FRENCH 17

ABLALI, DRISS. "Sémiotique et phénoménologie." Semiotica 151 (2004): 219–40.

Examines the increasing return since the beginning of the 1990s to phenomenology for the study of language and texts. Critiques this development and analyzes the relationship between phenomenology and semiotics in the works of Husserl, Merleau-Ponty, and the semioticians. Looks at how phenomenology pushes semiotics away from texts, which, according to the author, should be its focus, into idealism and metaphysics, to examine the old problem of the relationship between body and soul.

ACADEMIE DES INSCRIPTIONS ET BELLES-LETTRES. Histoire littéraire de la France. Paris: Boccard, 2002.

Review: W. Monter in BHR 65,3 (2003), 745–48: Final section of this volume (t. 42, fasc. 2) concentrating largely on the medieval period "is devoted to a life-and-works profile of a highly significant 16th-century French author, Théodore de Bèze (1519–1605), composed by the outstanding living authority on him, Alain Dufour."

ADAM, VERONIQUE. Images fanées et matières vives. Cinq études sur la poésie Louis XIII. Grenoble: ELLUG Université Stendhal, 2003.

Review: R. Galli Pellegrini. CTH 26 (2004): 104–106: Work offers careful analysis of the poetry of Abraham de Vermeil, Tristan l'Hermite, Théophile de Viau, Marbeuf, and Gabriel Du Bois-Hus, going beyond traditional conceptions of genres and enriching our understanding of the imaginary of these several lesser-known, poets. Adam adopts an approach of "critique de l'imaginaire," that has until now been used to analyze the poets of the 19th and 20th centuries, enriched with the work of specialists in the rhetoric of the image. Reviewer points out in particular the interest of Adam's reading of the importance of "rondeur" in Marbeuf's poetry, which also emerges as a lunar vocabulary in Du Bois-Huis. Théophile's dominant image is rather one of the protective "creux," a less original reading, but her analysis contributes important elements nonetheless. Adam's work on the plays of Tristan L'Hermite reveals a similar preoccupation with images of refuge.

ADAM, VERONIQUE. "Les topoï dans la poésie baroque." Littératures classiques 43 (2001): 11–25.

Review: C. Rizza in S Fr 46 (2002): 437: Essay for the issue of LC on "Le temps au XVIIe siècle," focuses on the theme of time in relation to death and relevant images of myths of Antiquity. Original interpretation.

ANGEBAULT, CHRISTOPHE. "L'exception d'Alceste, ou comment le classicisme a pu servir à la modernité." DSS 223 (2004), 183–198.

The author revisits the character of Alceste, as Hélène Merlin-Kajman describes in her introduction to this number, as a "'contre-modèle' que le XVIIe siècle a fait l'objet des erreurs les plus décisives. Christophe Angebault montre comment, en censurant la comédie de Molière au profit d'Alceste, Rousseau détache le héros de la fiction dramatique pour en faire le garant moderne d'un nouvel humanisme et d'un nouvel universalisme. Effectuant une relecture strictement agonistique du Misanthrope, il refoule toutes les apories et les contradictions qu'exposait la scène comique, à commencer par celles de la différence des sexes, condamnant au passage la séduction exercée par le genre théâtral sans comprendre la sagesse problématique dont le XVIIe siècle l'avait investie."

BANDERIER, GILLES. "Un aspect méconnu de la réception de Ronsard au XVIIe siècle: L'Hortus epitaphiorum selectorum." PFSCL XXXI, 60 (2004), 101–113.

Examines a number of hypotheses aimed at explaining the variation between a number of Ronsard's original epitaphs and the version of them published in the Hortus.

BEAUDOIN, VALERIE. Mètre et rythmes du vers classique: Corneille et Racine. Paris: Champion, 2002.

Review: D. Evans in MLR 99.2 (2004), 489–90: Empirical study of the classical alexandrine in the complete works of Corneille and Racine, an expanded corpus of 77,000 lines compared to previous studies involving corpora of 1,000 lines. Using the computer program mètromètre, Beaudoin provides "many fresh insights into the alexandrine's essential rhythmic characteristics."

BENSON, STEPHEN. Cycles of Influence: Fiction, Folktale, Theory. Detroit: Wayne State UP, 2003.

