written during the scholar's career on the baroque, épîtres dédicatoires and figures of passion in the Classical period.

Review: J. Marmier in PFSCL 24 (1997), 597–598: A rich collection of 26 studies: the baroque, Camus, the social status of the writer, the Lettres portugaises, Germany in French letters, among others.

LESNE, EMMANUELE. La poétique des mémoires (1650–1685). Paris: Champion, 1996.

Review: N. Hepp in PFSCL 24 (1997), 598–601: Studies the relationship between the memoir and history, the memoir and related literary genres, the implications of what memoir writers say about the genre and the writer of memoirs as hero. Although the reviewer does not agree with all aspects of this study, she finds much of value and praises the author for casting a new light on the genre.

LESTRINGANT, FRANK. "L'errance de Caïn: D'Aubigné, Du Bartas, Hugo, Baudelaire." RSH 245 (1996), 13–32.

Studies the two paradoxical images of Cain, one negative (neglected by God, flees His anger, finds refuge nowhere), the other more positive ('héros civilisateur' who manages to succeed in a hostile environment). "La première hypothèse fait de Caïn le premier damné et la première victime des vengeances de Dieu ... " and this is the hypothesis that D'Aubigné develops in the Tragiques, presenting "un parcous éperdu à travers la nature hostile, une nature marâtre et sorcière qui n'est que piège et faux-semblant pour l'âme égarée du coupable.... Le paysage euphorique de l'idylle s'inverse en un jardin sadique..." and Cain lives "'une mort dans la vie,' mort constamment présente et pourtant impossible." "Caïn demeure solitaire au milieu de son peuple, dénué de tout parmi ses nouvelles richesses." L. then reads Du Bartas' Seconde Semaine as a source for D'Aubigné.

LIVINGSTON, PAISLEY. "From Work to Work." P&L 20 (1996), 436–454.

Posing the question, "Is it legitimate to interpret and evaluate works in terms of their place within the writer's oeuvres complètes?", L. briefly discusses "retroactive relations" in reading Molière. For example, "If ... we think of Le Malade imaginaire as the refinement and completion of themes first sketched in Le Médecin malgré lui, and thus understand Le Médecin malgré lui differently as a result, we are focusing on a 'forward retroactive relation'."

LOCKWOOD, R. The Reader's Figure. Epideictic Rhetoric in Plato, Aristotle, Bosssuet, Racine and Pascal. Geneva: Droz, 1996.

Review: D. Donnet in EC 65 (1997), 253: Chapters on Racine in the Academy, subject and spectacle in the Funeral Orations of Bossuet, three figures for preaching in Bossuet and the reader's figure in Pascalian rhetoric. Reviewer calls this "un exposé brillamment maîtrisé."

MANANT, SYLVAIN. L'esthétique de Voltaire. Paris: SEDES, 1995.

Review: P. Hourcade in PFSCL 24 (1997), 320–321: Presents a V. who is the "héritier, admirateur et apologiste des oeuvres" of the seventeenth century.

MANDELL, LAURA. "Demystifying (with) the Repugnant Female Body: Mary Leapor and Feminist Literary History." Criticism 38.4 (1996): 551–582.

Discusses the relationship between the anti blason, misogyny, parody and patriarchy. Includes a brief commentary on an illustration used in John Davies's 1654 English translation of Le Berger extravagant by Sorel.

MARINO, ADRIAN. The Biography of 'the Idea of Literature' from Antiquity to the Baroque. Trans.V. Stanciu and Charles M. Carlton. Albany, NY: SUNY Press, 1997.

Review: J. J. Wydeven in Choice 34.11/12 (1997), 1797: "M. documents how European literature came to be thought of as literature and how its conditions and collateral activities evolved within culture... M. looks at the crucial transition to written expression..., important cultural distinctions between aesthetic/sacred and pragmatic/profane purposes, and the rise of intertextuality, critical interpretation, judgment, pedagogy, and bibliography. He also considers the growth of the Republic of Letters metaphor... and the business of literature.... Included too are denials of literature ... and calls for censorship... [A]n erudite volume."

MASKELL, DAVID. "Entrées et sorties dans la tragédie classique: Racine, Quinault, et les frères Corneille." PFSCL 24 (1997), 421–444.

A study of the four playwrights that demonstrates the relative importance of side entrances, the use of "vers annonciateurs" as "indications scéniques," the evolution of the stage at the Hôtel de Bourgogne, Racine's innovations and the degree of spatial dynamism among the four playwrights.

