FRENCH 17

ADE, ANDREW WARNER. "The Significance of the Prologue from Ancient to Modern Drama in France and England." DAI 62/11 (2002), 3770.

Considers how the adaptation of the theatrical prologue, in theory and practice, developed differently in England and France.

ALLAM, SARAH. "Peut-on parler d'un stéréotype dans la perception de la Méditerranée au XVIIe siècle? L'exemple des turqueries." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 309–317.

Allam posits that, "une large part de la littérature et notamment celle du XVIIe siècle, touchant à l'Orient, nous en apprend en définitive moins sur l'objet 《 Orient 》 décrit que sur le sujet Occident 》 ayant écrit." With reference to Molière's Bourgeois gentilhomme, Georges de Scudéry's Ibrahim ou l'Illustre Bassa, Lully's Récit turquesque, and Racine's Bajazet. Allam concludes, "Les turqueries . . . sont une des variations dans la construction des multiples visions que l'Occident s'est forgées de l'Autre" and for l'Occident, "l'Autre était un détour obligé dans la construction de sa propre identité."

ALTHAUS, THOMAS. Epigrammatisches Barock. Berlin: de Gruyter, 1996.

Review: D. Merzbacher in Archiv 238 (2001), 139–142: This Habilitationsschrift focuses on the intimate connection between the epigram and thought patterns of the Baroque epoch. Although Althaus generally treats the German epigram, important considerations are found on the philosophy of Descartes and the terminus ad quem of Boileau's Art poétique with its emphasis on reason, order, the natural and "le bon sens."

ARNAUD, VANESSA HEROLD. "Gossip as a Social Force in Seventeenth-Century French Culture." DAI 62/11 (2002), 3804.

Dissertation "explores how gossip was particularly appropriate to the closed world of the court, where truths remained hidden beneath carefully sculpted surfaces." Examines this use of "encoded" discourse in works by Molière, Bussy-Rabutin, and Lafayette.

ASSAF, FRANCIS. "Voyageurs dans le Levant au XVIIe siècle: regard(s) sur/de l'Autre." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 295–308.

After a brief reference to the work of Franciscan travellers Jean Thenaud and André Thevet, Assaf studies the travel writing of Pietro Della Valle, Jean de Thévenot, and Laurent d'Arvieux, concluding, "ces personnages. . . obligent à réfléchir, peut-être sur l'humain universel, mais plus sûrement encore sur leur propre appétit formidable de voir et de savoir, appétit qui les arrache à leur environnement natal pour les propulser, au-delà de la 《 mer dangereuse 》, vers des 《 terres inconnues 》, ce qui les pousse à créer-ou à recréer-une carte qui. . . retrace et ancre dans l'espace-et le temps-l'irrésistible passion, l'irrésistible pulsion de dire ce savoir." Includes, in an appendix, the "Description de Maani Djoerida par Pietro Della Valle."

BAADER, RENATE, ed. 17. Jahrhundert-Roman-Fabel-Maxime-Brief. Tübingen: Stauffenburg, 1999.

Review: J. Grimm in RF 113 (2001), 235–238: This first of a prestigious collection of 11 volumes envisioned and edited by Henning Krauß (Franzosïsche Literatur) includes 8 articles on the genres of the title in addition to an introduction by Baader, a "tableau chronologique" for each year of the century indicating, in addition to important literary events, those relating to science, theology, society, art, culture, history and literature outside France (235). Grimm finds the presentation of the volume "impeccable," appreciates the "belle couverture et solide reliure," but is disappointed by its substance and glaring omissions; in particular works such as those of Truchet and Mesnard are missing from the bibliography. Grimm has praise for the essays by Wolfgang Matzat on Sorel, by Horst Weich on Scarron and Furetière and by Dieter Steland on La Rochefoucauld.

BACCAR, ALIA. "De Grenade à Tunis: itinéraire des modèles arabo-musulmans en Méditerranée au XVIIe siècle français." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 287–294.

Baccar details "le transfert arabo-musulman qui s'est opéré, dans le domaine littéraire, des berges sud vers les berges nord de la Méditerranée," with particular reference to Andalusia and les barbaresques. The plan of the article is as follows: "Un rappel historique expliquera les raisons de l'engouement français envers le monde arabo-musulman, un panorama lèvera le voile sur la production littéraire qui en a découlé et une réflexion analysera le sort qui a lui été réservé [sic]." Baccar offers "l'interprétation d'une vision littéraire de la réalité globale de l'histoire de la Méditerranée du XVIIe siècle."

BEEBEE, THOMAS O. Epistolary Fiction in Europe, 1500–1850. Cambridge: Cambridge UP, 1999.

Review: n.a. in FMLS 37 (2001), 91: Focusing on earlier centuries and including a select bibliography of epistolary fiction from 1473 to 1849, the volume is "beautifully presented" and welcome as it establishes "the historical importance [of the genre] across the major European cultures. Includes discussion of society and politics as well as an overview of the genre's significance.

BERCHTOLD, JACQUES. Les Prisons du roman (XVIIe–XVIIIe siècle). Lectures plurielles et intertextuelles de Guzman d'Alfarache à Jacques le Fataliste. Geneva: Droz, 2000.

Review: M. Hall in FS 56.3 (2002), 391–392: In this "intelligent and stimulating book," "Jacques Berchtold argues that the theme of imprisonment constitutes a key element in the development of the novel in the early-modern period." This is "a very wide-ranging survey," which covers Greek and Roman texts, the Spanish picaresque novel, the seventeenth-century roman comique, the prison-novels of Courtilz de Sandras, as well as novels by Lesage, Prévost and Diderot. The reviewer finds the choice of eighteenth-century texts "somewhat arbitrary."

Review: A. M. Mazziotti in S Fr 135 (2001), 637. Vast comparatist volume (784 pages) analyzes the literary theme of the prison and demonstrates its importance for the formation of the modern novel. 17th c. French scholars will appreciate reflections on Sorel, Cyrano, Préfontaine, Dassoucy, Bussy-Rabutin, among others.

Review: J. Voisine in RLC 76.1 (janvier–mars 2002), 115–118: "Le sous-titre 《 Lectures plurielles et intertextuelles de Guzmán d'Alfarache à Jacques le fataliste 》 définit bien le propos de ce gros livre, encore enrichi d'abondantes notes à chaque page. L'ensemble représente une somme d'érudition considérable, à laquelle il convient de rendre hommage. Disons tout de suite que le titre lui-même promet peut-être un peu trop, car à mesure qu'on avance dans la lecture, on a affaire à des œuvres dans lesquelles le motif de la prison tient moins de place, sans que l'ingéniosité de l'auteur suffise toujours à nous démontrer le contraire."

BERGER, GUNTER. "Genres bâtards: roman et histoire à la fin du XVIIe siècle." DSS 215 (2002), 297–305.

Author suggests that the relatively late appearance of a theory of the novel allowed writers "une liberté exceptionnelle." Pseudo-memoirs and "secret histories" reveal that "l'historiographe se retire et cède sa place au romancier."

BESSIERE, JEAN & DANIEL-HENRI PAGEAUX, eds. with the collaboration ofERIC DAYRE. Formes et imaginaire du roman. Perspectives sur le roman antique, médiéval, classique, moderne et contemporaine. Paris: Champion, 1998.

Review: A. Fahrner in RF 113 (2001), 410–413: Wide-ranging volume with analyses by 14 critics includes an essay by Guiomar Hautcoeur on Mme de Lafayette's Zaïde. Underlying concern of editors is: "suggérer une généalogie du roman; suggérer l'archéologie de quelques corpus romanesques" (225). Individual analyses and investigations of strategies characterize the volume, rather than any "systématique du genre" (225).

BIET, CHRISTIAN, ed. Droit et littérature. Special edition of Littératures classiques 40 (2000).

Review: P. Ronzeaud in PFSCL XXVIII, 55 (2001), 520–521: Collection of widely varied articles on the relationship between law and literature, including (with regard to French 17th-c. literature) articles on Molière by N. Paige and L. Norman; G. Spielmann on Dancourt, Regnard, Dufresny and others; E. Méchoulan on Racine and Corneille. Other topics treated include the histoires tragiques (T. Pech), travel literature (S. Requemora), demonology (N. Jacques-Lefèvre," and dictionaries (M. Roy-Garibal). Additional articles treat the legal status of writers (A. Viala), dramaturges (M. Poirson), and actors (H. Phillips). Reviewer calls the collection "un volume pionier, un prototype qui sera à l'origine d'importants développements de la recherche dix-septiémiste philosophique, juridique et littéraire."

BIRBERICK, ANNE L. "Rewriting Curiosity: The Psyche Myth in Apuleius, La Fontaine, and d'Aulnoy." EMF 8 (2002), 134–48.

Examines the "strategic rewriting" of Apuleius in the seventeenth century; argues, using the figure of curiosity, that the myth "progresses from a cautionary tale to an aesthetic tale to an exemplary tale."

BLUM, PASCALE & ANNE MANTERO, eds. Poésie et bible de la Renaissance à l'âge classique, 1550–1680. Actes du Colloque de Besançon (25–26 mars 1997). Paris: Champion, 1999.

Review: J. Hennequin in RF 113 (2001), 398–399: These Actes of the 1997 Colloque de Besançon complement the works of B. Roussel and B. Bedouelle, and J.-R Armogathe, respectively, on the Bible and the Reformation era, and the 17th c. Covering some 130 years, the volume includes analyses on theoretical and esthetic problems, biblical mises en scène, constraints and liberties, polemics and finally, forms of lyricism, including music settings. Reviewer notes the remarkable unity of the volume as well as the excellence of its critical apparatus: indices of biblical references, authors, critics and works cited, and a bibliography.

Review: M.-F. Hilgar in FR 75,6 (2002), 1274–75: Fourteen essays treating religious poetry and its relations to the two testaments in sixteenth- and seventeenth-century France. Collectively, the articles identify a fundamental paradox in the works examined: "l'inspiration poétique ne peut être que divine, mais réduire la matière biblique à une matière poétique risque de produire un effet théâtral et même donner lieu à une ingéniosité de mauvais goût." Biblical figures and early modern poets considered include Judith and Esther, Du Bartas, Isaac Habert, Laurent Drelincourt, Lancelot de Carle, Anne de Marquets, Tristan l'Hermite, and l'Abbé Testu.

Review: G. Holtus in ZRP 116 (2000), 685: This collection of 14 essays, the result of the 1997 Colloque de Besançon, is organized around four themes: "une nouvelle poétique"; "mises en scène bibliques", "libertés, contraintes, polémique"; "formes du lyrisme". Includes treatment of well-known and lesser known authors of the time, including La Ceppède, Tristan, César de Nostredame and Madame Guyon, among others.

BONNET, CHRISTIAN. "Didascalies et signifiance: lectures du théâtre occitan préclassique." RHT 53.4 (2001), 265–274.

Shows how examination of the play's didascalies restore to an occitanian-language 1623 political tragicomedy its allegorical value.

BOSCO, GABRIELLA. "Les merveilles de la mer dans les poèmes épiques français du XVIIe siècle." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 93–105.

Bosco posits that a painting by Karel Dujardin entitled Allégorie "devient une clé de lecture précieuse pour les mers épiques du XVIIe siècle en général. . . Dans la poésie épique du XVIIe siècle en effet, la mer est le lieu physique où se joue un conflit: conflit symbolique entre le mal et le bien, l'angoisse et la tranquillité, le danger et le salut; conflit réel entre les fausses croyances et le triomphe de la vérité, entre le paganisme et le christianisme." Period in question: 1649–1668, with reference to Du Bartas, Desmarets de Saint-Sorlin, Saint Louys and Saint-Amant.

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

Review: O. Selles in DFS 57 (2001), 155–156: Bury examines the creation and transformation of the concept of l'honnête homme in order to understand how exactly French "classical" literature gradually displaced Antiquity as a moral and intellectual guide. The author "writes most authoritatively about the mid-seventeenth century, but the chapters on the sixteenth and eighteenth centuries are far from comprehensive... For scholarship in the 'histoire des idées' vein, it is very striking that little attempt is made to discuss the historical context of the literary works... A great deal can be learned from this learned and clearly written book. Yet it would be hoped that erudite scholars such as Bury would give in the future greater attention to methodological and theoretical considerations."

CASHMAN, KIMBERLY ANN. "The Social Order, Politics, and Gender: The Performance-within-a-Play in French Classical Drama." DAI 63/03 (2002), 963.

Examines how classical tragedy and comedy uses the "performance-within-a-play" (for instance, the table scene in Le Tartuffe) to resolve tensions and maintain the status quo; considers the way gender and politics map onto the device.

CHAOUCHE, SABINE. L'Art du comédien. Déclamation et jeu scénique en France à l'âge classique. Paris: Champion, 2001.

Review: M.-Cl. Canova-Green in PFSCL XXIX, 57 (2002): 526–527: Seven treatises which demonstrate that the commonly held belief that 17th-c. declamation was "un jeu outré et affecté." Includes texts by Michel Le Faucheur (1657) and René Bary (1679), as well as texts by several 18th-c. theorists. This volume highlights "la progressive émancipation et théorisation de l'art dramatique, qui fut de plus en plus senti comme un art à part entière," leading to "une véritable 《 poétique 》 de l'action théâtrale." Chaouche's introductary pages include extensive treatment of "les notions clés de 《 naturel 》, de 《 simplicité 》, d'《 emphase 》 ou de 《 sensibilité 》, et sur la nature même de la déclamation." Includes a detailed glossary of rhetorical and theatrical terms, an extensive index, and a (sometimes too) succinct bibliography. Reviewer compliments the novelty and breadth of the work, calling it "une somme indispensable de l'art dramatique aux XVIIe et XVIIIe siècles."

Review: M. Hawcroft in PFSCL XXIX, 56 (2002), 251–253: A "delightful, learned, solidly constructed and richly informed book" which manages to recreate "something of the art of the seventeenth-century actor" by "exploring and piecing together all possible kinds of evidence about movement, gesture, facial expressions, tone of voice and delivery." Studying the period from 1629 to 1680, Chaouche "detects a shift from acting based on a rhetorical education, particularly on the skills taught by the fifth part of rhetoric (actio), to acting which goes beyond, or reviews these practices." Includes sections on gestural and vocal conventions, textual evidence in 17th-c. plays, and declamation. Notably, this last section shatters the myths "that the leading tragic actors at the Hôtel de Bourgogne spoke in a bombastic manner, that Molière's style of delivery was natural, and that Racine encouraged a sing-song declamation." Reviewer concludes, "Chaouche's book is the best guide we have to how the plays we all know might actually have been performed in the seventeenth century."