Review: E. W. Harries in M&T 18.1 (2004), 130–132. Harries recommends that all readers of the journal should also read this book, which she finds a "convincing demonstration of the continuing and reciprocal influence of tales on theory and theory on tales." Of particular interest to French17 readers is chapter 5, in which Benson focuses on Perrault and the 17th-century conteuses.

BERCHTOLD, JACQUES. Les Prisons du roman (XVIIe–XVIIIe siècle). Geneva: Droz, 2000.

Review: Anon in FMLS 39 (2003): 89: Judged "learned," "extensive," and "impressive," Berchtold's comparative study analyzes and identifies a "constant intertextual dialogue" from Greek and Roman antecedents to the 21st century.

BERENSMEYER, INGO. "No Fixed Address: Pascal, Cervantes, and the Changing Function of Literary Communication in Early Modern Europe." NLH 34 (2003): 623–638.

Here, Berensmeyer invokes Pascal's Pensées in order to frame a larger argument about literary texts' role in response to growing uncertainty about the universe. Pascal's awareness that science would continue to generate uncertainties as well as knowledge, and that systems of knowledge could very well continue to supercede each other, offers a background against which it becomes important to consider how information transfer could have occurred between radically different waxing and waning systems. For Berensmeyer, literary works such as Don Quixote figure as hybrid texts that served such a function, or at least called attention to their ability to do so.

BERTAUD, MADELEINE. "Un sujet idéal pour réunir étude littéraire et histoire des mentalités." TL 16 (2003): 9–23.

Introductory essay to this first of two volumes focusing on "les Peurs" reminds the reader of the mission of TL: "d'éclairer l'oeuvre [littéraire]" by the examination of its period, author, milieu, psychology, ideas, as well as its numerous ramifications in domains such as philosophy, religion, moeurs and politics (8). The current volume treats collective fears and their literary representations as it analyzes the complex relationship between "production littéraire" and "mentalités" (11). The five groups of fears investigated include the following: "Diable et diableries," "Fléaux et épidémies," "Peurs Mises en Scène," "Autres Temps, Autres Peurs," and "Peurs des Fins." As Bertaud indicates important qualities of this wide-ranging investigation (essays treat fears from the Middle Ages to the Twentieth Century), she refers to September 11, 2001, noting that the theme of fears, decided upon in March 2001, "a pris, quelques six mois plus tard, une terrible actualité" (23).

BERTAUD, MADELEINE, ed. Travaux de littérature. Les Grandes Peurs. 1. Diable, fléaux, etc. Publié par ADIREL, avec le concours du Centre national du livre. Droz, 2003.

Includes the following articles of interest to dix-septièmistes: D. Donetzkoff, "Port-Royal et le diable" and J.-P. Collinet, "Les Fables de La Fontaine et la peur du loup."

BERTAUD, MADELEINE, ed. Travaux de littérature. Les Grandes Peurs. 2. L'Autre. Actes du colloque de Nancy (30 septembre – 3 octobre 2003) organisé par ADIREL, avec la participation du Centre d'Etude des Milieux Littéraires de l'Université Nancy 2. Droz, 2004.

Includes the following articles of interest to dix-septièmistes: L. Lobbes, "Aman, figure odieuse de l'Autre," J. Conroy, "Figures de Mithridate, 1580–1680: l'Orient redoutable," E. Francalanza, "Challe: du vécu à la mise en scène des peurs," A. Baccar Bournaz, "Les avatars du Mahométan dans la littérature française du XVIIe siècle," D. Lanni, "L'Afrique fantasmée. Les Hottentots dans les voyages manuscrits de Ruelle et Melet et dans le carnet d'esquisses d'un résident anonyme du Cap de Bonne-Espérance (1665–1672)," D. Combet, "Images de la peur et maîtrise de l'Autre dans les quatre premiers Voyages de Pierre-Esprit Radisson," and S. Linon-Chipon, "Visages et masques de la peur dans l'illustration de quelques relations de voyage à l'Age classique."

BERTRAND, DOMINIQUE. "Entre mythe et analyse: Palimpsestes savants du rire de Vigenère à Cramail" in Le Savoir au XVIIe siècle. Eds. John D. Lyons & Cara Welch. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003. 389–401.