MATHIEU-CASTELLANI, GISÈLE, dir. La pensée de l'image. Signification et figuration dans le texte et dans la peinture. Saint-Denis: Presses Universitaires de Vincennes, 1994.

Review: S. Götjens in RF 108 (1996), 258–62: Wide-ranging collection by the "Groupe de Recherche Poétiques et Poésie" devotes itself to the multiple perspectives of "la pensée de l'image." In the words of M.-C. : "il faut [à] lui demander comment elle parle, comment elle pense, comment elle agit. Et quelles relations elle entretient avec sa soeur la poésie." Periods range from Middle Ages to 20th c. 17th c. scholars will appreciate articles on the fable and the emblem as well as the theoretical discussions.

MATHIEU-CASTELLANI, GISÈLE. La scène judiciaire de l'autobiographie. Paris: PUF, 1996.

Review: M. Bertoncini in RSH 244 (1996), 200–202: "Toute la problématique de cette écriture tient dans le dilemme entre cacher et révéler que G. Mathieu-Castellani ... analyse à travers l'oeuvre d'Agrippa d'Aubigné." "Précis, sérieux, nourri de nombreuses références, cet ouvrage ne saurait manquer à quelque bibliographie sur une question que notre âge a voulue majeure."

MAY, GEORGES. La perruque de Dom Juan, ou du bon usage des énigmes dans la littérature de l'Age classique. Paris: Klincksieck, 1996.

Review: M. Bertoncini in RSH 253 (1996), 184–185: "Enigmatique à souhait, la perruque que propose G. M. nous entraîne dans une promenade-lecture à travers les nombreuses 'lettres orientales' et 'relations de voyage' qui marquèrent un siècle de littérature. Au terme du parcours, la solution nous sera révélée, bien sûr, comme au dénouement d'une enquête policière, pour laquelle l'auteur nous aura d'abord fourni un grand nombre d'indices, regroupés dans une première partie consacrée aux oeuvres qui annoncent puis utilisent le procédé... [d]e la mode précieuse ... aux philosophes."C'est au cours d'une seconde partie intitulée 《 Manoeuvres 》, que nous est dévoilée la règle du jeu, par une analyse scrupuleuse du mécanisme mis en oeuvre. Ce qui distingue 'l'énigme Louis XIII' de 'l'énigme Louis XV,' qui la condamne, c'est avant tout que la première est un passetemps mondain, fondé sur l'homogénéité d'une société dont elle renforce le conformisme et la cohésion. Mystérieuse, et 'vaine,' elle s'oppose à celle qui lui succède, dont le sens, qui doit être transparent pour le lecteur, est choisi comme vecteur critique ou satirique." ... "Sujet bien moins frivole qu'il paraît, l'énigme, telle qu'elle nous est bien ici dévoilée, fut une pièce maîtresse du renversement culturel accompli au XVIIIe siècle et offre, ainsi que le souligne G. M. en conclusion, un vaste champ de recherche. La bibliographie qui accompagne cet essai mince et dense permettra au lecteur intéressé de poursuivre ses lectures."

Review: E. C. Goldsmith in ECr 36 (1996), 93: Traces the development of the enigma on into the 18th c. and through divergeant social circumstances. "Suceeds beautifully" in "explor[ing] the hidden serious intent behind the most frivolous of appearances."

Review: G. Jucquois in LR 50 (1996), 157–60: Praiseworthy volume by eminent scholar studies enigmas drawn from 17th and 18th c. texts. 17th c. focus is on Molière and La Bruyère.

• See French 17 (1996).

MAZAHERI, HOMAYOUN. "Marmontel et le mythe du classique." PFSCL 24 (1997), 157–162.

Studies the process of the mythification of the classical esthetic and its political and social implications in M.'s Essai sur le goût (1787).

MAZOUER, CHARLES, ed. Evariste Gherardi: Le Théâtre italien I. Paris: STFM, 1994.

Review: K. Schoell in RF 108 (1996), 293–94: Intelligent and richly informative work illuminates an important period of the French theatre. Wide ranging bibliography and numerous notes treating language and other essential subjects.

• See French 17 (1996, 1995).

MCKINVEN, JOHN A. Stage Flying: 431 B.C. to Modern Times. Glenwood, IL: Meyerbooks, 1995.