CHOLAKIAN, PATRICIA FRANCES. Women and the Politics of Self-Representation in Seventeenth-Century France. Newark: U of Delaware Press and London: Associated University Presses, 2000.

Review: E. Guild in FS 54.4 (2001), 539–540: "Cholakian's study draws together texts by Marguerite de Valois, Mademoiselle de Montpensier, the Mancini sisters, Jeanne Guyon and the Abbé de Choisy, which she reads as gestures of political resistance to the marginalization of women during the Ancien Régime. [. . .] Cholakian champions her chosen writers' texts in energetic prose."

CHONE, PAULETTE et al. L'Age d'or du nocturne. Essais de Paulette Choné, Jean-Claude Boyer, Richard E. Spear, Irving Lavin. Paris: Gallimard, 2001.

Review: A. Niderst in PFSCL XXIX, 57 (2002): 527–529: Volume seeks to "mettre le travail des artistes en relation avec les cours de rhétorique qu'ils avaient suivis, les sermons qu'ils écoutaient, les poèmes qu'ils lisaient." P. Choné's work offers "une longue méditation sur 《 l'Académie de la Nuit 》; J.-Cl. Boyer's article focuses on political history and its relation to the history of art; R. Spear studies Caravaggio and La Tour; and I. Lavin focuses first on Caravaggio's religious paintings, and, in another article, on La Tour's Larmes de saint Pierre. "Un beau livre. . . empli de reproductions exaltantes et suggestives," notable for its multidisciplinary approach in which "la peinture classique prend son vrai visage, de propagande religieuse et de didactisme méditatif."

CLOSSON, MARIANNE. L'Imaginaire démoniaque en France (1550–1650), Genèse de la littérature fantastique. Genève: Droz, 2000.

Review: S. Houdard in PFSCL XXIX, 56 (2002), 255–257: "Une étude complète de la présence du diable dans la littérature française entre 1550 et 1650." Reviewer notes the "grandes qualités d'un travail très agreeable à lire," and lauds in particular Closson's efforts to "saisir l'émergence d'une littérature démoniaque au moment même où la réalité des tribunaux produit son proper imaginaire." Closson's work combines literary and anthropological approaches in order to show "comment le socle théologique, le socle des savoirs populaires et savants, entrent, au moment de la grande persecution, dans la fabrication d'une couche tectonique friable de la croyance." Particular emphasis is placed on the reception of the texts in question, which are "rares et fascinants, parfois dérangeants."

CONNON, DEREK & GEORGE EVANS, eds. Essays on French Comic Drama from the 1640s to the 1780s. Bern: Lang, 2000.

Review: R. Parish in FS 56.1 (2002), 92–93: Among the fourteen essays of this collection are studies of theater by Scarron, Molière, Thomas Corneille, Quinault, Piron, Destouches, Marmontel and Beaumarchais. The reviewer praises Nicholas Hammond's "ingenious and broadly focused study of authorship and authority in Le Misanthrope" and Marie-Claude Canova-Green's "thoroughgoing analysis of forms of self-referentiality in La Comtesse d'Escarbagnas."

CONROY, JANE. Terres Tragiques: L'Angleterre et l'Ecosse dans la tragédie française du XVIIe siècle. Tübingen: Gunter Narr Verlag (Biblio 17–114), 1999.

Review: N. Mallet in RF 113 (2001), 263–264: Praiseworthy as "une somme de recherches, d'analyses et de réflexions de tout premier ordre", Conroy's solid and lengthy (500 pages) treatment analyzes 9 tragedies, some by well-known playwrights such as Montchrestien, Boursault, La Calprenède, Thomas Corneille and others lesser known such as Boyer, Regnault and Puget de la Serre or the "pratically unknown" such as E. Aigrot (263). Conroy's indispensable study analyzes the plays through an exploration of "le contexte historique, la genèse, les innovations dramaturgiques, les thèmes et les symboles," bringing to bear important intercultural and anthropological considerations (263, 264).

Review: O. Ranum in PFSCL XXVIII, 55 (2001), 523–524: "Richly textured, erudite and deeply engaged examination of the exemplary tragic figures imported by French writers from Tudor and Stuart history." Conroy studies plays by La Calprenède, Thomas Corneille, Aigrot, Boursault, Claude Boyer, Puget de la Serre, Montchrestien and Regnault. "By setting the authors and their plays in historical context, the features common to them are effectively elucidated, with the result, perhaps, that their very banality and stereotypicality come to the fore. The role of the sensational in entertainment and politics becomes more evident than the usual search for authorial creative originality. . .. Conroy's study is a superb contribution to general cultural understanding — showing how the political cannot be separated from the literary any more than the popular can be separated from the elite in theatrical or public-square entertainment in the seventeenth century." Includes analysis of the illustrations of early editions. "This work exudes a free, learned spirit and a strong authorial presence. Readers will come away from it with much to ponder, and the conclusion that they need to rethink what they understand about seventeenth-century theater."

Review: A. Riffaud in IL 53.3 (2001), 60–63: Explores the forgotten vein of plays that take up subjects not associated with classical myth or history. Shows that, far from being influenced by Elizabethan theater, French tragedies obey a prescribed form, and legitimize socio-political order; author detects, however, the decline of the hero in the course of the century. "[U]n ouvrage riche et savant" nevertheless marred by the fact that "les conclusions se détachent mal de l'application analytique et de la volonté d'exhaustivité, confondue parfois avec une certaine dispersion."

CORNILLAT, FRANCOIS & RICHARD LOCKWOOD, eds. Ethos et Pathos. Le Statut du sujet rhétorique. Actes du Colloque international de Saint-Denis (19–21 juin 1997). Paris: Champion, 2000.

Review: L.-G. Tin in BHR 64.2 (2002), 442–43: "L'efficace du logos tient à une certaine disposition de l'orateur, qui produit chez l'auditeur une certaine émotion: èthos et pathos constituent ainsi les deux pôles de la communication qu'analysent ces diverses contributions." Voir les articles de J. Lyons et de L. Thirouin sur Pascal.

COWARD, DAVID. A History of French Literature. From "Chanson de geste" to Cinema. London: Blackwell, 2002.

Review: R. Pearson in TLS 5170 (May 3 2002), 4–6: An intelligent, well-informed book that is user-friendly. Each of the first six chapters establishes "historical, intellectual and socio-commercial context" and maps philosophical and esthetic trends before turning to literature. A surprisingly even-handed study which nonetheless has "a personal touch that leavens the seriousness." Pearson finds this book "not only an essential guide but a lasting source of renewable pleasure for anyone interested in the literature and culture of France."

CREEGAN, DORIS R. Echos de la Réforme dans la littérature de langue française de 1520 à 1620. Lewiston, NY/Queenston, ONT: Lampeter GB/Edwin Mellon, 2001.

Review: F. Higman in BHR 64.2 (2002), 486–87: "Les spécialistes qui se sont penchés sur les rapports entre la Réforme et la littérature française n'y apprendront rien de bien neuf. . . On aurait souhaité une base de renseignements plus étendue. Et surtout, les nombreuses imprécisions de date et de faits rendent le résultat peu fiable. . ."

DAUPHINE, JAMES & BEATRICE PERIGOT, éds. Conteurs et romanciers de la Renaissance. Paris: Champion, 1997.

Review: G. Schrenck in RF 113 (2001), 265–266: These Mélanges offered to Gabriel-André Pérouse truly honor him by "la remarquable qualité de l'ensemble des contributions" (265). Presenting a veritable panorama of Renaissance novelists which does not neglect rare works, the rich and varied volume also includes "une ouverture vers le XVIIe siècle. . . faite à propos de la rhétorique 'baroque', insoupçonnée, dans une Ode de Malherbe (F. Goyet) et certains thèmes, comme ceux des miracles ou du choix d'un métier, repris par Pascal à la lueur de ses lectures de Huarte (M. Le Guern)" (266).

DELMAS, CHRISTIAN. "La Sophonisbe et le renouveau de la tragédie en France." XVIIe siècle no. 208 (juillet–sept. 2000), 443–464.

Review: S. Poli in SFr 134 (2001), 391: Demonstrates the remarkable success of this theme for 17th c. tragedy through a close study of its diverse expressions and variations. Consideration of versions from Saint-Gelais to Voltaire reveals above all its adaptability to diverse theatrical forms.

DENIS, DELPHINE. Le Parnasse Galant: Institution d'une catégorie littéraire au XVIIe siècle. Paris: Champion, 2001.

Review: P. Dandrey in DSS 213 (2001), 744–746: As for its substance and content, this book explores and reveals "dans son essence la dynamique d'inscription de la galanterie dans les discours qui la constituent, la figurent, la régulent et la mythifient." Denis "a frappé au cœur du phénomène galant qui procède lui-même d'un tissage de discours animés par la dynamique de la vie sociale: elle a saisi le fait galant dans l'optique qui lui convient, au sens fort du verbe." The principal organizing structure centers on the "modulations" between the real and the fictive, further broken down along the opposition between society and discursive representation and between reality and its idealisation. The author also devotes one chapter to an exhaustive study of ancient theoretical texts which deal with galanterie. The reviewer lavishly praises all aspects of this book, including its erudition, the breadth and scope of its research, formal structure, historical insights, and the thorough analyses of textual and social practices.

Review: S. Tonolo in Il 54.2 (2002), 56–58: Study of the category of "galanterie," which becomes legitimized in mid-century salon culture and thereby upsets other traditional literary institutions. "Instrument de civilisation et de pacification, parti-pris du plaisir et de la légèreté, pratique sociale dans tous ses états, tel se définit pourtant avec force le discours galant...." Rich notes and bibliography.

DENIS, DELPHINE. "Les Samedis de Sapho: Figurations littéraires de la collectivité." Vie des salons et activités littéraires, de Marguerite de Valois à Mme de Staël. Actes du colloque de Nancy. Nancy: PU de Nancy, 2001.

DOIRON, NORMAND. "Le portique et la cour. Néo-stoïcisme et théorie de l'honnêteté au XVIIe siècle." DSS 213 (2001), 689–698.

Taking Britannicus as the object of analysis, Doiron argues that Racinian tragedy subverts stoic values, staging "l'éternel combat de la constance et de la passion. . ." and proposing "une théorie de la représentation, transposant sur scène. . .les tragiques 'fantaisies' qui hantent les consciences."

DOTOLI, GIOVANNI. "La fin du centre." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 7–21.

Introduction to the acta of the CIR conference in Monopoli (Bari) by the editor of the volume. Dotoli summarizes the 17th-century history of the region, with a particular focus on the passage from la Méditerranée from centre du monde to a marginal space.

DOTOLI, GIOVANNI. Littérature et société en France au XVIIe siècle. Vol. II. Faisano: Schena, 2000.

Review: Ph. Hourcade in PFSCL XXIX, 57 (2002): 530–532: A reissuing of previously published articles on a number of topics: "les conditions mentales et historiquement datées de la parole politique, de la fin du XVIe au XVIIe siècle"; Marie de Gournay; Mairet (biography, theater, and correspondence); Adam Billaut's "chansons à boire"; Pierre Boucher's writings on Canada; and three chapters on the writings of the moralistes. Reviewer lauds "la richesse de ce livre."

Review: S. Poli in SFr 135 (2001), 631: Remarkable both by its breadth and depth, this set of studies (vol. I appeared in 1987) demonstrates "la richezza, la vitalità e la continuità del secolo." Poli praises the erudition which characterizes Dotoli's approach, never heavy, to editorial or biographical questions as well as to those of a historical, political, sociological or ideological nature (631).

DUBUEL, SANDRINE & SOPHIE RABAU, eds. Fiction d'auteur? Le Discours biographique sur l'auteur de l'Antiquité à nos jours. Paris: Champion, 2001.

Review: O. Panaite in MLN 17.4 (2002), 928–32: La problématique énoncée: "à savoir la signification historique et critique de la notion d'auteur dans les études littéraires en général, et pour la période antique en particulier. Il s'agit d'éclairer l'oeuvre en déchiffrant ses rapports au biographique, tout en évitant les écueils d'une interprétation mimétique ou étroitement déterministe." Voir l'article de Larry Norman sur Molière.

DUCHENE, ROGER. "De la chambre au salon: réalités et représentations." Vie des salons et activités littéraires, de Marguerite de Valois à Mme de Staël. Actes du colloque de Nancy. Nancy: PU de Nancy, 2001.

DUCHENE, ROGER. Les Précieuses, ou comment l'esprit vint aux femmes. Paris: Fayard, 2001.

Review: A. Niderst in PFSCL XXIX, 57 (2002): 532–534: Volume contains "une réfléxion sur la préciosité, qui consiste essentiellement à tenter de bien discerner et de définir exactement le phénomène," as well as "des annexes très fournies" containing a multitude of important primary documents for study. Duchêne's focal question is: "Les précieuses ont-elles existé avant [Molière]? Ne les confondait-on pas avec d'autres catégories des femmes, telles les coquettes ou les galantes?" Duchêne's response resembles "une enquête policière" which Niderst calls "un modèle d'histoire littéraire." "Résultat de l'enquête: 《 L'idée qu'on s'est faite [des précieuses] est restée si vague et si ambiguë, que [le mot] a pu indifféremment apparaître comme une critique ou comme un compliment 》; il n'y a pas eu de phénomènes précieux 》 ni de 《 mouvement précieux 》, pas même de 《 nébuleuse précieuse 》." However, Niderst insists upon nuancing this conclusion, claiming that les précieuses did exist, but as a "mouvement un peu diffus" which almost immediately disintegrates.

EMELINA, JEAN. "Peut-on imaginer un classicisme heureux?" Revue d'histoire littéraire de la France (nov.–déc. 2000), 1481–1501.

Review: M. Lagier in SFr 135 (2001), 638–639: Emelina argues convincingly against the view of a somber classicism with the diversions there only as an escape mechanism. Demonstrates instead a definite "goût du bonheur" and an "ideologie de l'émerveillement."

FANLO, JEAN-RAYMOND, éd. "D'une fantastique bigarrure." Le texte composite à la Renaissance. Paris: Champion, 2000.