Examines the learned conceptions of laughter in the 16th and 17th centuries through the ekphrasis of a statue of a laughing Cupid in the writings of Adrien de Montluc, comte de Cramail (Discours académique du ris) and Blaise de Vigenere (Suitte des Images ou tableaux de platte-peinture and his translation of Tasso's Jérusalem delivré). Both treatments of laughter trace a semiotics of the passions and make the face the privileged point of the analysis of interiority. While Cramail sketches a closed system of a reductive, dual vision, Vigenère offers up an enlarged hermeneutic that leads us towards uncovering the hidden meanings of symbols.

BESSIERE, JEAN and GILLES PHILIPPE. Problèmatique des genres, problèmes du roman. Paris: Honoré Champion, 1999.

Review: F. McIntosh-Varjabédian in RSH 273 (2004): 163–64: Remarkable collection has original approach that situates itself at the crossroads between theory and history of ideas, a stimulating dialogue between the centuries. Fifteen articles that stretch from the 17th to today, including an essay by Camille Guyon-Lecoq on "la tragédie lyrique ou le romanesque dans la tragédie (1673–1733)."

BIASON, MARIA TERESA. Retoriche della brevità. Bologna: Il Mulino, 2002.

Review: S. Vecchiato in S Fr 47 (2003): 767: 17th c. specialists will particularly appreciate the essays on the role of the proper noun chez La Bruyère and on the form and content of La Rochefoucauld's Maximes.

BIRBERICK, ANNE and RUSSELL GANIM, eds. The Shape of Change: Essays in Early Modern Literature and La Fontaine in Honor of David Lee Rubin. New York: Rodopi, 2002.

Review: J.-P. Collinet in S Fr 47, no. 139 (2003): 158–159: Honors a most distinguished scholar renowned for his work on poetry of the first part of the 17th c. and on La Fontaine in the second. Collinet finds the volume rich and of high quality. Part two also could be considered an "état présent" of La Fontaine research in North America. Both sections present new and stimulating reflections on wide-ranging topics such as "l'art de la louange" (Sweetser) and the culinary (Birberick) to mention only two of the fourteen outstanding essays.

Review: J. Gilroy in FR 77 (2003), 984–985. A collection of fourteen essays, approximately half of which are devoted to La Fontaine. Contributions include "Andromaque and the Search for Unique Sovereignty" by Timothy Reiss, Jules Brody's reading of the fable "L'Alouette et ses petits," Russell Ganim's analysis of allegorical stained-glass windows created for Anne de Montmorency, and Catherine Grise's engagement with narratology and ekphrasis in the fable "Les Filles de Minée."

BOCH, JULIE. Les Dieux désenchantés: La fable dans la pensée de Huet à Voltaire (1680–1760). Paris: Champion, 2002.

Review: B. Guion in RHLF 104.2 (2004), 495–97. A theological, historical, and literary study of Classical mythology in five parts. Part 1 looks at allegorical readings of myth in Classical France. Part 2 shows how during the quarrel of the Ancients and Moderns fables lost their transcendence and became mere artistic convention. Part 3 shows how starting in the early eighteenth century mythology leaves the realm of theological consideration and starts to become the object of history. Pierre Bayle is the subject of the fourth part, which shows how he uses fables to illustrate the human tendency toward credulity. Part 5 examines the interpretations given to non-European mythology. Reviewer lauds the clarity of the work, the breadth of the corpus examined, and the importance of the subject: "l'étude de la réflexion sur la fable constitue aussi une étude de la genèse de la pensée des Lumières."

Review: A. Wygant in MLR 98.4 (2003), 986: The fable, by Huet, Fontenelle, Bayle, Voltaire, and others, "understood both as theological error and as literary fiction, exited the field of sacred history and made inroads into the concerns of the nascent human sciences." Boch views the fable as a "sensitive and revealing index" to the intellectual history of late seventeenth-early eighteenth-century France; "the study itself is little given to formulation and much inclined to summary, quotation, and paraphrase. The level of the text is rarely engaged."

BOHM, ROSWITHA. "La participation des fées modernes à la création d'une mémoire féminine" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 119–131.