Review: C. Pecor in ThS 37.1 (1996), 142–143: M. "has traced the technical development of stage flying.... The chapters on 'Flying from Renaissance to Baroque,' 'Harlequinades and 'Ferries,'" and "'19th Century Flying' will be of particular interest to historians of popular theatre and/or theatre production of these periods." M. demonstrates that "stage flying has been used far more in court entertainments, musical spectacles, and opera than in dramatic theatre. He also establishes that, as new materials and new technology became available, the specialists in stage flying made use of them." Illustrated; no index.

MERLIN, HELENE. Public et littérature en France au XVIIe siècle. Paris: Belles Lettres, 1994.

Review: O. Ranum in MLN 111 (1996), 806–12: "Erudite, deeply personal, and trenchantly analytical, this work establishes the existence of a public in the France of Montaigne and Richelieu, and of a public autonomous from the old judicial-political public—a literary public—late in the seventeenth century."

• See French 17 (1995).

MILLET, OLIVIER. La première réception des Essais de Montaigne (1580–1640). Paris: Honoré Champion, 1995.

Review: J. Nash in BHR 59 (1997), 481–82: M. "has assembled, in chronological order, fascinating, if sometimes disconcerting, 'commentaries' and 'testimonies' concerning the perceived literary and ideological value, or lack thereof, of Montaigne's writings." Valuable reference.

MONTGOMERY, ROBERT L. Terms of Response: Language and Audience in Seventeenth-and Eighteenth-Century Theory. University Park: Pennsylvania State UP, 1992.

Review: Marian Hobson in EMF 3 (1997) 211–13: Reviewer states that "This is an enormously well read, intellectually acute book, [that] . . . examines the relation between feeling and language as theorized by thinkers and critics from the seventeenth and eighteenth centuries in Italy, France and England." H. sees the book as a "kind of construction of and eighteenth-century reader-response theory." Among the work's strengths is its ability to "bring together two strands of eighteenth-century aesthetics usually held separate, the concern for the nature of the reader's affect, and the development of ideas of language as a set of symbols."

NIDERST, ALAIN, éd. Les Trois Scudéry. Actes du colloque du Havre (1–5 octobre 1991). Paris: Klincksieck, 1993.

Review: L. Benatti in RBPH 73 (1995), 897–902: "Cet ouvrage, fruit du colloque consacré aux trois Scudéry, rassemble les travaux d'une cinquantaine de communicants européens ou non. C'est une contribution précieuse pour une révaluation de l'oeuvre de ces trois écrivains (Georges, Madeleine et Marie-Madeleine), souvent injustement oubliés ou ridiculisés par les critiques et les intellectuels des époques successives, comme le souligne Alain Niderst dans l'allocution d'ouverture, et pour leur insertion dans le contexte de leur époque, nous permettant de découvrir ou redécouvrir des aspects fort intéressants de leur production littéraire." Colloque articulé en plusieurs séances: le contexte socio-politique; la poésie; la littérature et la peinture; le côté social; l'aspect théâtral; le côté polémique et rhétorique; la production romanesque; la nouvelle; les oeuvres morales; la présence dans la littérature contemporaine; la réception; l'analyse de thèmes de nature hétérogène.

NUTTALL, A. D. Why Does Tragedy Give Pleasure? Oxford: Oxford University Press, 1996.

Review: D. R. McKay in Choice 34.6 (1997), 960: "Three 1992 lectures at University College London form the basis for the scholarly exploration of the conscious mind's assent to the enjoyment of a tragic presentation." Particular attention paid to the notion of catharsis.

PAVEL, THOMAS. L'art de l'éloignement. Essai sur l'imagination classique. Paris: Gallimard, 1996.

Review: BCLF 581 (1996), 345: "Observant l'éloignement entre les mondes décrits par la littérature, et la réalité empirique ou la vie quotidienne, Th. Pavel, au rebours d'une interprétation de cet éloignement comme reflétant malgré tout le point de vue d'un groupe social auquel les auteurs s'identifiaient, voit dans la construction des univers imaginaires du Grand Siècle une pratique délibérée de la distance symbolique qui donne aux belles-lettres et aux beaux-arts un 'air de famille facile à reconnaître,' sans ignorer pour autant la pluralité des modes d'expression."

Review: F. Lagarde in PFSCL 24 (1997), 606–607: A study "qui fera date" and which proposes that "l'imaginaire classique est fort éloigné du monde empirique, dans le temps et dans l'espace, et n'est pas l'expression, le fantasme ou le reflet du réel mais un réservoir d'idéal et d'imaginaire."