Review: U. Schulz-Buschhaus in ZRP 117 (2001), 637–644: This Festschrift for André Tournon concentrates on 16th c. examples of "le texte composite" such as the Heptaméron and the Essais. 17th c. scholars will appreciate Terence Cave's consideration of "un moi futur" in texts of Pascal as well as Montaigne and Rabelais; Fausta Garavini's "Les Essais . . . Montaigne lu par Charles Sorel" and Neil Kenny's essay on the concept of curiosity in France's periodical press (1631–1633).

FAUDENAY, ALAIN. Le Clair et l'obscur à l'âge classique. Genève: Slatkine, 2001.

Review: I. Landy-Houillon in PFSCL XXIX, 57 (2002): 534–536: "Après le vaste panorama de l'introduction qui rappelle la complexité de la notion de 《 clarté 》 et l'enjeu qu'elle représente à l'époque classique entre l'obscurité baroque et les Lumières du XVIIIe siècle, une première partie 《 La norme et ses limites 》 traite essentiellement de lexicologie ou de morpholexicologie." In the second part, Faudenay "replace la notion de "clarté" en littérature (contre le galimatias), en philosophie (idées claires et distinctes), en optique (Mersenne) ou en peinture (jeu sur la distance, le point de vue, etc.). L'auteur s'interroge ensuite sur l'interpénétration du clair et de l'obscur, relatifs et complémentaires." The third part of the book has a linguistic and lexical focus, while the last section is given to "l'arbitraire de la distinction." "La conclusion de l'ouvrage revient à la clarté dont la variété des sens confirmerait 《 une certaine solidarité 》 entre les divers domaines du savoir, au moins jusqu'à la fin de l'Ancien Régime." Review cites Faudenay's "érudition écrasante" and lauds the important appendices, concluding, "Au total un ouvrage infiniment riche, commode. . . et utile."

FERBER, MICHAEL. A Dictionary of Literary Symbols. Cambridge: Cambridge UP, 1999.

Review: n.a. in FMLS 37 (2001), 340: The main sources for this "elegantly written and produced", "erudite, readable and informative" reference tool include: the Bible, Antiquity, and English literature mainly up to the Romantics. Although the reviewer does not mention French sources, the 175 entries undoubtedly would be helpful to students of French literature, given a common heritage.

FERRAND, NATHALIE & MICHELE WEIL, eds. Homo narrativus: dix ans de recherche sur la topique romanesque: actes du XIe colloque international de la Société d'Analyse de la Topique Romanesque dans le roman français avant 1800. Montpellier: Université de Paul Valéry, 2001.

Among articles of interest to seventeenth-century scholars: M. Débaisieux, "La chute de Phaéton: variations sur une image topique du Moyen Age au XVIIe siècle"; E. Chapco and Th. Lassalle on Lafayette; D. Godwin, "Héroïsme et personnages féminins dans la fiction idéaliste de la deuxième moitié du XVIIe siècle"; D. Kuizenga, "Romancière à succès, succès de romancière: Mme de Villedieu et les topoi."

FERREYROLLES, GERARD, ed. Littérature et religion. Littératures classiques 39 (printemps 2000). Paris: Champion, 2000.

Review: B. Chédozeau in PFSCL XXVIII, 55 (2001), 528–530: "Ces études soulignent deux caractéristiques majeures de la problématique retenue: d'une part une 《 régime euphorique dans les relations de la littérature et de la religion 》 avec les 《 éclatements 》 qui en découlent . . . et d'autre part la prise de conscience de 《 l'inadéquation foncière entre l'expression littéraire et l'objet qu'elle prétend dans son usage religieux ultimement désignere, à savoir Dieu 》 [c'est Chédozeau qui souligne]." Three major rubrics are covered: "le religieux dans les genres profanes," "les genres littéraires religieux," and "l'écriture mystique." Reviewer concludes, "On voit à la fois l'ampleur du champ abordé, qui touche tous les domaines de la littérature (et peut-être plus généralement de l'écrit, puisque la science mathématique n'est pas oubliée), ainsi que la pertinence des choix de G. Ferreyrolles, qui a aussi réuni les abondants 《 éléments de bibliographie 》."

FLAHAULT, FRANÇOIS. La Pensée des contes. Paris: Anthropos, 2001.

Review: L. Arénilla in QL 827 (du 15 au 31 mai 2002), 15, 18: "L'objet d'étude est bien délimité. Ce sont des contes populaires, ceux que Charles Perrault et les frères Grimm ont recueillis... La volonté de s'en tenir au conte populaire est confirmée par l'appel aux variantes régionales et aux versions orales. [. . .] Les explorations approfondies, parfois subtiles, des différentes fonctions, -l'éloignement, la transgression, l'interdiction, la communication, etc. -qu'assument, selon le chercheur russe, les divers protagonistes, dégagent certaines constances, et par conséquent 'l'étonnante cohérence de pensée dont les contes témoignent en se répondant les uns aux autres.'" A previous edition of this work appeared as L'interprétation des contes (Paris: Denoël, 1988).

GAINES, JAMES. "Kapital de la douleur: Remystification of the Market Culture." PFSCL XXIX, 56 (2002), 15–22.

Discusses the fate of market culture after L'Avare, particularly in reference to Dancourt, whose "favorite practice is to obfuscate capitalism by setting it out to pasture." After Molière, market culture "is reduced to a theatrical toy." Includes discussion of Hugo and Dickens.

GANNE-SCHIERMEIER, MARIE-CECILE. "Le récit à la première personne de 1596 à 1669: Anonymat et subjectivité, la littérature comme théâtre d'une subjectivité en mouvement." DAI 62/04 (2001), 1432.

Dissertation "examines the baroque aesthetics of subjective self-fashioning" in La Mariane de Filomène (1596) and the Lettres portugaises. Examines specifically the link between anonymity and uses of the first-person.

GENDRE, ANDRE. Amour sacré, amour mondain. Poésie 1574–1610. Hommage à Jacques Bailbé. Paris: Presses de l'Ecole Normale Supérieure, 1995. Cahiers V.-L. Saulnier, 12.

Review: G. Jucquois in LR 54 (2000), 398: Both Catholic and Protestant poets are included in these essays organized around the two themes of the title which may be, it is shown, both complementary and in opposition. Includes questions as diverse as the relationship between worldly love and Calvinism and that of spiritual engagement and rhetoric.

GENLO, ANDRE. Evolution du sonnet français. Paris: PUF, 1996.

Review: G. Schrammen in ZRP 116 (2000), 176–181: Forme and fond receive proper attention in this treatment of the history of the French sonnet. "Evolution" refers specifically to "le devenir des formes . . . de l'emploi des mètres et surtout au groupement des rimes" (G. 13). Semantics is considered as well in the history of themes and sensiblities over the centuries (love and death are noteworthy themes, but also friendship, God, patrie, sadness, happiness and nature, S.181). Alternative readings are suggested; is Tristan's "La belle en deuil" a hymn to the beauty of night or a portrait of a widow? (G. 134).

GIORGI, GIORGETTO et al., eds. Perspectives de la recherche sur le genre narratif français du XVIIe siècle. Pisa-Genève: ETS-Slatkine, 2000.

Review: L.N. Cagiano in SFr 133 (2001), 146–148: The Actes of a rich and lively Colloque held at Pavia in 1998, the volume presents a mise au point on scholarship on the narrative, while offering ample new developments and directions (146). Wide-ranging and noteworthy essays by outstanding scholars such as Bernard Bray and Daniela Dalla Valle, among others, contribute to the vast panorama and meticulous analyses of the volume. Interdisciplinary ramifications include reflections on letters as "pierres de touche" (Bray) and theatre in the novel (Morelet Chantalat).

Review: N. Grande in RHL 101.5 (2001), 1468: Acta from a 1998 international conference in Pavia; the volume includes analyses of both individual authors and generic questions.

Review: C. Rolla in SFr 133 (2001), 137–138: Varied collection includes analyses of the poetics of romance, the "travestissements romanesques" of J.-P. Camus, the originality of l'Astrée, Béroalde de Verville's alchemic writing, and a comparative study of Italian and French poetics of the novel.

Review: A.-E. Spica in PFSCL XXIX, 56 (2002), 257–259: Fourteen articles which represent the acta of a conference on genre held at the University of Pavia in October 1998. With articles by E. Bury (on the evolution of poetics), G. Giorgi (a comparison of Italian and French genre studies of the period), D. Mauri on Béroalde de Verville, S. Poli on L'Astree, A. L. Franchetti on J.-P. Camus, J. Serroy on the first two chapters of the Roman comique, M. Botto on Cyrano, C. Morlet-Chantalat on "le théâtre dans le roman" and Clélie, R. Francillon on Mme de La Fayette, F. Piva on the "crise du roman" of the period, A. Capatti on "l'ivrognerie enfantine dans le roman burlesque," B. Bray on "le roman par lettres," G. Berger on the relationship between history and fiction in the 17th c., and D. Dalla Valle on "le roman de formation." "Au total, un ensemble d'une grande richesse, extrêmement stimulant."

GOLDSMITH, ELIZABETH C. Publishing Women's Life Stories in France, 1647–1720. Burlington: Ashgate, 2001.

Review: L. Leibacher-Ouvrard in PFSCL XXIX, 57 (2002): 536–538: Goldsmith studies the writings of three religious and three mondaines, all of whom were "《 publiques 》 et . . . publiées" in that they all wrote the stories of their own lives. Volume contains, in addition to mémoires, correspondence, court documents, and short texts by the women's friends and relatives. Chapters on Marie de l'Incarnation, Jeanne des Anges, Jeanne Guyon, Hortense et Marie Mancini, and Villedieu. "Reliant la notion de développement personnel à la pratique post-Tridentine de la direction spirituelle, [Goldsmith] insiste avec justesse sur la venue à l'écriture et à la publication comme un processus interactif, mettant surtout en évidence l'influence de la 《 conversation 》 que leurs écrits ont entretenue avec leur public immédiat ou potentiel. . .. [C]es femmes ont également contribué. . . à remettre en cause le stéréotype de victimes sédentaires confinées dans des cabinets privés."

GOODKIN, RICHARD E. Birth Marks: the Tragedy of Primogeniture in Pierre Corneille, Thomas Corneille, and Jean Racine. Philadelphia: UPP, 2000.

Review: D. Clarke in MLR 96.4 (2001), 1074–75: "This study explores how a selection of French tragedies written between the 1630s and 1670s treat issues of primogeniture and inheritance. To do this, Richard E. Goodkin draws on recent studies in social anthropology and psychology, particularly those concerned with issues of birth order, sibling bonds and rivalries, and with the relations between generations." Reviewer expresses some skepticism "about the solidity of the author's analytical methods" and "preference for flimsily supported assertions on character motivation."

Review: G. Revaz in RHL 101.5 (2001), 1469–71. Follows certain of Freud's disciples who regarded rivalry between brothers and sisters as foundational of personality, and adds to this the sociological argument that associates feudalism with the first-born son, and capitalism with the younger son. Reviewer takes issue with some readings, which distort through "l'application systématique du schéma de la rivalité fraternelle," while underlining the subtlety of others.

Review: H. Stone in PFSCL XXVIII, 55 (2001), 531–533: "Richard Goodkin explores French classical tragedy through the engaging perspective of sibling rivalry," leading to "provocative readings." "Situating the tensions between designated heir and his siblings against the backdrop of the evolving class shifts that occur in France as the power of the aristocracy wanes and the new capitalism favors the emergence of the bourgeoisie, Goodkin offers fresh reasons to appreciate the vitality of the classical stage." Includes readings of Horace, Bérénice, Médée, La Mort de Pompée, Persée et Démétrius, Rodogune, Nicomède, Timocrate, Œdipe, La Thébaïde, Britannicus, Bajazet, Mithridate, Ariane, and Phèdre. "Goodkin's lively readings of the plays, clearly written and dotted with bursts of good humor; his lucid application of sociological and psychological theory, and his respectful engagement with an impressive range of recent critics of French classical theater make Birth Marks one of the most significant books on classical theater to appear in recent years."

Review: C. Venesoen in DSS 213 (2001), 737–739: The reviewer characterizes the book as essentially sociological and psychological in its approach to the thesis: situated within a constantly evolving social context in which nascent capitalism begins to challenge noble hegemony, the plays studied inscribe an ideological conflict between "une éthique de la continuité," based on inheritance, and an "ethic of individual enterprise based on the notion of meritocracy." The reviewer takes issue with certain interpretations of works by the frères Corneille but argues that the analyses of Racine's plays, which focus more on relationships between siblings than on primogeniture itself, constitute a vibrant re-reading of the Racinian œuvre. The reviewer concludes "[u]n livre à lire, à méditer et à inscrire dans la riche bibliographie de la littérature classique."

GREINER, FRANK & JEAN-CLAUDE TERNAUX, eds. La Politesse amoureuse de Marcile Ficin à Madeleine de Scudéry. Idées, codes, représentations. International Colloquium organized at the Université de Reims-Champagne-Ardennes. Torino: Edizioni dell'Orso, 2000.

Review: O. Pot in BHR 64.1 (2002), 146–48: "Twenty-two papers explore this vast but elusive topos under five broad headings: Philosophies of love; Codes of behavior; Rhetorical aspects; Literary representations, and Criticism and metamorphoses."

GUELLOUZ, S., ed. Postérités du Grand Siècle. Caen: Presses Universitaires de Caen, 2000.

Review: P. Zoberman in IL 54.2 (2002), 60–63: Volume concentrates on the uses and misuses of the grand siècle from the 18th to 20th century. Among the issues considered: the resurrection of Molière's Dom Juan, the publication of Tallemant's Historiettes, Hugo on Corneille, Phèdre in Proust. Many of the authors here "ont tendance à traiter leurs perspectives isolément et à s'enfermer dans les textes qu'ils présentent et d'y adhérer," and lack "[u]ne certaine distance vis-à-vis l'objet d'étude." Nevertheless, the volume shows well "la manière dont l'intelligibilité vient au passé culturel."

HACHE, SOPHIE. La Langue du ciel. Le Sublime en France au XVIIe siècle. Paris: Champion, 2000.

Review: A.-M. Mazziotti in SFr 135 (2001), 642: Contests the view that only with Boileau and his famous text of the pseudo Longinus did the debate on the sublime occur in France. Traces the theme in the period 1630–1660 and studies closely the ambiguity of the interpretation of "sublime." Solid and thorough treatment reveals importance of the question for classical esthetics and modern philosophy.

HAMPTON, TIMOTHY. Literature and Nation in the Sixteenth Century: Inventing Renaissance France. Ithaca: Cornell UP, 2001.