Marie-Catherine d'Aulnoy, Marie-Jeanne Lheritier, and Henriette-Julie de Murat created a vital literary cenacle or "corps de fées modernes" to further women's writing and a female literary tradition.

BOLD, STEPHEN. "L'Usage de la raison: A Brief Literary Survey from Mersenne to Pascal." Romance Quarterly. 50.3 (2003): 163–175.

Bold attempts to "plot possible points of articulation in a cultural philology of raison" (164), paying attention to treatment of the concept rather than the mere appearance of the term Bold first explores the notion (as presented in Le Cid) that noble worth establishes itself on the basis of a demonstrable history of ancestral feats, deeds which are acknowledged by a plurality of points of view. This notion is then compared to the emerging Cartesian method in which truths are sought through a sequence of demonstrable proofs. Bold examines other plays by Corneille so as to both elaborate and strain this concept of reason, then concludes with a turn to Pascal. Of particular interest to Bold is the philosopher's preoccupation with infinity and how it changed his sense of what reason could accomplish.

BOLDUC, BENOIT. Andromède au rocher. Fortune théâtrale d'une image en France et en Italie 1587–1712. Firenze: Olschki, 2002.

Review: M. Pavesio in S Fr 47, no. 139 (2003): 520: Part of a project of Canadian research directed by Françoise Siguret and Alain Laframboise, Bolduc's volume analyzes works composed in Italy and in France from 1587 to 1712. Original study considers the theatrical works along with iconographic documents. Includes reflections on Corneille's Andromède and Quinault's Persée. Important and ample bibliography and appendices.

BOUSQUET, PHILIPPE. "L'héroïsme féminin au XVIIe siècle entre admiration païenne et représentations chrétiennes" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 93–107.

The representation of Lucretia (especially her morally troublesome suicide) shows how pagan virtues were assimilated into a model of Christian female heroism that was free of subversive elements.

BOUVIER, MICHEL. "L'histoire anecdotique: Varillas et Saint-Réal." DFS 65 (Winter 2003), 68–83.

L'auteur soutient qu'en dehors de quelques procédés techniques du métier d'archiviste, "Saint-Réal n'a retenu des leçons de son maître Varillas que la révélation d'un univers autrefois enfoui, celui des anecdotes… d'une nouveauté si radicale qu'elle l'a obligé à inventer une forme littéraire inouïe, celle du roman moderne qui dominera de Madame de Lafayette à Marcel Proust…"

BOVET, JEANNE. "Pour une poétique de la voix dans le théâtre classique." DAI 65/03 (2004), 766.

Study that aims to reveal "that the intrinsic vocality of classical dramatic texts determines their staging as well as their writing process, and that this vocality is largely due to the influence of oratory pronunciation on the writing, transmission, and reception of literary works in the 17th Century." Places the problem of voice within "the shift from the social values of orality to those of literacy."

BOWIE, MALCOLM, TERENCE CAVE and SARAH KAY. A Short History of French Literature. Oxford: Oxford UP, 2003.

Review: E. Hughes in TLS 5285 (July 16 2004), 20: Section on Early Modern by Cave. Authors acutely attentive to historical perspective. Work to avoid anachronism and to retrace the causalities of literary history. Reviewer finds "many attractions" in volume.

BRAIDER, CHRISTOPHER. Indiscernible Counterparts: The Invention of the Text in French Classical Drama. Chapel Hill: U North Carolina Press, 2003.

Review: B. Knapp in SYM 57, 4 (2004), 241–42: "Braider's excellent volume on seventeenth-century French drama comprises both textual analyses of specific works by Corneille, Molière, and Racine and a celebration of their cultural, political, and dramatic impact on their audiences and readers." Knapp finds approach "novel and illuminating."

BREWER, WILLIAM D. and CAROLE J. LAMBERT, eds. Essays on the Modern Identity. New York: Peter Lang, 2000.

Review: Anon in FMLS 39 (2003): 331: While the review does not specifically mention the 17th c., one section should prove useful to scholars of the Grand Siècle: "Early Modern Self-Understanding."