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

Review: Donald Stone, Jr. in EMF 3 (1997) 192–94: Reviewer describes the work as presenting "unsuspected discoveries" with respect to "little known names and titles" of the period in question. Yet, S. finds Perret's distinction between "Old" and "New" comedy, as well as other parts of the argument, to be rather limited. In general, however, S. finds that "the analyses in question do give us more to reflect on regarding French comedy, and it is an entertaining and enlightening more."

PICARD, RAYMOND et JEAN LAFOND. Nouvelles du XVIIe siècle. Paris: Gallimard, 1997.

Review: N. Casanova in QL 715 (1997), 15: This volume contains nouvelles from approximately twenty authors (from Du Souhait to Le Noble, 1612–1697) and also includes some seventeenth century critics and "Historiettes en vers." "Le lecteur traverse des paysages d'une étonnante variété... trouvailles pleines de vie, les mots sensibles comme des chevaux pur sang, frémissant à la moindre sollicitation, une extraordinaire jeunesse du verbe.... Ce volume est une joie pure, et une prodigieuse leçon d'écriture."

PLAISANCE, DANIEL. "La fortune des maximes au XVIIe siècle. L'exemple du 'Cercle Sévigné'." LR 49 (1995), 37–48.

Striking analysis of the maxim in the cercle Sévigné reveals a taste for clarity and a thorough impregnation of La Rochefoucauld's work. P. studies the commentaries which the quoted maximes inspire as well chez Bussy and Corbinelli.

POMMIER, RENE. Explications littéraires. Agrippa d'Aubigné, Molière, Montesquieu, Laclos, Apollinaire. Paris: Sedes, 1993.

Review: Fr.-X. Druet in EC 65 (1997), 253–254: Explications in which P. takes on literary theory.

POMPEJANO, VALERIA. Seduzioni e follie: forme della presenza italiana e spagnola nell'elaborazione del classicismo francese. Fasano: Schena, 1995.

Review: D. Dalla Valle in PFSCL 24 (1997), 610–611: Five studies: Garzoni's influence on the attitude toward madness, the influence of a short story by Cervantes on tragicomedies by Beys-Bouscal and Scudéry, the transformation of the erotic theme in Colletet's poetry, the Quixote's reception in France and an analysis of Apollon ou l'oracle de la poésie italienne et espagnole published by Pierre Bense-Dupuis in 1647. Reviewer finds the studies to be of high quality.

RANDALL, CATHARINE. "Possessed Personae in Early Modern France: Du Bellay, d'Aubigné and Malherbe." EMF 3 (1997) 1–16.

R. "bridges the sixteenth and seventeenth centuries in her analysis of self-perceived 'otherness' in the work of three poets: Du Bellay, who lamented the bankruptcy of humanism; the Huguenot Agrippa d'Aubigné, writing as a theological exclus; and François de Malherbe, an isolated formalist paradoxically seeking to free his voice by maximizing artistic constraints."

REBHORN, WAYNE A. The Emperor of Men's Minds: Literature and the Renaissance Discourse of Rhetoric. Ithaca/London: Cornell UP, 1995.

Review: V. Kahn in MP 94.2 (1996), 214–218: "Ranging widely in the neo Latin, French, Spanish, Italian and English writing of the period, R. aims to provide a revisionary interpretation of the centrality of rhetoric... to Renaissance culture." For R., "the discourse of Renaissance rhetoric is shaped primarily by the despotic Italian city states and absolutist monarchies of Europe from the fifteenth to the seventeenth centuries." "In insisting that power rather than epistemological uncertainty is the dominant preoccupation of Renaissance rhetors, R. offers a bracing challenge to some of the reigning orthodoxies in the field of Renaissance rhetoric."

RIFFAUD, ALAIN. "Lecture d'un lieu tragique: paysage avec Pyrame et Thisbé." PFSCL 24 (1997), 353–372.

Uses a Poussin painting to study the locus of tragedy: "Le peintre comme le poète classique proposent une localité, un caractère, qui donne à lire, et rend intelligible le visible, en favorisant la réflexion sur la place tenue par l'homme."

RIVERS, ELIAS. "Garcilaso, Góngora, and Their Readers." EMF 2 (1996). 67–78.