Review: C. E. Campbell in CHOICE 39, 4 (2001), 689–90: Examines the "pre-history of the relationship between secular literary culture and national identity in France." In readings of Rabelais, Marguerite de Navarre, Montaigne, and Mme de Lafayette, the author traces "how literary discourse registers the shifts of language and representation that accompany the large political realignments marking the century."

HAROCHE-BOUZINAC, GENEVIEVE. "La Lettre féminine dans les secrétaires. L'enfance de l'art." XVIIe siècle no. 208 (juillet–sept. 2000), 465–484.

Review: S. Costa in SFr 134 (2001), 392: Analysis by Haroche-Bouzinac of 17th c. documents reveals the rarity of disproportion of a "teorici della lettera" that feminine models used in their manuals. Her work demonstrates the difficulty in finding feminine correspondence not modified by a masculine hand. Stylistic evolution indicates that women have also realized "le rêve masculin du naturel et de la spontanéité. . ." (n.p.).

HARRIES, ELIZABETH WANNING. Twice Upon a Time, Women Writers and the History of the Fairy Tale. Princeton: Princeton University Press, 2001.

Review: K. Seago in M&T 16.2 (2002), 304–307: Reviewer considers this book an important intervention in feminist literary criticism and a "valuable and well-argued rereading of the history of the fairy tale." The first half of the book examines canon formation and contrasts what Harries calls the "compact tales" of Perrault and later the Brothers Grimm to the "complex tales" written by the conteuses of the seventeenth-century. The latter are characterized by their "consciously literary style, complex structure, ironic self-referentiality, length, and historic specificity." Harries "revalues" these works not as inferior imitations "but in their own terms, as a knowingly mocking and psychological exploration of a common tale and a coded comment on the practices and values of women's writing." The second half of the book argues that the framing narrative characteristic of complex tales is shared and reworked by contemporary revisionist fairy-tale writing. Harries studies the work of Joseph Cornell, Anne Sexton, Christa Wolf, and Angela Carter, among others.

HEPP, NOEMI. "Féminité, culture de l'esprit et vie mondaine au XVIIe siècle." Vie des salons et activités littéraires, de Marguerite de Valois à Mme de Staël. Actes du colloque de Nancy. Nancy: PU de Nancy, 2001.

HEYNDELS, RALPH & BARBARA WOSHINSKY, éds. L'Autre au XVIIe siècle. Tübingen: Gunter Narr, 1999.

Review: A. M. Mazziotti in SFr 133 (2001), 143: The other is considered as a key to the unexplored in the literary world in this volume, the Acts of the 4th Colloque du CIR 17 (1998). Sections are devoted to the moralists, the theatre, spiritual literature, and rhetoric. Essays by renowned specialists indicate the broad scope of the volume, treating subjects as diverse as letters of consolation (Thomas Carr) to the "constellation précieuse" (Philippe Sellier). Interdisciplinary emphases are found as well (Christian Biet on law and fiction).

Review: H. Phillips in FS 54.4 (2001), 542: ". . .an interesting collection of essays on what many authors have to say about the other in various contexts in seventeenth-century France. . .." Includes studies on reading and narrative, theater, the law.

HOWE, ALAIN. Le théâtre professionnel à Paris, 1600–1649. Documents analysés parMadeleine Jurgens etAlain Howe. Transcriptions parAndrée Chauleur etPierre-Yves Louis. Paris: Centre historique des archives nationales, 2000.

Review: V. Worth-Stylianou in BHR 64.1 (2002), 229–30: Howe "est venu suppléer aux travaux laissés par Madeleine Jurgens, pour dresser un inventaire complet des 458 actes notariés concernant le théâtre professionnel, relevés dans le précieux Minutier Central des Notaires de Paris. Parmi ces testaments, contrats de mariage, baux, constitutions de rente et autres documents, presque les deux-tiers étaient inédits." Ouvrage indispensable à tout dix-septiémiste qui s'intéresse au théâtre parisien.

JONES, CHRISTINE ANNE. "Noble Impropriety: The Maiden Warrior and the Seventeenth-Century Conte de fées." DAI 63/01 (2002), 205.

Examines the theme of female cross-dressing in a corpus of fairy tales as a way of understanding the woman writer's desire to form a new kind of fiction—the conte de fée, part the rise of the "bagatelle" as an art form.

JONES DAY, SHIRLEY. The Search for Lyonnesse: Women's Fiction in France, 1670–1703. Bern: Peter Lang, 1999.

Review: N. Grande in RHL 101.5 (2001), 1472: Shows how Lafayette and Villedieu contributed to the emergence of a new "écriture féminine." Considers the fiction of Bernard, d'Aulnoy, La Force. "[A] le grand mérite de mettre en lumière des auteurs trop peu étudiés."

KINTZLER, CATHERINE. "La vraisemblance après Corneille dans l'opéra merveilleux: une théorie scalaire." PFSCL XXVIII, 55 (2001): 461–471.

Kintzler demonstrates that "l'opéra français de l'âge classique doit une grande partie de sa consistance à un modèle cornélien," since "l'axe principal qui en constitue la poétique est largement inspiré des idées que [Corneille] expose dans ses Trois discours. . ." Particular attention paid to theoretical texts by Pierre Perrin, Charles Perrault, Boileau, Bossuet, Nicole, La Bruyère, La Fontaine, and Saint-Evremond, as well as several 18th-c. writers.

KLEBER, HERMANN. Die französischen Mémoires. Geschichte einer literarischen Gattung von den Anfängen bis zum Zeitalter Ludwigs XIV. Berlin: Erich Schmidt, 1999.

Review: U. Schöning in RF 113 (2001), 419–421: Comprehensive and ground-breaking treatment of the genre of Mémoires from the first examples to its 15th c. constitution as a genre and its evolution during the 17th c. Chapter 5 will be central to the interest of specialists in the Grand Siècle as it examines the expansion of the genre, its boundaries and function.

KLINKERT, THOMAS. Einführung in die französische Literaturwissenschaft. Berlin: Erich Schmidt, 2000.

Review: A. Gier in RF 113 (2001), 528–530: Although Klinkert's volume is lacking in several fundamental items (among them, a bibliography, a panorama of literary theories and methods), it is praiseworthy for a number of reasons: the correct emphasis that Klinkert places on text analysis and the function of literature as a reminder of culture, as well as for several particularly excellent chapters. Reviewer singles out Klinkert's use of Racine to illustrate poetry and rhetorical figures.

KOCH, EREC R., ed. Classical Unities: Place, Time, Action. Actes du 32e congrès annuel de la North American Society for Seventeenth Century French Literature, Tulane University, 13–15 avril 2000. Tübingen: Narr (Biblio 17), 2002.

Review: A. Niderst in PFSCL XXIX, 57 (2002): 542–543: Niderst cites Koch's goal: "《 examiner dans des perspectives pluridisciplinaires les frontières et les marges de ce canon, ainsi que les relatins entre l'accepté et le rejeté, le permis et le défendu, l'inclu et l'exclu 》 (p.97)," calling this "un volume foisonnant. Includes articles on theater by H. Merlin-Kajman, L. Riggs, S. Fleck, J. Gaines, P. Gethner, C. Braider, R. Goodkin, B. Norman, C. Biet, R. Ganim, A.-L. Bucher, and S. Melzer. Also includes a study by M. Gutwirth entitled, "Classicisme pas mort?", articles on La Fronde (M. Stefanovska and A. Plant), des carrosses (D Vaillancourt), les Tuileries (W. Roberts), 《 l'homme de ruelle chez les dames 》 (L. Seifert), women's convents (B. Woshinsky), Vaux-le-Vicomte & Fouquet (L. Mackenzie); astronomy, travel, and colonial politics (R. Racevskis, M.-Fr. Hilgar, G. Van Den Abbeele, S. Melzer); contes de fées (H. Neemann, J.-P. Van Elslande); les "romans palimpsesteux" de l'abbé de Pure (L. Leibacher-Ouvrard), Zaïde (J. Cherbuliez), les Mémoires (M. Stefanovska, P. Bayley, S. Read Baker), La Bruyère (E. Leveau), Cyrano (D. Dutton), Pascal (P. Force), rhetoric (J.-V. Blanchard & M. Taormina). Reviewer notes that there is "rien sur les poètes ni les romanciers de la première moitié du siècle," but praises the volumes rich interdisciplinarity and invitation to further study.

KRALOVEC, CLARICE ALLEN. "The Hidden God in French Literature and Cinema: From the Classical Age to the Twentieth Century." DAI 63/02 (2002), 613.

Reads the "hidden God" in Pascal's Pensées and Racine's Phèdre against Balzac and films of Kielowski, Bresson, and Truffaut.

LAURENS, FLORENCE VUILLEMIER. La Raison des figures symboliques à la Renaissance et à l'âge classique: Etudes sur les fondements philosophiques, théologiques et rhétoriques de l'image. Genève: Droz, 2000.

Review: A. Adams in MLR 96.4 (2001), 1066–67: "This elegantly printed and presented book considers the theoretical discussion concerning images, and the image-related genres. . . which flourished throughout Europe in the Renaissance and the seventeenth century."

LAVOCAT, FRANÇOISE. Arcadies malheureuses. Aux origines du roman moderne. Paris: Champion, 1997.

Review: U. Schulz-Buschhaus in ZRP 117 (2001), 111–115: Praiseworthy for the abundance of materials treated (the pastoral novel in Italy, France and Spain) and the perspicacious analyses of individual novels, the volume is useful for its considerations of language and structure as well as history of the genre. Five French texts are included, three from the 17th c.: d'Urfé's renowned Astrée (1607–1619), Henry du Lisdam's Histoire Ionique (1602) and Vital d'Audiguier's La Flavie (1606).

LE HIR, MARIE-PIERRE & DANA STRAND, eds. French Cultural Studies: Criticism at the Crossroads. Albany, NY: State U of NYP, 2000.

Review: n.a. in FMLS 38 (2002), 109: Divided into two sections: the first on theory and methodology as it relates to teaching culture; the second more research based, with an emphasis on (post) colonialism and ethnicity. Judged "open and interrogative. . . , useful, readable and thought-provoking" the volume also contains individual bibliographies and a general index.

LONGSTAFFE, MOYA. Metamorphoses of Passion and the Heroic in French Literature: Corneille, Stendhal, Claudel. Lewiston: Edwin Mellen Press, 1999.

Review: n.a. in FMLS 37 (2001), 345: Praiseworthy for its close readings, both of well-known and lesser known works, its "reflective and comparative method of mapping the themes in their historical and generic contexts, and its extensive bibliography."

LOSKOUTOFF, YVAN. "Fascis cum sideribus III. Le symbolisme armorial dans les éloges du cardinal Mazarin, ses prolongements dans les mazarinades, chez Corneille, Racine et La Fontaine." DSS 214 (2002), 55–98.

Seeking in part to counterbalance the preponderance of studies devoted to the mazarinades, Loskoutoff examines the encomiastic literature addressed to the cardinal and, specifically, the omnipresence and allegorical use of elements derived from Mazarin's coat of arms.

LÜSEBRINK, HANS-JÜRGEN, ed. Die französische Kultur-interdisziplinäre Annäherungen. St. Ingbert: Röhrig, 1999.

Review: G. Verheyen in RF 113 (2001), 530–533: The outgrowth of a 1996 course of lectures at the University of Saarbrücken, the volume is wide-ranging, including topics as diverse as music composition and culture in the Middle Ages to analyses of Frantz Fanon and Senghor. 17th c. specialists will appreciate Roger Chartier's essay "Histoire, Langages, Pratiques. Le texte et la voix, XVIe-XVIIe siècles", Jean-Paul Sermain's reflections on 17th c. linguistics, and Lorenz Dittmann's analysis of Poussin.

LYONS, JOHN D. Kingdom of Disorder. The Theory of Tragedy in Classical France. West Lafayette (Indiana): Purdue UP, 1999.

Review: G. Spielmann in PFSCL XXVIII, 55 (2001), 539–541: Four chapters, each devoted to one aspect of dramatic theory ("rules," passions, verisimilitude, and the three unities). "Lyons entreprend. . . de revister et surtout de confronter les principaux textes normatifs sur la tragédie," including Corneille, d'Aubignac, and La Mesnardière. "D'emblée l'auteur affirme que la fameuse 《 doctrine classique 》 est une invention ex post facto de l'histoire littéraire. . . Il entreprend donc de reconstituer une dramaturgie qui, en réalité, se débat dans les contradictions d'une modernité fort problématique - royaume du désordre, à l'instar de celui que dépeint la tragédie. . . où règne une 《 non-doctrine 》." Reviewer lauds Lyons' "lecture minutieuse" and for his distinctions between "la nécessité diégétique" and "la nécessité spectaculaire," and between representation and reading. "Soigneusement documenté, rigoureusement argumenté, rédigé avec précision et concision. . . Kingdom of Disorder est à lire d'urgence par quiconque s'intéresse non seulement à la tragédie ou au théâtre du XVIIe siècle, mais plus généralement à l'histoire culturelle française et à l'《 invention de la modernité 》 dont la théorie dramatique dite 《 classique 》 constitue l'un des fondements."

MAÎTRE, MYRIAM. "Editer, imprimer, publier: quelques stratégies féminines au XVIIe siècle." TL 14 (2001), 257–276.

Carefully and convincingly demonstrates that the activities of the title are in the 17th c. "des activités organisées et valorisées autrement qu'elles ne le sont aujourd'hui" (258). Attentive to "la modestie féminine" as well as to "la négligence aristocratique" and "le tropisme nobiliaire", Maître offers precise reflections on the prestige of the manuscript and the seduction of the published text, the politics of publication (Mlle de Montpensier) and reputation as a woman versus career as an author (Mlle L'Héritier) (259–264, 264–269, 269–275). Four reproductions of pertinent texts and frontispieces complement Maître's excellent analyses.

MAÎTRE, MYRIAM. Les Précieuses: Naissance des femmes de lettres en France au XVIIe siècle. Paris: Champion, 1999.

Review: N. Grande in RHL 102.1 (2002), 156–57. Shows that preciosity "met précisément en jeu les querelles et les tensions qui accompagnèrent la naissance de la littérature au XVIIe siècle." Analyzes both the original satirical discourse on the précieuses, then tries to identify their real existence. Relates them particularly to the political role of women under Anne d'Autriche; argues that they finally construct "de réelles stratégies littéraires"; distinguishes preciosity from galanterie; and suggests that the "conception précieuse de la femme" underwrites a good deal of the modern French language. "[C]'est toute notre vision du XVIIe siècle que [ce] travail vient transformer."