BROOKS, PETER. Troubling Confessions: Speaking Guilt in Law and Literature. Chicago: The U of Chicago P, 2001.

Review: Anon in FMLA 39 (2003): 323. Focus is both legal formulation and the literary; for example, narrative strategies of legal practices as well as "their fictional counterparts" are examined. Reviewer terms Brooks's study "a confession of the strategic importance of comparative literature the better to understand life."

BROUARD-ARENDS, ISABELLE, ed. Lectrices d'Ancien Régime. Rennes: PU de Rennes, 2003.

Review: BCLF 655 (2004), 63–64: "C'est au lectorat féminin en particulier qu'est consacré ce colloque international qui s'est tenu en juin 2002- symboliquement-château des Roches, près de Vitré. Ses organisateurs souhaitent prendre en compte la lecture des femmes-en englobant pratique et représentation, historicité et évolution-pour contribuer à une meilleure connaissance de leur vie sociale et intellectuelle et des conditions de leur production littéraire."

BRUNN, ALAIN & TIPHAINE KARSENTI. "Pourquoi Horace s'enfuit-il? La bienséance, rapport ou limite." DSS 223 (2004), 199–212.

Hélène Merlin-Kajman summarizes an important contribution to this number dedicated to a discussion of classicism: "On le sait, le XVIIIe siècle est le véritable inventeur du "classicisme", mais c'est l'après-Révolution qui en fixera durablement la valeur." The authors "corrigent ici le préjugé tenace selon lequel la mort et le sexe auraient été interdits de représentation scénique pour des raisons morales. Au XVIIe siècle, la bienséance est essentiellement un concept poétique qui formule l'exigence d'adéquation entre une fable et l'économie de sa représentation [...] Mais à partir du XVIIIe siècle la bienséance devient morale. [...] C'est donc en négligeant le déplacement opéré par le XVIIIe siècle sur le "modèle classique" qu'on peut aboutir, à partir des Romantiques, à un partage aussi net entre ordre esthético-moral, d'un côté, excès et transgression des règles, de l'autre."

BUCHLER, DANIELE JOSIANE. "Le bouffon et le carnavalesque dans le théâtre français, d'Adam de la Halle à Samuel Beckett." DAI 64/07, 2506.

Examines the figure of the buffoon in six plays, among which Molière's Amphitryon. Argues that the figure is best understood through the lens of Mennipean satire as described by Bakhtin.

CAMPAGNE, HERVE THOMAS. "L'Imaginaire du voyage et de la découverte dans les histoires tragiques (1560–1630)." RHLF 103.4 (2003), 771–87.

Traces the debts owed by the authors of histoires tragiques—including Rosset—to travel relations of the Renaissance. Argues that the genre both disseminates such geographical information and fabricates "un imaginaire du voyage et de la découverte propre à l'âge baroque."

CANOVAS, FREDERIC & DAVID WETSEL, eds. Cérémonies et rituels en France au XVIIe siècle. Ceremonies and rituals in XVIIth century France. Actes du XXXIIIe Congrès annuel de la North American Society for Seventeenth-Century French Literature (May, 2001 - Arizona State University), Vol. 4. Berlin: Weidler Buchverlage, 2002.

CANTARUTTI, GIULIA, ed. La scrittura aforistica. Bologna: Il Mulino, 2001.

Review: R. Ruggiero in Archiv 240 (2003): 448–451: Wide-ranging and rich collection includes essays on the genre in the literature and other discourses (medical, for example) of several countries and periods. 17th c. scholars will especially appreciate Jean Lafond's essay.

CARLIN, CLAIRE L. and KATHLEEN WINE, eds. Theatrum Mundi: Studies in Honour of Ronald Tobin. Charlottesville: Rookwood Press, 2003.

Contains articles by L. Van Delft, H. Phillips, W. Calin, B. Beugnot, P. Dandrey, J.-M. Apostolidès, H. Stone, C. Carlin, D. Kuizenga, D. Gambelli, G. Dotoli, K. Wine, M. Koppisch, J. Gaines, N. Lacy, J. Emelina, B. Norman, G. Forestier, J. Lyons, R. Albanese, J. Campbell, W. Cloonan, G. Declercq, A. Compagnon, N. Peacock, M.-Fr. Hilgar, and L. Riggs, which are summarized under their respective authors' names here.