Article's topic is "the professionalization of editing." According to R., neither Garcilaso, nor Góngora "prepared his work for print publication; both were edited for university graduates by intellectual peers whose annotations not only provided philological information and commentary, but, in one case at least, a heavy dose of literary theory."

RIZZA, CECILIA. Libertinage et littérature. Fasano/Paris: Schena/Nizet, 1996.

Review: BCLF 577 (1996), 1696: Huit articles déjà parus mais traduits sur Théophile de Viau, Saint Amant, Jacques Gaffarel, Cyrano de Bergerac. L'auteur "veut remettre en perspective dans le libertinage du début du XVIIe siècle un courant de pensée moins italien qu'on ne le dit et moins philosophique qu'il n'y paraît."

ROHOU, JEAN. La tragédie classique (1550–1793). Paris: Sedes, 1996.

Review: BCLF 577 (1996), 1657: "L'ouvrage appartient à la collection des "Anthologies Sedes," laquelle se propose d'offrir aux étudiants une approche des oeuvres restituées dans le contexte de l'histoire littéraire de leur temps."

ROMANOWSKI, SYLVIE and MONIQUE BILEZIKIAN, eds. Hommage to Paul Bénichou. Birmingham, AL. Summa Publications, 1994.

Review: Andrew H. Wallis in CdDS 6.2 (Fall 1992) 229–32: Review praises the festschrift which "harmoniously melds divergent topics and a multiplicity of critical approaches." The first half of the essays deal with theater and ideology, while the latter half is entitled "Values in Process." W. appreciates the work's "clarity and avoidance of jargon [that] make[s] these articles at once accessible and extremely erudite additions to the texts and contexts of the seventeenth century."

• See French 17 (1996).

ROSSO, CORRADO. Saggezza in salotto. Moralisti francesi ed espressione aforistica. Napoli: Edizioni Scientifiche Italiane, 1991.

Review: W. Helmich in RF 107 (1995), 485–87: Authoritative but unpretentious (R. shares his doubts along with his certainties). Chapters include freestanding treatments of philosophical, anthropological and literary/aesthetic questions relating to 17th c. salon culture as well as essays on the history of aphorism, and so forth. La R. is at the center of R.'s volume, but other 16th and 17th c. texts (of Montaigne, Bérulle, Molière and Marie Linages) are examined and contemporary critics such as Jean Lafond, Jacqueline Plantié and eleven others are reviewed.

RUBIN, DAVID LEE, ed. EMF: Studies in Early Modern France. Volume 1: Word and Image. Charlottesville, VA: Rockwood Press, 1994.

Review: S. Bold in PFSCL 24 (1997), 330–331: Interdisciplinary studies centered around the "Horacian Ut pictura poesis invoked and identified as the paradoxical ideal of classical poetry, the model a contrario of academic painting, and the frame of a dialectical struggle between the classical arts." Includes studies of visual themes in Saint-Amant, Le Moyne's Peintures morales, emblems, louis-quatorzien medals, repression in the Versailles project, baroque representation, ekphrasis, L'Astrée, and Chardin. Includes a commentary on recent books.

Review: J. P. Collinet in RF 107 (1995), 480–81: Entirely praiseworthy assessment of this first volume of R.'s new series EMF, which has a larger scope, both in time (15th c. beginning of 19th c.) and place (Europe as well as France). This volume which groups nine "substantielles contributions" around the theme word and image also contains an account of 20 recent works. C. finds the whole a "belle gerbe de travaux d'une agréable et riche diversité." The concentration is 17th c. with authoritative treatments by well known dix septiémistes. Subjects include: the baroque, the emblem, L'Astrée, St. Amant, Le Moyne, La Fontaine, Molière, Le Nain, Louis XIV (l'histoire métallique) and Diderot on Chardin.

• See French 17 (1996).

SCHIFFMAN, ZACHARY SAYRE. "Dimensions of Individuality: Recent French Works on the Renaissance." RenQ 49 (1996), 114–23.

Although the focus is the 16th c., S. directs the reader to Christian Belin's 1995 volume on Pierre Charron, commenting that "Belin restores Charron to his proper theological context." Belin's volume is judged "refreshing and salutary;" two illuminating studies on Béroalde de Verville should be read together with the volume: Ilana Zinguer's (1993) and Neil Kenny's (1991).

SEIFERT, LEWIS, C. Fairy Tales, Sexuality, and Gender in France 1690–1715: Nostalgic Utopias. Cambridge: Cambridge University Press, 1996.