Review: S. Hartwig in RF 113 (2001), 426–427: Praised for its clarity, stringent argumentation and precise philological work, Maître's 800 page study treats with authority the activities of the précieuses (for example, in the propaganda of the absolutist monarchy), their roles as femme savante, femme auteur, femme critique and the concept of préciosité in relation to l'esthétique galante. An ample index of persons, a list of well-known women and their mention in contemporary texts, an extensive bibliography and comprehensive documentation complete this well-founded analysis of an important and complex concept and social movement crucial to the understanding of literature, politics, history and social phenomena of the 17th c.

Review: A. Niderst in PFSCL XXVIII, 55 (2001), 542–543: Niderst states, "ce nous est un plaisir de rendre compte d'un travail aussi méthodique, aussi érudit et aussi bien présenté. Le style est parfaitement limpide, souvent entraînant. L'auteur fait preuve d'une admirable érudition, qu'attestent un index détaillé, l'abondante bibliographie qui est clairement et judicieusement ordonnée, et surtout l'annexe qui présente une liste aussi complète que possible des femmes qu'on a pu baptiser "précieuses". D'ailleurs maints textes obscurs ou méconnus. . . ont été déterrés, lus et commentés attentivement. Myriam Maître fait preuve enfin d'un grand souci pédagogique: son étude est parfaitement structurée et progresse d'un chapitre à l'autre, à travers des conclusions partielles, jusqu'à la synthèse finale. Tout cela rend l'ouvrage exemplaire." Maître treats the question of definition (what is a précieuse?), as well as the emergence of the woman writer in France during the seventeenth century. Although Niderst judges Maître's definition of précieuse as "trop générale et trop floue," he concludes, "nous ne pouvons que rendre hommage à ce travail exemplaire, qui éclaire admirablement la vie mondaine, les pratique et les modes littéraires du XVIIe siècle."

MAJORANO, MATTEO. "Pages d'eau: mers exemplaires." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 157–168.

Article is a kind of "réflexion sur l'objet artistique et sur sa vocation à la 《 distraction 》." Majorano seeks to "découvrir les conditions, les fonctions et les raisons pour lesquelles l'imaginaire littéraire emploie, dans certains textes, cette mer tout d'abord exigée par la narration et qui charge la page d'une force insoupçonnable," particularly with reference to Racine's Bérénice, Molière's Dom Juan, and Sorel's Nouvelles françoises. Majorano concludes, "cette mer entre les terres. . . rappelle. . . une souffrance plus aïgue et injuste que celle que l'on peut rencontrer sur terre. Les différences sont toutes dans l'intensité de la 《 distraction 》 que cette eau méditerranéenne produit."

MANSAU, ANDREE, éd. Mises en cadre dans la littérature et dans les arts. Toulouse: PU du Mirail, 1999.

Review: G. Jucquois in LR 54 (2000), 389–390: Interdisciplinary and wide-ranging collective work includes essays treating works from antiquity to our day, genres from theatre to postcards, and underscores the frequent absence of formal indications between literary and ordinary discourse.

MARTIN, ISABELLE. "Usage de la dramaturgie racinienne dans l'Essai sur l'Eloquence de la chaire de l'abbé Maury." DSS 214 (2002), 127–136.

". . .un art, qu'en principe, la prédication s'efforce de combattre. . .," Racine's dramatic discourse nonetheless provides Maury with a model of sacred eloquence that supplants classical, pagan models. Maury "veut prolonger le rayonnement du Grand Siècle sur le sien du point de vue formel et idéologique, mais surtout lutter contre la rhétorique fleurie et peu efficace des nouveaux prédicateurs, qui s'appuie trop selon lui sur la dimension spectaculaire, le mot d'esprit, plutôt que sur le Verbe."

MATHIEU-CASTELLANI, GISELE. La Rhétorique des passions. Paris: PUF, 2000.

Review: F. Rouget in BHR 63.3 (2001), 633–34: Ouvrage en deux parties qui analyse le rôle des émotions dans l'art oratoire depuis l'Antiquité au 17e siècle. "La première partie de l'ouvrage rappelle utilement le rôle qu'assignaient à la passion les théoriciens de la rhétorique classique, essentiellement Aristote, pour les Grecs, et Cicéron, pour les Latins." Dans la seconde partie, l'auteur "évoque 'les incidences de la rhétorique' à la Renaissance, dans le texte écrit (chap. 6) et dans l'utilisation de l'image (chap. 7)."

MAZOUER, CHARLES, éd. Recherches des jeunes dix-septiémistes. Tübingen: Gunter Narr, 2000.

Review: C. Bernazzoli in SFr 134 (2001), 393–395: These Actes of the 5th Colloque du CIR 17 at Bordeaux (1999) are devoted to the research of young 17th c. scholars. Sections treat "Théâtre," "Théâtre lyrique," "Rhétorique, Logique, Images," "Romans, Mémoires, Histoire," and "Poésie," demonstrating the breadth of interest of these fine scholars and auguring well for the future of 17th c. studies.

Review: J. Garapon in PFSCL XXIX, 57 (2002): 548–551: Reviewer calls this volume a "panorama très stimulant et roboratif sur les tendances de la recherche actuelle, ses nouveaux champs d'étude, les voies (et les voix. . .) critiques de demain." Four sections: 1. "les arts de la scène", with articles on Rotrou, Scarron, Boisrobert, Racine (and his illustrators Chauveau and Lebrun), Quinault, and Tasso's influence; 2. 《 Rhétorique, Logique, Images 》, with articles on Furetière; "la notion de 《 bien penser 》 à l'époque mondaine;" the sublime; "l'effet de voix propre au discours pascalien;" oppositions between Jesuit rhetoric and Pascalian persuasion; and Gomberville; 3. "récits," with articles on Madeleine de Scudéry; Saint-Réal & Tacitus; the stereotype of the garden in the novel; La Rochefoucauld as a model memoir writer; Saint-Evremond, and Bossuet, Arnauld and Nicole; 4. poetry, including Malherbe, Théophile et Saint-Amant, the myth of Narcissus, and the poetry of Port-Royal. Reviewer lauds the richness of the approaches, noting that "l'heure est en revanche à la diachronie, aux problématiques croisés, à la réhabilitation de genres et de textes délaissés, aux interactions esthétiques et intellectuelles de tous ordres."

MAZOUER, CHARLES. Le Theâtre français du moyen âge. Paris: SEDES, 1998.

Review: K. Schoell in RF 113 (2001), 274–277: Highly intelligent and worthwhile inventory of research on Medieval French theatre by a renowned theatre specialist, also known for his excellent 17th c. scholarship. The reviewer hopes for future volumes on other periods of French theatre.

MECHOULAN, ERIC, éd. La Vengeance dans la littérature d'Ancien Régime. Montréal: UM, 2000.

Review: M. Reilly in FS 56.1 (2002), 91–92: "Where the book is genuinely valuable is in its exploration of the complexity of vengeance and the way in which it has an aesthetic value which reaches into the realms of politics, society, law, medicine, psychology and art." The reviewer reserves particular praise for Christian Biet's article, an exploration of legal and theological debates on vengeance.

Review: D. Shaw in MLR 96.4 (2001), 1071: "These ten essays seek to examine the changing face of revenge in the literary works of the period [17th–18th centuries]." Essay of note by R. Lauthelier on "Pathologie et vengeance dans quelques tragédies de la première moitié du 17e siècle" treats revenge in the context of humoral medicine and "demonstrates the association, in writers such as Hardy, Rotrou and Tristan l'Hermite, between atrabilious melancholy and a morbid desire for vengeance."

MERLIN-KAJMAN, HÉLÈNE. L'absolutisme dans les lettres et la théorie des deux corps: passions et politique. Paris: Champion, 2000.

Review: E. Gilby in FS 56.2 (2002), 236–237: Merlin-Kajman "takes the notion that a single physical entity can, according to the logic of the 'théorie des deux corps,' encompass within itself both the dynastic and the divine, and identifies the attendant confusion as given to exploration within the space of literature....Throughout, Merlin-Kajman homes in on the ambiguities of the textual 'moi': subject to sovereignty, yet locus of an individual subject position." Corneille is "the dominant figure in the book as a whole, granted three initial chapters and a constant presence in the rest"; there are also "impressively intricate readings" of Tristan L'Hermite, Retz, La Rochefoucauld and Racine.

Review: J. Lyons in PFSCL XXIX, 56 (2002), 267–269: Reviewer calls this an "important and strikingly original new book," which continues the author's "reflexion on the cultural and political concepts of the public, the particulier, and the private as they take shape in seventeenth-century France." Merlin locates "in drama a laboratory for the formation of a new relationship between the individual and power. She explores the creation of a new structure of the subject, a structure that appears in the king, in tragic heroes and heroines, in actors, and in theatrical spectators. At every turn, the models of political and affective conflict or accommodation that appear in drama are related cogently to contemporaneous debates in other textual forms." Specific reference is made to Corneille, Racine, Tristan, and Rotrou within a framework that includes Bodin, Montaigne, Caussin, La Rochefoucauld and Retz. Merlin specifically challenges the widely commented "topos of the 'king's two bodies,'" juxtaposing la politique ("l'art de régner") with le politique (the political sphere), and her efforts offer "luminous and rewarding insights into importants," even "fresh and convincing readings of the plays," particularly in the context of women characters. Reviewer concludes: "L'Absolutisme. . . is one of the most stimulating studies of early modern culture to appear in decades. Merlin-Kajman's innovative and controversial vision will surely open an era in our understanding of seventeenth-century France."

MERLIN-KAJMAN, HÉLÈNE. L'Excentricité académique. Littérature, institution, société. Paris: Belles-Lettres, 2001.

Review: J. Weightman in TLS 5154 (Jan 11 2002), 22: Author takes etymological sense of excentricité and asks how central the Academy has been to French language and literature during the various phases of its existence. Includes a discussion of the Academy's relationship to Richelieu and the state. Treats the Querelle du Cid and other times when the Academy has been at variance with creative literature.

MILLER, MARIA PAPAPETROU. "La Méditerranée comme issue non envisagée par l'Homme tragique de l'âge baroque." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 63–76.

With reference to "l'homme tragique de l'âge baroque," which she defines as "l'homme de l'Ancien Testament et de la Bible," Papapetrou asks, "Quelle est sa vision de la Méditerranée et pourquoi ne la regarde-t-il pas comme lieu de salut?" A study of biblical tragedies beginning with Billard (1610) to Racine's Esther, in which the author posits that there are "liens intrinsèques entre les héros bibliques baroques et la Méditerranée," and that, surprisingly, these heroes have a strong desire to flee the sea as a place of misery and misfortune, though it also represents a place of catharsis.

MOLINIE, GEORGES. "Perspectives sémio-culturelles sur l'invention du roman européen." DSS 215 (2002), 317–321.

A short essay that outlines briefly the precise features of the modernity of the novelistic form: its "non-généricité," "simplicité" and "neutralité."

MOORE, FABIENNE. "The Emergence of the Prose Poem in Eighteenth-Century France from Fénelon to Chateaubriand." DAI 61/12 (2001), 4763.

An examination of the prose poem in France that places its beginnings in Fénelon's Télémaque.

MUNARI, SIMONA. "L'espace méditerranéen dans le roman mauresque du XVIIe siècle: mythe, symbole, stéréotype." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 169–178.

Attempts to "dégager le rôle de l'espace" as a "critère d'appartenance des œuvres à un certain genre littéraire." With reference to Juvenel, Le Rou, Raguenet, La Fayette, La Calprenède, Bernard, Gomberville, Madeleine de Scudéry, Munari demonstrates that "bien avant le romantisme il y a eu une Espagne littéraire et mythique."

NATIVEL, COLETTE, ed. Femmes savantes, Savoirs des femmes. Du crépuscule de la Renaissance à l'aube des Lumières. Genève: Droz, 1999.

Review: S. Read Baker in SCN 59:3 (2001), 294–298: A collection of nineteen essays dedicated to the memory of Linda Timmermans. In the first section, entitled "Réalités / Savoirs," articles deal with, among other topics, the status and power of widows, the education of several female novelists, and women's conflicted experience of the writing enterprise. Part II, "Regards d'homme," features articles on how largely male groups—including scholarly Humanists, historians, and Protestant reformers—viewed female knowledge. Part III, "Discours de Femmes/Portraits," presents "case studies" of the lives of several key 17th-c. worthies: Marguerite de Valois, Madeleine de Scudéry, Villedieu, Dacier, Guyon and the lesser known Catherine Perrot and Mme du Noyer. The reviewer considers this book "a monumental exploration of women's intellectual interests and endeavors in early modern France."

NEDELEC, CLAUDINE et al., eds. Le XVIIe siècle encyclopédique. Cahiers Diderot 12. Rennes: PU de Rennes, 2001.

Review: A. Niderst in PFSCL XXIX, 57 (2002): 555–557: Volume recognizes the need l'honnête homme had of an ample library, yet this need was often criticized as a "folle ambition." Articles by J. Biru on "la polysémie de la vertu," C. Nédélec on "les efforts faits pour parvenir à des dictionnaires qui seraient exhaustifs," S. Mazauric on Renaudot's Centuries du Bureau d'Adresses, Ph. Raviez on Saint-Simon, F. Saby on 17th & 18th c. "collections," D. Ribard on philosophical knowledge and Sorel and Bayle; J. de Gramont on Pascal and La Tour, M. A. Robert on "cabinets de curiosités," Sorel and Pascal, D. Riou, also on Sorel. Reviewer regrets the lack of articles on Leibnitz and Fontenelle; however, the volume remains "intéressant."

NIDERST, ALAIN, ed. Le Diable, l'Autre. Paraître, communiquer. Intersubjectivité, intertextualité. Saint-Genouph: Librairie A.-G. Nizet, 1997.

Review: G. Jucquois in LR 54 (2000), 91–98: "[E]n parcourant la suite de thématiques abordées, la question de la continuité de la démarche vient spontanément à l'esprit du lecteur: d'abord le problème des rapports entre littérature et histoire, puis particulièrement les questions des variations sociales, de l'iconographie et de la littérature, des récits de voyage, de l'animalité, de l'exil et enfin celle du Diable. L'éditeur suggère ainsi un lien souterrain entre ces thématiques ce qui provoque chez lui un questionnement sur l'identité, mieux, les identités multiples de celui qu'on dénomme, notamment, le Diable." Indisciplinary / intermethodological study of the evolution from Devil to Other.