Review: D. Shaw in MLR 99.3 (2004), 773–74: "This disciplined and wide-ranging volume consists of a brief biography of the distinguished critic, a list of his voluminous publications, and some thirty articles, arranged in four sections ['Theatre of Learning', 'Comedy and the World', 'Tragedy: Pure and Mixed', 'Modern Perspectives'], on a variety of topics reflecting the range of Ronald W. Tobin's intellectual interests."

CAVAILLE, JEAN-PIERRE. Dis/simulations-Jules-César Vanini, François La Mothe Le Vayer, Gabriel Naudé, Louis Machon et Torquato Accetto: religion, morale et politique au XVIIe siècle. Lumière Classique 37. Paris: Champion, 2002.

Review: M. Koppisch in FR 77 (2003), 781–782. Cavaillé's latest work on dissimulation and the withheld examines five libertins and their production of texts. Cavaillé analyzes these men's use of ambiguities, equivocation, and mental reservation as writerly techniques, rather than as moral negotiations. Tackling one writer per chapter, Cavaillé shows an interest in how the development of legitimate secret-keeping contributes to the emergence of the early modern subject. He describes a certain "protection élitaire" of certain kinds of knowledge. For Cavaillé, the tension between publishing versus protecting the truth constitutes "an essential aspect of Western culture" (782).

CHAOUCHE, SABINE. L'art du comédien. Déclamation et jeu scénique en France à l'âge classique (1629–1680). Paris: Champion, 2001.

Review: M. Lagier in S Fr 46 (2002): 442: Praiseworthy for its rigor, diverse corpus and detailed analysis, Chaouche's study reveals a progressive "theatralization" of "le jeu du comédien": "Toujours influencée par l'actio oratoire, elle [l'évolution] commence à intégrer, dans le genre comique en particulier, le sens du jeu scénique et du mouvement" (L. 442). Important considerations of "conventions gestuelles et vocales," "le genre, "la cohérence entre jeu et personnage représenté," "les didascalies." Contests several accepted points of view such as that of Racinien declamation belonging to song (Chaouche's method here is that of minute statistic analysis).

CHAOUCHE, SABINE. "La diction poétique et ses enjeux au théâtre (le passage de l'âge classique au siècle des Lumières," PFSCL XXXI, 60 (2004), 69–100.

Sets out to retrace the evolution of poetic diction in the ancien régime; examines such questions as: "Qu'est-ce que représente réellement le " chant " dans la diction de l'alexandrin au XVIIe siècle ? Que doit-on comprendre quand on prétend vouloir non pas " déclamer " mais " parler en récitant "?" and "Certains acteurs ont-ils réussi à imposer leur propre style déclamatoire ?"

CHARBONNEAU, FREDERIC. Les silences de l'histoire: les mémoires français du XVIIe siècle. Québec: Presses de l'Université Laval, coll. La République des lettres, 2001.

Review: M. Pâquet in UTQ 73.1 (Winter 2003/4), 569–572: "Œuvre d'une érudition certaine et d'un raffinement analytique assuré, cette étude tente de comprendre l'unité problématique du genre mémorialiste au moment de son émergence en France moderne. De Brantome à Retz, en passant par de La Rochefoucauld, Sully ou Armand du Plessis cardinal de Richelieu, nombre des acteurs ayant traversé les bouleversements politiques de l'époque ont commis des Mémoires, des 'relations de faits, ou d'événemens particuliers pour servir à l'Histoire' comme le définissait le dictionnaire de l'Académie française en 1694."

CHEVREL, YVES and CAMILLE DUMOULIE, eds. Le Mythe en littérature: Essais offerts à Pierre Brunel à l'occasion de son soixantième anniversaire. Paris: PUF, 2002.

Review: A. Niderst in OeC 28,1 (2003), 228–29: Volume d'hommage portant sur le mythe: "des analyses-souvent fort originales-d'oeuvres illustres" et "des études de mythes qui circulent à travers plusieurs oeuvres" (par exemple, l'article de Krysinski et Ergal sur "Don Juan de Molière à Kafka et Beckett").