Review: R. Howells in MLR 92 (1997), 727–29: Two-part study "considers the whole corpus of literary fairy tales published 1690–1715 as a period discourse." Part I "treats the merveilleux in increasingly broad literary contexts;" Part II "considers the sexual politics of theses tales, notably their idealized love-stories and their constructions of masculinity and femininity." Reviewer "unconvinced by the repeated claims of an end-of-century cultural 'grand renfermement' of women" and considers S.'s treatment of "the 'ambiguities' of the fairy tale vogue, and its own imbrication in the particular tensions of the period" as much better.

SELLIER, PHILIPPE. "Les rayons et les ombres (1654–1679)." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 301–314.

Studies the major themes of modern criticism and how they have clarified or obscured our view of the Classical period in France.

SNIDER, ALVIN. Origin and Authority in Seventeenth Century England: Bacon, Milton, Butler. Toronto: U of Toronto Press, 1994.

Review by S. Achinstein in MP 95.1 (1997), 113–116: Study "explores aspects of that postmodern breakdown of 'the myth of a unified subjectivity capable of grasping the world and expressing it in transparent language'...." Snider shows how "early modern skepticism was not strictly a philosophical issue but also a series of experiments in literary genre." Of particular note: "In putting Milton's language theory in conversation with Isaac La Peyrère, Edward Stillingfleet and Blaise Pascal, Snider moves in and out of local historical context into a more abstracted realm of the history of ideas."

SNODGRASS, MARY ELLEN. Encyclopedia of Satirical Literature. Newton, MA: ABC Clio, 1996.

Review: R. H. Kieft in Choice 34 (1997), 1646: "S.'s underedited encyclopedia is sufficiently flawed that it will poorly serve readers... Not recommended."

SPIELMAN, GUY. "La dramaturgie machinique à la Comédie-Italienne (1680–1697)." CdDS 6.2 (Fall 1992) 111–29.

S's goal is to explain the "pièces à machines" not only as an "excroissance scénographique baroque," but as "une ressource dramaturgique à part entière dont les fonctions demandent à être mieux définies." He finds this definition in Italian theatre, where "la machine représente à la fois un aboutissement d'ordre technologique et l'expression la plus extrême du baroquisme scénique, poussé jusqu'à l'auto-réflexion et l'auto-division."

SPIELMANN, GUY. "Le mythe de l'Arcadie dans le texte du pouvoir royal: sémiotique et ésotérisme." Et In Arcadia Ego. Actes de Montréal. PFSCL/Biblio 17, 100 (1996), 259–275.

"Toutes les manifestations du pouvoir . . . se complètent et se répondent pour constituer un texte . . . qui matérialise un discours où, . . . vient s'ajouter tout ce que la tradition hermétique peut offrir de ressources pour créer une meta-symbolique fournissant les clefs d'une interprétation ésotérique de la finalité de l'action royale."

STONE, HARRIET. The Classical Model. Literature and Knowledge in Seventeenth-Century France. Ithaca/London: Cornell University Press, 1996.

Review: D. A. Collins in Choice 34.6 (1997), 971: "[T]his study deals with 'lies' that reveal, if not truth, then an enriched version of knowledge exceeding what science and history, however objective, can deliver." Beginning with Foucault's Order of Things, S. "seeks to demonstrate the enlarging effect of framing, ordering, patterning, and representing in Rotrou's Saint Genest, Corneille's Horace, Racine's Phèdre, Andromaque, and Bérénice, Molière's Amphitryon, La Rochefoucauld's Maximes, Madame de Lafayette's Princesse de Clèves, Descartes' Discours de la Méthode and Pascal's Pensées. The ostensible content of these works — while often reinforcing an authoritarian image of the monarch, Louis XIV — is nonetheless challenged... by the complete discomfiture of the authority figure... even as he preserves his power. The 'classical model' of the title valorizes the role of the literature of this period as both an encoding and decoding influence on the implicit messages of the texts and thus establishes literature as a vital part of an epistemological evolution. A brilliantly argued study."

Review: F. Lagarde in PFSCL 24 (1997), 620–622: "This fine essay is a jewel in its own genre, the North-American academic postmodernist conceptual reading of a corpus of works whose meaning or knowledge may not be so dispersed or undecidable."

TESKEY, GORDON. Allegory and Violence. Ithaca, NY: Cornell University Press, 1996.