NIDERST, ALAIN. Essai d'histoire littéraire: Guilleragues, Subligny et Challe. Des Lettres Portugaises aux Illustres Françaises. Saint-Genouph: Nizet, 1999.

Review: M. Calder in FS 54.4 (2001), 542–543: Niderst's "well-researched" volume "attempts to play with the possibilities of certainty which scholarship might wish to fix on the enigma" of the Lettres portugaises. The study "follows various forking strands of enquiry, with a calculated inconclusiveness": "Niderst's Essai knows—but does not explicitly state—that the rigorous epistemological standards of textual authenticity which we have developed today, and the authorial sanctification which is the legacy of such writers as Jean-Jacques Rousseau or Chateaubriand. . . would be inappropriately imposed upon the product of an age characterized by 'supercheries littéraires.'"

Review: n.a. in FMLS 37 (2001), 348: "A new look at the authorship of the five original letters" which claims that the letters were written by Alcoforado, sent to Chamilly and translated/adapted by Subligny. Other reflections on Subligny as a "semi-invisible mover and shaker behind . . . the focus on les désordres de l'amour" (reviewer).

ODDO, NANCY. "L'invention du roman français au XVIIe siècle: littérature religieuse et matière romanesque." DSS 215 (2002), 221–234.

Author studies the increasingly fluid boundaries between textes profanes and textes religieux, arguing that despite efforts to foreground religious propaganda, novelistic form and content ultimately informed religious literature, effecting "transferts entre dévotion et romanesque."

PAIGE, NICHOLAS D. Being Interior: Autobiography and the Contradictions of Modernity in Seventeenth-Century France. Philadelphia: U of Pennsylvania P, 2001.

Review: H. Trépanier in PFSCL XXIX, 57 (2002): 557–560: "Un livre désiré: . . . une analyse de la naissance de la mentalité autobiographique." Reviewer calls Paige's work "original, riche, dense, complexe et rigoureux dans ses études particulières." "Son propos est une étude de l'intériorité, une analyse de l'impératif au XVIIe siècle en France, au sein d'un monde déterminé par les apparences — les codes sociaux, l'esthétique de l'honnête homme, les mises en scènes théâtrales, les plaisirs royaux — d'être 《 intérieur 》." Paige identifies, "entre 1630 et 1660 un changement dans les mentalités; le genre de l'autobiographie tel que nous le concevons depuis Jean-Jacques Rousseau n'est pas encore né, mais l'espace de cette pratique où l'identité est fondée sur l'expérience individuelle s'instaure progressivement." Particular reference to Saint Augustine, Montaigne, Saint Paul, to the autobiographical texts of religious such as Benoît de Canfeld, Jean Maillard, Alexandre Piny, Jean de Labadie, Antoinette Bourignon, Jeanne Guyon, and Jean-Joseph Surin. "A travers l'étude de multiples biographies et textes autobiographiques spirituels, Nicholas Paige réussit à saisir le déplacement du caractère 《 insondable 》 du divin vers le sujet humain, vers l'intériorité du sujet." Helpful index; a bibliography would have been useful.

Review: Z. Zalloua in SCN 60:1 (2002), 72–74: Analyzing select autobiographical texts that display an interiorized subjectivity, Paige offers an alternative account of the origins of modernity, one that does not depend solely on skepticism and secularism. Paige begins with Montaigne's Essais and deploys Foucault's notion of the technologies of the self to illuminate the "contradictions and paradoxes. . .of modern subjectivity." The gendering of autobiography is a central premise of the book, as Paige looks to the significant role of women in religious autobiography and biography, where tension surfaces between the representation of interiority, theoretically possible through autobiograhical writing, and the exteriority of publication, resulting in "misreading and misappropriation" which rendered the writer vulnerable. Reviewer notes the "great appeal" of this book for those interested in the genealogy of the modern subject.

PAIGE, NICHOLAS. "Enlightened (Il)Literates: Problems of Gender and Authority in Early Modern Devotional Writing." EMF 7 (2001), 115–140.

"The familiar problem here is gender; my intent is to show how the rich mine of early modern devotional writing disables many of the scripts that practitioners of cultural studies have used to understand gender relations within the Church." Proposes that gender relations within the Church were not as oppositional as much cultural studies would have it; argues that many nuns came to articulate the modern values of interiority and autobiography in part due to male writers whose intentions were ambiguous.

PAPASOGLI, BENEDETTA. Le 《 Fond du cœur 》. Figures de l'espace intérieur au XVIIe siècle. Paris: Champion, 2000.

Review: A. Gaillard in PFSCL XXVIII, 55 (2001), 547–549: French edition of a book published in Italian in 1991. "[P]artant d'une expression figée et commune à plusieurs champs, celui des auteurs mystiques comme celui des moralistes, 《 le fond du cœur 》, l'auteur explore les images et métaphores qui structurent l'imaginaire de la vie intérieure sur un long XVIIe siècle, commençant à Montaigne et finissant à Fontenelle. L'enjeu, dégagé avec prudence et nuances lors d'une introduction qui, du même coup, apparaît plus comme une synthèse des connaissances,. . . consiste à dégager et étoffer l'idée d'une intuition psychologique de l'inconscient du siècle classique. . . A partir d'une sélection de topoï, forcément subjective mais justifiée et maîtrisée par la fréquentation des textes des mystiques, qui exprimaient, au XVIIe siècle, la vie intérieure, l'auteur élabore une géographie et une cartographie de l'espace intérieur."

PAPASOGLI, BENEDETTA. Volti della memoria nel "grand siècle" e oltre. Roma: Bulzoni, 2000.

Review: J.-P. Collinet in SFr 135 (2001), 599–600: Highly congratulatory review praises the breadth and seriousness of Papasogli's volume, comparing it to both a fresco and a tapestry. Organized around the question of memory, Papasogli's analyses are panoramic, including "oeuvres fleuves" "oeuvres majeures," but also lesser known works. Truly "une belle et vast synthèse" (599).

PARMENTIER, BERENGERE. Le Siècle des moralistes. Paris: Seuil, 2000.

Review: B. Piqué in SFr 133 (2001), 144–145: Parmentier's approach considers political, social, religious and ideological ramifications as well as the motivations toward invention and renewal of the fragmentary form. Includes analyses grouped under divisions such as "Morale et société" and "Formes brisées, formes brèves." Selected bibliography and glossary.

PAVESIO, MONICA. Calderón in Francia. Ispanismo ed italianismo nel teatro francese del XVII secolo. Alexandria: Edizioni dell'Orso, Medusa, 2000.

Review: C. Bourqui in RHL 101.6 (2001), 1656–58. In-depth study of 3 Calderón plays, their French versions, and those of the Théâtre Italien, which demonstrates that the Spanish texts were modified through contact with pre-existing Italian adaptations. Reviewer lauds the study's up-to-dateness, its bibliography, and especially its conclusions, which lay to rest the tendency to view Italian and Spanish influences as separate. A fundamental study for "une exploration de la circulation européenne des sujets de théâtre au XVIIe siècle."

Review: S. Poli in SFr 133 (2001), 139–140: Sheds new light on the reception and influence of Calderon's theatre in France, traces the history of Italian and Spanish troupes in France and includes an analytical map of the imitations of three comedies. Especially welcome for its wealth of information, intelligent use of documents and its complete bibliography.

PECH, THIERRY. Conter le crime: Droit et littérature sous la Contre-Réforme: Les "histoires tragiques" (1554–1644). Paris: Champion, 2000.

Review: Chr. Biet in PFSCL XXIX, 57 (2002): 561–563: "Thierry Pech parcourt. . .un champ nouveau, encore bien souvent ignoré ou délaissé par la critique littéraire, le champ des rapports entre le droit et la littérature. . .. [L]'auteur examine donc le récit criminel tel qu'il est 《 conté 》, raconté, dans le genre bien particulier des histoires tragiques, en partant de celles de Pierre Boaistuau (1559) et passant par François de Belleforest, François de Rosset, et en terminant par Jean-Pierre Camus (1644), entre autres auteurs célèbres." Pech's focal question: "comment et pourquoi raconter le crime?" Pech demonstrates "combien ces textes et leur esthétique sont liés aux problématiques juridiques, anthropologiques et politiques de leur temps." In the 《 histoires tragiques 》, "Pech voit . . . une manière de dire le crime dans le, et en marge du, cadre de la loi, comme si elles marquaient simultanément la présence de la loi et celle d'un jugement alternatif au secret de la procédure inquisitoire par la mise en place d'un for interne et d'une réfléxion sur la responsabilité et le juste, dégageant ainsi un lieu pour la contradiction et un espace critique mettant le droit en débat." Pech evaluates "la fonction majeure du littéraire qui est de produire contradictoirement un discours à la fois propre à mettre en cause les lois et à les réaffirmer." Biet calls this an "ouvrage essentiel" for those interested in the topic.

Review: B. Boudou in RHL 102.1 (2002), 154: A study which avoids previous insistence on the "baroque" esthetics or the didacticism of the histoires tragiques by confronting them with the contemporary need to publicize the administration of justice, which became more secret "au fur et à mesure que se sont multipliées les jurisdictions intermédiaires entre le souverain et les sujets." Considers poetics of the histoire tragique; the concept of crime; penal typology; and philosophy of punishment.

PERCIVAL, MELISSA. The Appearance of Character: Physiognomy and Facial Expression in Eighteenth Century France. Leeds: W.S. Maney, 1999.

Review: n.a. in FMLS 38 (2002), 238: Percival challenges the generally accepted view of physiognomy as relatively unimportant in the 18th c. Although the 18th c. figures heavily in title and thrust of volume, the period under consideration begins with Le Brun's 1668 Conférence sur l'expression générale et particulière. Found to be a "fascinating and illuminating study which extends the view put forward by Louis Van Delft, among others, that the caractères sketched by moralistes of the 17th and the 18th c. move away from the static."

PERLMUTTER, JENNIFER ROBIN. "Commemorating Individuals, Attracting Publics: Dynamics of the Ana Genre." DAI 62/10 (2002), 3416.

Examines the history of "ana" compilations in the latter half of the century, and argues that key changes in the genre were a reflection of changing literary publics.

PIEJUS, ANNE. Le Théâtre des Demoiselles. Tragédie et musique à Saint-Cyr à la fin du Grand Siècle. Paris: Société française de musicologie, 2000.

Review: G. Durosoir in DSS 213 (2001), 741–744: Characterized as scholarly, comprehensive, and brimming with information, this book explores three main topics: the institutional life of Saint-Cyr, the artistic value of the work produced there, and the moral conflicts to which le théâtre musical gave rise and finally succumbed. The study features a description of all the musical pieces preserved in the Saint-Cyr archives and amply contextualizes this artistic production. It examines the status of musicians, compares literary and musical sources, and considers historical questions such as the musical tradition within Christian tragedy. Reviewer concurs with G. Forestier, author of the book's preface, who declares it "une contribution majeure à la recherche."

PIOFFET, MARIE-CHRISTINE. "Voyage imaginaire et altérité linguistique au dix-septième siècle." PFSCL XXIX, 57 (2002): 333–346.

Studies "une double attitude devant la différence linguistique" as either "l'effacement" or "le dénigrement." Discusses Cyrano, l'abbé de Chevremont, Gabriel de Foigny, Gomberville, La Fayette, Eustache Le Noble, de Pure, Madeleine de Scudéry, Veiras, and Villedieu. Concludes with reference to authors' ambivalence about all forms of alterity: "la diversité linguistique, loin d'être digne de mention, se dessine comme une entrave qu'on s'efforce d'occulter."

POLI, SERGIO. "Toutes les couleurs de la mer lexicographique." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 33–48.

A study of representations of the sea in 17th-c. French literature, particularly at the level of description. Refers to Arnaud, Nicole, Saint-Amant and Tristan as writers who limited their representation of the sea, while Bouhours was an exception, particularly in les Entretiens d'Ariste et d'Eugène. Poli goes on to study references to the sea in the dictionaries of Nicot, Richelet, Furetière and l'Académie Française, and concludes by tracing the scientific and exotic elements of the sea.

POSNER, DAVID M. The Performance of Nobility in Early Modern European Literature. Cambridge: Cambridge University Press, 1999.

Review: U. Langer in MP 99.3 (Febrary 2002): "Posner is much less concerned with theory than the new historicists or their French forebears... and his book stays within the confines of the literary text... We proceed from Cicero's De oratore to Baldassare Castiglione's Il libro del cortegiano, linger over Michel de Montaigne's Essais and Francis Bacon's Essayes, delve into Pierre Corneille's theater and Jean de La Bruyère's Caractères (1688). This sounds old-fashioned, and Posner's prudent and responsible weighing of interpretive options makes it seem more so. But on the whole his analyses are informed by a modern impetus: suspicion of rhetoric and noble theatricality, and a sense of the nobility's inevitable decline."

POULOUIN, CLAUDINE. Le Temps des origines: L'Eden, le Déluge, et les "temps reculés" de Pascal à L'Encylopédie. Paris: Champion, 1998.

Review: M.S. Seguin in RHL 102.3 (2002), 481–82: An analysis of the fascination for primitive history, concentrated on the years 1680–1720. First shows, in thinkers such as Bodin and Richard Simon, the loss of confidence in universal history; then shows how new histories evolved that were capable of integrating new knowledge, and looks into contemporary discussions of chronology, veracity of ancient sources, and archeological proof. Postulates that these attempts "contribuent à donner une certaine indépendance à la discipline historique, et préparent les esprits aux découvertes qu'apportera le XIXe siècle."

PRUVOST, VALERIE CELINE AGNES. "The Theater of Law: Performing Justice in Seventeenth- and Eighteenth-Century French Drama." DAI 63/03 (2002), 965.

Looks at Le Cid, Les Plaideurs, and Le Tartuffe, among others, as criticism of the legal system. Argues that the trial process, with its rules and policies, resembles the theater.

RANKE, KURT et al. Enzyklopädie des Marchens. Berlin: Walter de Gruyter, vol. 8 and 9, 1995/96, 1997.