CHRAIBI, ABOUBAKR. "Galland's "Ali Baba" and Other Arabic Versions." M&T 18.2 (2004), 159–169.

A multifacted study of the tale of "Ali Baba" that includes investigation of its variations in Arabic narrative tradition. "In order to write "Ali Baba," a tale of thirty-six published pages, Antoine Galland amplified the text he had noted down in his diary, which only comprised six pages. While doing so, Galland also omitted certain details, such as the presence of food in the cave. These details enable us to decide whether the versions of the tale of "Ali Baba" recorded in the Maghreb and other Arab regions depend on Galland's text or whether they are independent. The analysis aims to contribute to a better understanding of the formation of this tale." (Abstract) Finds that Galland's version of the tale, one never before recorded and for which few oral versions exist, is a masterful, relatively modern creation that nonetheless has links to ancient tradition.

CLARKE, JAN. "Catherine Biancolelli or the Wit and Wisdom of Colombine" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 203–217.

The author surveys the actress Catherine Biancolelli's intepretation of Colombine, a stock character in the commedia dell'arte, on the Parisian stage. Colombine is a cynical observer, caustic commentator, and ardent defender of women.

CLEMENT, CATHERINE. Claude Lévi-Strauss. Paris: PUF, coll. Que sais-je?, 2002.

Review: J.-C. Coquet, Littérature 131 (sept. 2003): 123–24: Clément elegantly and succinctly presents a panorama of the exceptional and copious work of Lévi-Strauss, a pioneer of interdisciplinary research. Points that interest the reviewer include how the author underlines the often ignored importance of the body as model for structural analysis: "Le propre de Lévi-Strauss, c'est de sentir d'abord, d'analyser ensuite." Clément also highlights Lévi-Strauss's true ecological philosophy that stood against "une civilisation mondiale destructrice de ces vieux particularismes auxquels revient l'honneur d'avoir cré les valeurs esthétiques et spirituelles qui donnent son prix à la vie." Clément shows how Lévi-Strauss valorized instead what he saw in "primitive" cultures: "une secrète harmonie entre cette quête du sens, à quoi l'humanité se livre depuis qu'elle existe, et le monde où elle est apparue et où elle continue de vivre: monde fait de formes, de couleurs, de textures, de saveurs et d'odeurs."

CLOSSON, MARIANNE. "L'invention d'une 'littérature de la peur': le temps de la chasse aux sorcières." TL 16 (2003): 47–63.

Demonstrates that contrary to what is generally thought, "la sorcière est... une figure des temps modernes, contemporaire... de Descartes, et non du Moyen Age" (48). Includes treatment in literature (Pierre de Lancre, Bossuet) and art (Jacques de Gheyn II, Claude Gillot) of representations of "religieuses possédées." Underscores the remarkable success of works such as the Histoires tragiques de notre temps by François Rosset (more than 35 editions beginning with that of 1614) as well as the larger fascination of the subject and its function in multiple literary genres (57, 62).

COGITORE, ISABELLE and FRANCIS GOYET, eds. Devenir roi. Essais sur la littérature adressée au Prince. Grenoble: U Stendhal, ELLUG, 2001.

Review: L. Luisoni in S Fr 47, no. 139 (2003): 227–228: The fruit of a seminar on "Discours pour les Princes" held at Grenoble from 1995–1998, this volume is wide-ranging, treating topics as diverse as prudence in Antiquity and the sublime in the Early Modern (F. Goyet) and princes and the cinema (C. Eades). 17th c. scholars will appreciate Christopher Allen's analysis of the works of Charles Le Brun.

COLLOGNAT-BARES, ANNIE. Le Baroque en France et en Europe. Paris: Pocket, 2003.

Review: BCLF 652 (2003), 86–87: Un "ouvrage de bonne vulgarisation" dont la matière est "divisée en une série de repères (historiques et culturels), de panoramas (architecture, peinture, musique…), de répertoires (thèmes, citations, oeuvres et auteurs)."

COMPAGNON, ANTOINE. "Racine and the Moderns" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 241–249.