Review: L. M. Tenbusch in Choice 34.9 (1997), 1491: "A challenging critique of allegory, this study seeks to open up the field by asking numerous questions about such topics as religious concerns, conceptual dilemmas, and cultural circumstances making possible... the emergence of allegorical writing.... The author sees allegory as a wedge to split a unity and a yoke to bring together heterogenous things. Contrary to the more familiar but inadequate notion that allegory developed in a tradition extending from Homer to the Enlightenment, T. suggests that allegory was possible only after a violent purging of the classical gods from the world."

TIMMERMANS, LINDA. L'accès des femmes à la culture (1598–1715). Un débat d'idées de Saint François de Sales à la Marquise de Lambert. Paris: Honoré Champion, 1993.

Review: Susan Read Baker in EMF 3 (1997) 195–99: Reviewer adds that T "has undertaken a systematic exploration of the debate concerning women's coming to culture and the myriad questions and issues posed by that debate to modern scholarship." B. praises T's "even-handed methodology," as well as her "meticulous erudition" about "a neglected chapter of European life which remains pertinent to many other countries and settings today."

TOBIN, RONALD W. ed. Le corps au XVIIe siècle. Actes du premier colloque conjointement organisé par la North American Society for Seventeenth-Century French Literature, et le Centre International de Rencontres sur le XVIIe siècle. PFSCL/Biblio 17, 89 (1995).

Review: Lise Leibacher-Ouvrard in CdDS 6.2 (Fall 1992) 225–28: According to reviewer, "ce volume démontre d'abord à quel point le corps est central à la religion scientifique, philosophique ou théologique au XVIIe siècle." Among the critical approaches mentioned are the body as it relates to "la réflexion théologique." In addition, the volume looks at the comic body, the homosexual body, and the political body in the theater and the novel. Reviewer calls the essays "généralement excellents," and commends "la polyvalence des représentations du corps, de leurs fonctions et de leurs enjeux à l'époque."

Review: D. Shaw in MLR 92 (1997), 724–25: Ambitious and challenging volume of thirty-seven articles which "cover a huge range, reflecting virtually every mode of artistic expression known to seventeenth-century France, as well as the worlds of science, philosophy, and politics."

• See French 17 (1996).

TOCZYSKI, SUZANNE C. "Ce dont l'esprit est capable: Beauty and Truth in Les femmes illustres." L'esprit en France au XVIIe siècle. PFSCL/Biblio 17, 101 (1997), 197–205.

Studies the relationship between beauté et esprit in this work attributed to Madeleine and Georges de Scudéry: "The heroic harangues of these femmes illustres are not simply transcriptions of actual speeches made by the women of antiquity; they are the fictional renditions of speeches such women might have made. They are nonetheless a step toward Truth in their proffering of a new perspective, of a new voice which—vraisemblablement—ultimately provides a more complete picture of women's place in history."

TUCKER, GEORGE HUGO. "Homo Viator and the Liberty of Exile." EMF 2 (1996) 29–66.

This study, "considers the Renaissance interplay of writing and reading, world and literary work, at a variety of crisscrossing levels: factual, literary and metaphorical. The case of Joannes Sambucus (János Zsámbosky, 1531–84) furnishes an Early Modern paradigm of text creating positive identity out of the negative thematics of travel."

TUCKER, GEORGE HUGO. The Poet's Odyssey: Joachim Du Bellay and the Antiquitez de Rome. Oxford: Clarendon Press, 1990.

Review: Marc Bizer in EMF 2 (1996) 171–74: Reviewer calls T.'s book "important," claiming that it "show[s] prodigious learning and considerable bibliographic skill." Appreciating T.'s effort to unearth Du Bellay's antecedents, B. nonetheless criticizes the fact that T's "analyses mainly involve the juxtaposition of texts." Reviewer also finds difficult T's neglect of the Poemata, as well as his contention that Tibullan style is highly characteristic of the Antiquitez.

VELTRUSKY, JARMITA. "Dramatic Characters and Composite Dramatis Personæ." ThS 35.1 (1994), 19–32.

V. discusses many of the components of the composite dramatis personæ, which is a "complex semiotic entity,... the product of a multitude of factors ranging from the simplest utterance or gesture to the character's role in the plot as a whole, and including everything said or done to or about the character, as well as the character's own appearance, words and actions." Includes brief discussions of Corneille's L'illusion comique, Rotrou's Le Véritable Saint Genest and Molière's L'Impromptu de Versailles.