Review: A. Gier in Archiv 237 (2000), 154–158: Highly admirable for its consistency (the project's first publication was in 1975), these volumes begin with entries in "M" and the focus has evolved from a Eurocentrism to a more inclusive perspective (an Orientalist has participated since 1986). Pertinent essays such as the one entitled "Märchen" (fairies) or the one on "Literatur und Volkserzählung" (Literature and the Folknarrative) complete these indispensable volumes. Gier offers a far-ranging commentary reminding the reader of Rousseau's view on La Fontaine's fables, for example.

RAVEL, JEFFREY S. The Contested Parterre: Public Theater and French Political Culture, 1680–1791. Ithaca, NY: Cornell UP, 1999.

Review: N.D. Pederson in RenQ 54 (2001), 1622–1624: Praised for contributing "a unique perspective on the relevance of theatre to political culture in early modern France" (1624), Ravel uses case study, avoids jargon and widely "synthesizes. . . existing scholarship with his own archival discoveries" (1623). 17th c. scholars will particularly appreciate chapter two, "Origins of the Contested Parterre, 1630–1680," chapter three, "The Parterre Becomes an Actor, 1680–1725" and chapter four, "Policing the Parisian Parterre, 1697–1751."

RESCIA, LAURA. Il Mito di Narciso nella letteratura francese barocca (1580–1630). Torino: Edizioni dell'Orso, 1998.

Review: B. Bolduc in PFSCL XXIX, 56 (2002), 271–272: "Informée par l'anthropologie structurale. . ., cette étude est divisée en sections consacrées aux dérivations éthiques, syncrétiques et hérétiques du mythe. L'approche thématique rassemble de façon éclairante des œuvres de genres divers." Introduction treats the sources of the myth, and Ovid in particular, as well as its medieval and Renaissance interpretations. Rescia then analyzes the ethical derivations of the myth in Dinet, Baudoin, de Croisilles, and de La Serre, the syncretic derivations (including Pygmalion) in Casseneuve, Sorel, and Hélie de Bourron Descoignée, and the heretic derivations in Poussin, Blaise de Vigenère, Desportes, Deimier, Du Lisdam, and Sorel. The conclusion also addresses the work of de La Roque, Urfé, and Mareschal. "Laura Rescia révèle un aspect inédit du caractère d'un personnage dont on n'a pas fini d'explorer l'étonnante modernité."

REVAZ, GILLES. "La 'veuve captive' dans la tragédie classique." Revue d'histoire littéraire de la France. mars-avril 2001, 213–226.

Review: M. Lagier in SFr 135 (2001), 642: Discovers "les composantes essentielles" by an analysis of "le schème tragique" of several key plays, Mairet's Sophonisbe, Thomas Corneille's Timocrate and Racine's Andromaque. Revaz considers historical context, the respect of the bienséances and the importance of "l'enjeu politique."

RIGGS, LARRY. "Social Mobility, Market Economics, and Amour-Propre in the Early Modern Theatrum Mundi." PFSCL XXIX, 57 (2002): 429–437.

Focuses on "The replacement of the ethically constraining traditional idea of the just price by the supposedly ethical neutral market price" in the 17th c., where "A key aspect of modernization is the emancipation of individual and monarchical ambitions from ethical constraints." With reference to La Rochefoucauld, La Bruyère, and Molière's Dom Juan.

ROHOU, JEAN. "L'Anthropologie pessimiste des 《 classiques 》: tentative de distinction et d'explication." RHL 101.6 (2001), 1523–50.

Sets out to show, against recent affirmations by J. Emelina (RHL 2000, 1481–1501) and M. Bouvier (La Morale classique, Champion, 1999), that the great authors of the time shared a globally pessimistic view of man, which the author ascribes to the decline of aristocratic generosity and increasing social competition at court in the period preceding the Enlightenment ideology of progress.

ROHOU, JEAN. Histoire de la littérature française du XVIIe siècle. Rennes: Presses Universitaires de Rennes, 2000.

Review: J.-M. Civardi in IL 54.2 (2002), 58–60: An updated edition of the first (1989). Conscious of the difficulty of periodization and even the category of "literature," author divides the century into five periods, while making it possible to follow themes throughout the century. An index of authors, patrons, genres and styles facilitates this. Includes new bibliographies after each chapter. "[F]ort utile pour les étudiants de premier et de deuxième cycles...."

Review: N. Négroni in PFSCL XXIX, 56 (2002), 273–274: An "edition" refondue et enrichie" of Rohou's previous work (1989), with a completely overhauled bibliography and recent critical references, as well as a historical lexicon. "L'ouvrage se présente non seulement comme un descriptif panoramique et synthétique sur le XVIIe siècle. . ., mais aussi comme un instrument de travail très utile car très habillement balisé." Particular emphasis on the notion of "la périodisation." Rohou joins chronological, historical, anthropological and literary readings with reception studies. Négroni regrets that "certains chapitres. . . juxtaposent trop rapidement. . . diverses mutations intellectuelles qui prennent racine au XVIe siècle" as well as Rohou's "vision syncrétique" of authors such as Théophile, Saint-Amant and Malherbe which does not do justice to the singularity of these authors. However, "la plupart des analyses qui nous sont proposées par Jean Rohou ne peuvent que réjouir les lecteurs."

ROLLA, CHIARA. "Les Romanciers 'rusés' de la première moitié du XVIIe siècle" in L'Ecriture de la ruse, Elzbieta Grodek, éd. Amsterdam: Rodopi, 2000, 145–161.

Review: C. Rizza in SFr 134 (2001), 389: Careful analysis of several key paratexts accompanying fiction of the early 17th c. Demonstrates principles such as the "fine morale," the relation between fiction and history, the problem of the vraisemblable and the bienséances.

ROQUEMORA, SYLVIA. "Les Voyageurs à la découverte du droit naturel" Littératures classiques 40 (2000), 347–384.

Review: C. Rizza in SFr 135 (2001), 636: Demonstrates importance of accounts such as those of Pyrard de Laval on Eastern India, of Tavernier on Persia, of Lejeune, Champlain and numerous Jesuit missionaries to the New World for the eventual (18th c.) elaboration of natural law.

ROUSSET, JEAN. Dernier regard sur le baroque. Paris: José Corti, 1998.

Review: n.a. in FMLS 37 (2001), 110: Eleven essays include a retrospective of Rousset's ground-breaking work on the notion of the baroque. "Baroque" is not limited to a period and the sections include essays ranging from analyses of Tartuffe to "le geste et la voix" (from Marivaux to Proust) and war and age (Claude Simon and Alice Rivaz).

RUBIES, JOAN-PAU. Travel and Ethnology in the Renaissance. South India through European Eyes, 1250–1625.

Review: L.A. Gordon in RenQ 55 (2002), 318–319: Finds that Rubies "has transformed this modest field [the analysis of travelers' accounts] into one of high accomplishment" (318). Focuses include cultural and intellectual history and while sources do not include Indian language sources, they do include "materials in half a dozen European languages" (318). Limiting himself geographically to Vijayanagar, the the southern Deccan region, Rubies challenges recent critics such as Edward Said. Rubies shows the concerns of both missionary and traveler in this "masterful work" (319).

SAFTY, ESSAM. "Les dernières honneurs dans la tragédie baroque: valeurs dramatique, morale et théologique." PFSCL XXIX, 56 (2002), 49–63.

A study of the ceremonial aspects of death as presented in baroque tragedy, with attention to the consecration or the apotheosis of innocent / virtuous heroes, grief expressed through nature, funerary urns, and secret or hidden honors paid to the dead.

SANGSUE, DANIEL. "Le récit de voyage humoristique (XVIIe–XIXe siècles)" RHL 101.4 (2001), 1139–62.

Analyzes the workings of humorous travel literature, whose archetype is the Voyage of Chapelle and Bachaumont. Also considers La Fontaine's Voyage de Paris en Limousin before examining the genre's development in the 18th and 19th centuries.

SCHWARTZ-GASTINE, ISABELLE. "Le mythe de Vénus & Adonis à l'épreuve de la tradition iconographique." DSS 214 (2002), 99–126.

The author catalogues the most significant of the many early-modern painters who depicted Ovid's myth. Although artists of diverse schools and periods produced distinctive interpretations of the myth, the author contends that a common style unites them all, "conférant quasiment à Vénus le statut de Madone chrétienne."

SCOTT, CLIVE. The Poetics of French Verse: Studies in Reading. Oxford: Clarendon Press, 1998.

Review: n.a. in FMLS 37 (2001), 111: Welcome treatment from a scholar renowned for his "twenty-year dialogue with French verse." Recommended "for specialists and committed students alike," the volume includes considerations of "expressive resources and critical issues," elucidated by a pertinent analysis of Andromaque.

SELLIER, PHILIPPE. Port-Royal et la littérature. Vol. II. Le siècle de saint Augustin, La Rochefoucauld, Mme de Lafayette, Sacy, Racine. Paris: Champion, 2000.

Review: B. Papàsogli in SFr 135 (2001), 640: Complements volume I which was devoted to Pascal and includes certain previously published studies as well as other new ones. Multifaceted and magisterial treatment of Jansenism and of the profound Augustinianism of the century, informing both profane and sacred literature.

SERROY, JEAN, ed. Poètes français de l'âge baroque: Anthologie (1571–1677). Paris: Imprimerie Nationale, 1999.

Review: R. Crescenzo in RHL 101.6 (2001), 1658–59: A selection of 54 poets that puts into question the notion of the "baroque." Editor insists that the baroque in France, because of the emergence of a centralizing monarchy, is particular, but refuses to delineate a typology of baroque poetry, opting instead to speak of the poetry of "l'âge baroque" (1570–1670). "[U]n regard neuf sur une époque de la poésie française."

SGARD, JEAN. Le Roman français à l'âge classique, 1600–1800. Paris: Librairie Générale Française, 2000.

Review: J. G. Rosso in SFr 134 (2001), 402: Remarkable treatment of vast subject in 181 pages demonstrating the richness, diversity and depth of the genre. Instructive and a pleasure to read, the volume also includes an anthology of important texts defining the novel, a rich chronology, a bibliography and indices of themes and proper names.

SHOEMAKER, P. "'Mentir (pas très) subtilement': Hyperbolic Discourses in Early Modern France" PFSCL XXVII, 53 (2000), 527–551.

Review: C. Bernazzoli in SFr 133 (2001), 141: Shoemaker's analysis includes a rapid excursion from antiquity to our day focusing on the hyperbole as an important means of expression and invention. Shoemaker finds that the 17th c. ambivalence towards the figure is a sign of the century's ambivalence toward all rhetoric.

SIDER, SANDRA. "New Resources for Emblem Studies." RenQ 54 (2001), 1574–1580.

Highly useful review article of excellent, recently published resources, including two bibliographies: Alison Adams et al.'s 1999 Bibliography of French Emblem Books of the Sixteenth and Seventeenth Centuries, vol. I (Droz) and Laurence Grove and Daniel Russell's 2000 The French Emblem: Bibliography of Secondary Sources (Droz). At least three other volumes reviewed pertain to French and have "ramifications beyond emblematics" (1576). Hans J. Böker and Peter M. Daly's 1999 edition, The Emblem and Architecture: Studies in Applied Emblematics from the Sixteenth to the Eighteenth Centuries (Brepols), Peter M. Daly's 1998 Literature in the Light of the Emblem. . . (Toronto UP) and Peter M. Daly and John Manning's 1999 edition, Aspects of Renaissance and Baroque Symbol Theory, 1500–1700 (AMS). Sider praises the U of Glasgow, AMS and Droz in particular as "having distinguished themselves as leaders in books about emblems," recommends highly the Glasgow Internet site: www.emblems.arts.gla.ac.uk/ as well as that of the newsletter of the International Society for Emblem Studies, "superbly edited by Alison Adams," accessed by adding SES to the above web address (1575)

STEDMAN, ALLISON MARGARET. "From Subversion to Status Quo: The Seventeenth-Century Generic Hybrid and the Cultural Implications of Literary Innovation in Early-Modern France." DAI 63/02 (2002), 615.

Examines the "novel / fairy-tale hybrid" in 27 works published between 1690 and 1715. Study aims to resurrect this forgotten genre, arguing that it changes our understanding of the transition from Absolutism to Enlightenment.

STEPHENS, SONYA, ed. A History of Women's Writing in France. Cambridge: Cambridge UP, 2000.

Review: n.a. in FMLS 38 (2002), 112: This "invaluable resource" is found to be "uniformly well-written and well-edited." The volume goes well beyond the established canon, beginning with Radegund in the 6th c. and continuing to the present. The 20th c. is the best represented. Helpful bibliographies and biographies complement analyses of individual texts in literary and social context.

TAORMINA, MICHAEL ANTHONY. "A Poetics of Eloquence: The Rhetoric of French Baroque Poetry, 1600–1635." DAI 63/04 (2002), 1372.

Argues, through analysis of Malherbe, Théophile de Viau, and Saint-Amant, that eloquence and Ciceronian decorum are at the heart of Baroque poetry.

TERNAUX, CLAUDE. Lucain et la littérature de l'âge baroque en France. Citation, imitation et création. Paris: Champion, 2000.

Review: R. Crescenzo in RHL 101.6 (2001), 1659: "Une enquête passionnante" which discerns a Lucanian intertext in authors ranging from Du Bellay to Corneille. Analyzes the reception of the Pharsalia and its uses in literary creation. Study "ouvre des horizons sur la question de l'imitatio et apporte beaucoup à l'étude de la survie de l'Antiquité à l'époque moderne."

Review: J. Giovinazzo in SFr 133 (2001), 136: Demonstrates Lucan's importance for the esthetics and spirit of the period from 1560 to 1650. Direct citations and imitations, including those by Corneille illustrate the attraction for Lucan's obscure style, energetic expressions and metamorphoses.

Review: P. M. Smith in MLR 97.2 (2002), 422–23: Valuable contribution to studies on the reception and influence of the Roman poet Lucan from 1560–1660.

Review: J. Supple in FS 56.1 (2002), 89: Ternaux argues that Lucan's Pharsalia is an important source for numerous French baroque texts, including d'Aubigné's Tragiques and Corneille's La Mort de Pompée. The reviewer commends Ternaux's approach to intertextuality, which offers "a coherent reading of each text, showing how it feeds on, adapts and sometimes transcends the source text."

TERRIER, PHILIPPE, LORIS PETRU, & MARIE-JEANNE LIENGME BESSIRE, eds. Les Fruits de la saison. Mélanges de littérature des XVIe and XVIIe siècles offerts au Professeur André Gendre. Geneva: Droz, 2000.