VERDIER, GABRIELLE. "Gracieuse vs. Grognon, Or How to Tell the Good Guys From the Bad in the Literary Fairy Tale." CdDS 6.2 (Fall 1992) 13–20.

G. does an onomastic study of tales by d'Aulnoy, Murat, La Force, and Mailly, among others. Heroes have names that denote them as such, while villains are just as easily identified. Virtue and vice are also represented through race, age, class and physical ability. Yet, in her conclusion, G. states that "the stereotypes and easy classification of characters are challenged by metamorphosis which becomes increasingly weird as authors play with the conventions."

VIALA, ALAIN. "L'esprit galant." L'esprit en France au XVIIe siècle. PFSCL/Biblio 17, 101 (1997), 53–74.

Studies the relationship between esprit and galanterie: "L'esprit et le bel-esprit ne sont donc pas seulement des attributs des auteurs galants, ni des qualités revendiquées par les auteurs de ce temps: au-delà, bien au-delà, l'esprit en sa version la plus raffinée, l'esprit galant, apparaît bien comme une pierre de touche."

VON STACKELBERG, JÜRGEN. Senecas Tod und andere Rezeptions folgen in den romanischen Literaturen der frühen Neuzeit. Tübingen: Niemeyer , 1992.

Review: K. A. Blüher in RF 107 (1995), 464–66: Praiseworthy for its remarkable detail, textual analyses and breadth of vision. Focus is on the reception of themes, motifs and topoi in French literature among 17th c. authors including Tristan, Corneille, La Fontaine, Scarron, Furetière, Chasles, LaFayette, Villedieu (as well as others in 18th c. and Spanish and Italian ones).

WOOD, ALLEN. G. "Of Kings, Queens and Musketeers." PFSCL 24 (1997), 163–171.

Studies the "dynamics of history and fiction contained within [Dumas' Three Musketeers] in order to ascertain the mechanisms of historical transmission in novel form, and determine which elements of the seventeenth century are conveyed by the popular icon."

WOOD, ALLEN, ed. Le mythe de Phèdre. Les Hippolyte français du dix-septième siècle. Paris: Honoré Champion, 1996.

Review: J. Emelina in PFSCL 24 (1997), 622–624: Editions of the three plays by La Pinelière, Gilbert and Bidar preceding Racine's: general introduction, bibliography, short biographies of the authors, summaries of the plot of each play, statistical analyses of the plays, indexes of historical and mythological names, etc. Despite some criticisms the reviewer terms this "un travail méthodique, rigoureux, solide et élégamment présenté . . . ."

WOSHINSKY, BARBARA. The Linguistic Imperative in French Classical Literature. Saratoga, CA: Stanford French and Italian Studies, Anma Libri, 1991.

Review: William O. Goode in EMF 3 (1997) 206–11: G claims that in this book dealing with "French classical discourse," the author "locate[s] beneath its surface order a subversive element, a disorder, which nevertheless gives richer definition to the order it opposes." W focuses on "linguistic truth assumed to be at the heart of classical epistemology." Reviewer states that "anyone interested in French classical literature will read this book with profit."

WYNSHANK, ANNY et PHILIPPE-JOSEPH SALAZAR, eds. Afriques imaginaires. Regards réciproques et discours littéraires, XVIIe–XXe siècles. Paris: L'Harmattan, 1995.

Review: A. Lanasri in RSH 244 (1996), 198–200: "[L]'ouvrage tire une perspective diachronique de plusieurs siècles sur l'histoire de la rencontre Europe-Afrique et son corollaire, la constitution, entre autres par la littérature, d'un imaginaire africain élaboré par le regard extérieur de l'Européen et sa contrepartie, le regard sur soi et sur l'Autre porté par la littérature africaine de langue française et fondé sur la réappropriation du discours par le décentrement du lieu de l'allocution et le renversement de la dialectique observateur/observé." "[A]près avoir demontré les mécanismes qui ont présidé à la fabrication d''Afriques imaginaires,' [ce recueil] nous rappelle que pour connaître l'Autre, il faut le découvrir de l'intérieur."

ZUBER, ROGER. Les "belles infidèles" et la formation du goût classique, Pierrot d'Ablancourt et Guez de Balzac. Paris: Albin Michel, 1995.

Review: J.-P. Leroy in RLC 71.3 (1997), 381–82: Etude du rôle de ces deux écrivains qui apporte "une contribution fort apprécié."