Review: A.-P. Pouey-Mounou in IL 54.1 (2002), 60–63. Articles on Malherbe (M. Jeanneret), libertines and poetic descriptions of winter (J.-P. Chauveau), and Vaugelas's reading of Malherbe (Z. Marzys); as well as a trio of articles on La Fontaine (J. Lafond; R. Francillon; F. Eigeldinger).

THIELE, ANSGAR. "L'émergence de l'individu dans le roman comique." DSS 215 (2002), 251–261.

The author challenges some commonplaces of literary history by arguing that the comic genre, in exploring a spectrum of social characters excluded from more serious genres, contained the first traces of what would later become the literary representation the individual. His corpus: Sorel's Histoire comique de Francion et Furetière's Le Roman bourgeois.

THIROUIN, LAURENT. L'Aveuglement salutaire: Le Réquisitoire contre le théâtre dans la France classique. Paris: Champion, 1997.

Review: J. Rohou in RHL 101.4 (2001), 1288–89: In spite of the attention the question has received, this work is "largement novateur" since it extends our appreciation of the true stakes of the quarrel. Author wants to "nous faire comprendre une argumentation jusque-là dédaignée comme moralisme borné d'un âge révolu, [et] montrer qu'elle pose des problèmes fondamentaux de 《 poétique 》, d'《 anthropologie 》, et de 《 métaphysique 》 aussi bien que de 《 morale 》.

THIROUIN, LAURENT, ed. Pierre Nicole, "Traité de la comédie" et d'autres pièces d'un procès du théâtre. Paris: Champion, 1998.

Review: J. Rohou in RHL 101.4 (2001), 1288–89. An edition of Nicole's text, along with other texts by Rochemont, Varet, Senault, Conti, Racine, Molière, and others. "Tous ces textes sont précédés de brèves mais denses introductions; des notes élucident les difficultés, précisent les allusions et l'origine des citations."

TRINQUET, CHARLOTTE. "The Hidden History of Literary Fairy Tales in France (1690–1705)." DAI 62/11 (2002), 3808.

Shows that, far from descending from an oral, popular genre, fairy-tales "already existed for a century as a written courtly literature in Italy, from which French tellers drew about half of their literary production."

TRIVISANI-MOREAU, ISABELLE. Dans l'Empire de Flore: La Représentation romanesque de la nature de 1660 à 1680. Tübingen: Gunter Narr Verlag (Biblio 17 - 126), 2001.

Review: S. Tonolo in Il 54.2 (2002), 54–56: Study examines the topoi surrounding evocations of nature in prose fiction, from Clèves to minor works such as the stories of the Mercure Galant. Author then attempts to trace these uses of nature to previous ones (pastoral, songe, etc.), and looks finally at how the representation of gardens interferes in the novelistic plot as both space of intimacy and social gathering. Reviewer regrets only the absence of a comparison between fictional nature and other representational possibilities (painting, architecture).

TURNER, JAMES G. "Divulgence, "Autopsy", and the Erotic Text." PFSCL XXIX, 57 (2002): 465–473.

Turner studies L'Escole des Filles, ou la Philosopie des Dames (1655) and Nicholas Chorier's Latin Satyra Sotadica (1660), texts which he considers "misclassified" as "romans obscènes," in order to show how "their dialogue-form makes them performative rather than narrative, and entirely unlike the pornographic novel as defined for the eighteenth century by Jean-Marie Goulemot."

VAN DELFT, LOUIS. "L'Idée de théâtre (XVIe-XVIIe siècle)," RHL 101.5 (2001), 1349–65.

Notes a vast corpus of works at the time invoking the concept of "theater," not in the (relatively scarce) theatrum mundi tradition, but in an encyclopedic vein: "theater" indicated a means to look and know. Contains a copious bibliography of relevant titles.

VAN ELSLANDE, JEAN-PIERRE. L'Imaginaire pastoral du XVIIe siècle (1600–1650). Paris: PUF, 1999.

Review: F. D'Angelo in PFSCL XXVIII, 55 (2001), 526–528: "Le but premier de cet ouvrage est d'analyser le genre pastoral dans son contexte idéologique, de façon à pouvoir dégager les implications culturelles profondes d'un code littéraire aux apparences parfois stéréotypées. Selon la thèse soutenue par l'auteur, l'imaginaire arcadique français du XVIIe siècle serait 《 surdéterminé 》 par deux courants culturels majeurs de l'époque: la dévotion et le libertinage." The first chapter "présente le monde arcadique sous la forme d'un vaste théâtre," un "jeu." Subsequent sections establish correspondences between the work of Urfé and François de Sales, and also suggest that the work of the libertines, like that of Urfé, aspires to "un monde où les contraintes répressives de la société n'existeraient pas." Van Elslande then joins these two very different sectors, demonstrating their "tension dialectique" and linking it back to the notion of theatrum mundi. The reviewer regrets that Van Elslande did not give more space to the analysis of more minor pastoral texts.

VANHOUCK, BENJAMIN. "Henriette et Madeleine: jeux et enjeux de la récriture au XVIIe siècle." DSS 213 (2001), 673–687.

Juxtaposing Mémoires de la vie de Mlle Delfosses ou le Chevalier Baltazar (1695, author unknown) and Villedieu's Mémoires de la vie d'Henriette-Sylvie de Molière, the author seeks to explore the larger question of re- writing at the end of the century. His close reading leads to the following conclusion: "pour être original, rien de tel, nous dit l'auteur, que de se détourner de tout modèle. . . mettant en scène sa propre activité de romancier, mettant en abyme son propre livre et posent le problème de la liberté créatrice dans le cadre d'une activité d'imitation, cet auteur-là. . .se livre à une saine récriture, faisant du même, un autre."

VERWIEBE, BARBARA KATHARINA MARIA. Tempora et mores: Untersuchungen zu den französischen übersetzungen des Annalen des Tacitus im 16 und 17 jahrhundert. Bonn: Romanistischer Verlag, 1999.

Review: B. Boudou in RHL 102.1 (2002), 155–56. Analysis of 16th and 17th-century translations of Tacitus's Annals, based on Jauss's esthetics of reception. Translations studied "monographically" and in chronological order. Concludes notably that the political dimensions of Tacitus are downplayed in the 17th century.

VIALA, ALAIN. "Des mythes cythéréens et galants." Les Méditerranées du XVIIe siècle. Actes du VIe colloque du Centre International de Rencontres sur le XVIIe siècle. Ed. G. Dotoli. Tübingen: Gunter Narr Verlag (Biblio 17), 2002: 25–32.

Viala traces the inspirations of Watteau's Cythère paintings to various 17th-c. texts, including Dancourt, Madeleine de Scudéry, Lully, Quinault, Benserade, Molière, and La Fontaine, stating that "Les honnêtes gens de l'âge classique ignorent la 《 vraie 》 Méditerranée, mais se sentent à leur aise dans l'espace culturel qui en fait intervenir les mythes." 17th-c. authors therefore redraw the myth rather than simply reproducing the Mediterranean of myth, although it remains part of a "nostagie incurable."

VIALA, ALAIN. "De Scudéry à Courtilz de Sandras: les nouvelles historiques et galantes." DSS 215 (2002), 287–295.

Taking as his corpus La Princesse de Clèves, Célinte, and Les Apparences trompeuses ou les amours du duc de Nemours et de la marquise de Poyanne, Viala traces the parameters of the nouvelle galante and its role in the history of the novel.

VILLENEUVE, J. "Résistance, narrative et utopies: l'art de la 'gouverne' au XVIIe siècle." PFSCL 27.53 (2000), 587–598.

Review: C. Bernazzoli in SFr 133 (2001), 139: Analyzes the relation between narrative and utopia by means of the intertextuality in Campanelle's Civitas solis and Cyrano's L'Autre monde. . . In the latter, utopia becomes a récit of the imagination.

VUILLEMIN, JEAN-CLAUDE. "En finir avec Boileau...Quelques réflexions sur l'enseignement du théâtre 'classique'." RHT 53.3 (2001), 125–146.

An erudite and extremely well-documented appeal to teachers and scholars of the period to reflect upon and present theater not merely as a texte dramatique but also as a texte spectaculaire, "qui, constitué d'une grande variété de systèmes signifiants mis en œuvre lors de la représentation, relève quant à lui de la sémiotique."

VUILLERMOZ, MARC. Le Système des objets dans le théâtre français des années 1625–1650: Corneille, Mairet, Rotrou, Scudéry. Geneva: Droz, 2000.

Review: S. Read Baker in SCN 59:3 (2001), 301–306: This three-part study looks at the object and its mode of existence, "the semiological status of theatrical language," and "the interactions between objects and the dramatic plot," all of which contribute to a more precise understanding of the differences between the principal theatrical genres. The reviewer notes that Part II, on the rhetorical uses of objects, is "perhaps the richest for all students" of 17th-c. literature. Notably, metonymy and synedoche allowed playrights to overcome the limitations of contemporary stage decor. A "well-written, well-organized book," concludes the reviewer.

Review: C. Bernazzoli in SFr 134 (2001), 390–391: Convincingly demonstrates the crucial role and value of objects in the theatre by close analysis of four dramatists particularly significant for the renewal of French theatre. Vuillermoz discovers the objects in the texts (mentioned in dialogues and didascalie); they may be scenic or extra-scenic (evoked by a character). Systematic consideration of 1) morphology, 2) rhetorical values and 3) dramatic and dramaturgic functions.

Review: E. Minel in RHL 102.2 (2002), 343: "[V]oici du nouveau et du solide sur la mise en scène [classique]". Author "expose le système des 《 règles implicites qui régissent le fonctionnement des objets théâtraux 》 [et] s'attache à définir l'identité rhétorique de l'objet, son intervention dans le discours en tant que pseudo-mot, ou non."

WAGNER, MARIE-FRANCE & CLAIRE LE BRUN-GOUANVIC, eds. Les Arts du spectacle dans la ville (1404–1721) et Les Arts du spectacle au théâtre (1550–1700). 2 vols. Paris: Champion, 2001.

Review: A. Tissier in BHR 64.1 (2002), 228–29: "L'intéressant est particulièrement de voir comment le théâtre, au cours de trois siècles, s'est transformé dans l'espace urbain, dans l'espace scénique, dans l'objet même de sa définition." On regrette l'absence d'un index des oeuvres citées.

WILSON-CHEVALIER, KATHLEEN & ELIANE VIENNOT, eds. Royaume de fémynie: Pouvoirs, contraintes, espaces de liberté des femmes, de la Renaissance à la Fronde. Paris: Champion, 1999.

Review: N. Kuperty-Tsur in RHL 102.2 (2002), 338–39. 16 contributions that "visent à la révaluation à leur juste mesure de l'image et des oeuvres féminines à la Renaissance." A few articles treat questions that spill over into the early 17th century: "Amazones," the patronage of Marie de Médicis, and a study of "la signification culturelle des fleurs" from the Renaissance to Louis XIV. A model for the "nombreuses recherches encore à faire dans le champ fécond des études féminines."

WORTH-STYLIANOU, VALERIE. Confidential Strategies: The Evolving Role of the 'Confident' in French Tragic Drama (1635–1677). Genève: Droz, 1999.

Review: A. Howe in MLR 97.3 (2002), 706–07: "The first full-length study of the confident, this volume is a useful addition to Racine scholarship and to research on seventeenth-century dramaturgy."

WOSHINSKY, BARBARA. "Une drôle d'entreprise: Defining the Comic." PFSCL XXIX, 57 (2002): 387–396.

Posits that relatively little critical attention has been paid to "the comic per se." Woshinsky distinguishes the comic from laughter, humor, and satire, and defines the comic with reference to divertere: "The comic is biased, oblique; it thrives on interference and incongruity; it is irreducible to one point of view, moral or message." Moreover, "the comic act is self-consciously performative. . . continually in movement," creating "an impression of lightness and spontaneity. . . yet it is totally dependent on skilled timing, and prey to enormous risks." Equates the comic with both "act" and "play," concluding that "The point of comic analysis is not to resolve or eliminate contradictions, but to map them, and, venturing out of the city grid onto more unstable terrain, to disclose the stress lines underlying the uneasy social compromise."

WRIGHT, DOUGLAS GLEN. "Ghost Writers: Theories and Strategies of Communication in the Autobiographies of Augustine, Descartes, Rousseau, and Nietzsche." DAI 62/04 (2001), 1446.

Dissertation "explores the ambivalence about autobiography as a communicative act" by tracing "the intersection between the various explicit theories of linguistic communication presented by these authors and the rhetorical purposes into which these theories are enlisted."

WYGANT, AMY, ed. New Directions in Emblem Studies. Glasgow: Glasgow Emblem Studies, 1999.

Review: n.a. in FMLS 37 (2001), 476: Wide-ranging and generally exemplary volume includes an introduction by Wygant. 17th c. scholars will also appreciate Milad Doueihi's essay on 17th c. emblem books and the seat of the emotions and Leonard Hinds's discussions of narrative portraiture in D'Urfe's L'Astrée.

ZIPES, JACK, ed. The Oxford Companion to Fairy Tales: The Western Fairy Tale from Medieval to Modern. Oxford: Oxford UP, 2000.

Review: S. Jones in M&T 15.1 (2001), 107–109: An "encyclopedic survey of a variety of subjects related to fairy tales" that includes the work of major scholars with different approaches to fairy tale study. Notes that the work primarily concerns literary tales, and so much less attention is paid to oral tradition. Regrets that Zipes relied on Propp's theories of oral tales (as opposed to more recent work) in the introduction, but still declares the work a "thorough" review in which both the longer essays and the shorter entries will be of interest to a variety of readers and scholars.

ZUBER, ROGER. Les émerveillements de la raison: Classicismes littéraires du XVIIe siècle français. Préface de Georges Forestier. Paris: Klincksieck, 1997.

Review: J. Dagen in RHL 102.3 (2002), 476–78. A rehabilitation of the notion—both historical and transhistorical—of Classicism, understood as "un idéal d'équilibre, on d'équilibre compassé et de beauté froide, mais d'équilibre vivant et de beauté sensible" (RZ). Work organized around 3 generations: Henri IV; Guez de Balzac; and Boileau, Perrault and the Querelle—Boileau being "le héros attendu," exemplary. Long and positive review—despite a few reserves concerning the author's dismissal of the Moderns—of a work that aims to view the 17th century as inspired by "une doctrine essentiellement chrétienne" (JD).