Compagnon interrogates the apparent complicity between the classical Racine and the Moderns, particularly Claudel, Gide, Valéry and Proust. Compagnon points to the Modernist tendency to focus on horror and cruelty in Racine (particularly in Andromaque and Britannicus), and on the Moderns' ostensible preference for Shakespeare. Compagnon concludes that Racine is "a mirror of their own ambiguity, of the ambiguity of the Modern" (248).

COWARD, DAVID. A History of French Literature: From "Chanson de geste" to Cinema. Oxford, England; Maiden, MA: Blackwell, 2002.

Review: A. King in WLT 77.2 (2003), 121: An historical approach to literature which focuses on historical, social and cultural contexts. Contains six subdivided chapters in chronological order followed by three chapters entitled "Beyond 'Literature,'" "Beyond Words" and "Beyond Imagination, Gender and the Métropole." King finds the first section considerably more useful than the second. Also, warns that it can be difficult to find information on a specific author or text and that the volume contains some errors. Still, King concludes this work could "supplement" a history of French literature.

CRONK, NICHOLAS. The Classical Sublime: French Classicism and the Language of Literature, EMF Critiques. Charlottesville: Rookwood Press, 2003.

CROWLEY, MARTIN, ed. Dying Words: The Last Moments of Writers and Philosophers. Amsterdam and Atlanta: Rodopi, 2000.

Review: Anon in FMLS 39 (2003): 99: Uneven collection of essays examines "the status of works issuing from authors who claimed in the wake of Barthes that the author is dead when mortality strikes back at these postures." Praise for Henry Philips' contribution on Molière.

CULLIERE, ALAIN. "La Mort du comédien Adrien Talmy (1603)." BHR 65, 3 (2003), 601–12.

Article sur Adrien Talmy, comédien et chef de troupe réputé, basé sur recoupement d'archives. Un acte notarié dans les archives de Metz "qui fait apparaître qu'Adrien Talmy est mort à Metz au printemps 1603, dans un état misérable" offre de nouvelles perspectives sur le théâtre messin et l'histoire théâtrale des décennies 1570–1620.

DANDREY, PATRICK and DELPHINE DENIS. De la polygraphie au XVIIe siècle. Paris: Champion, 2003.

DANDREY, PATRICK et GEORGES FORESTIER, eds. L'Illusion au XVIIe siècle. Paris: Champion, 2002. Littératures classiques, no. 44, hiver 2002. Paris: Champion, 2002.

Review: C. Rolla in S Fr 47, no.139 (2003): 154–155: This number of Littératures classiques is devoted to the theme of illusion in several manifestations: "Fiction et illusion," "Illusion et réalité au théâtre" and "Illusion et vérité." Authoritative analyses of theory and of particular literary texts.

Review: BCLF 636 (2002), 108: "Avec la question de l'illusion, le numéro d'hiver de la revue Littératures classiques [44] renoue avec les concepts majeurs de la philosophie au XVIIe siècle, comme le temps ou encore l'imagination (à paraître)... Il apparaît néanmoins que les rapports entretenus entre le concept d'illusion et ceux qui lui sont proches, comme la raison, la réalité ou la vérité, permettent d'esquisser une anthropologie critique, et cela en particulier à partir de la lecture de Pascal ou de Descartes. C'est là sans aucun doute que la réflexion est la plus fructueuse et que les pistes de recherche s'avèrent les plus originales.

DANGY, ISABELLE. "L'arbre des Gratiolet ou les déboires du marquis de Carabas (étude sur la famille Gratiolet dans La Vie mode d'emploi de Georges Perec)." Littérature 131 (sept. 2003): 37–58.

Analyzes the use of the genealogical model by contemporary writer Georges Perec's in La Vie mode d'emploi through comparison with Perrault's tale of Le Chat botté.

DECLERCQ, GILLES. "L'Identification des genres oratoires en tragédie française du 17e siècle (Iphigénie, Cinna)" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 230–238.

Declercq studies the notion of genres oratoires in the context of 17th-century tragedy, contrasting "rhétorique intrascénique [and] extrascénique" in order to show the primacy of the deliberative genre. Particular attention to Racine's Iphigénie and Corneille's Cinna.

DEJEAN, JOAN. The Reinvention of Obscenity: Sex, Lies, and Tabloids in Early Modern France. Chicago: University of Chicago Press, 2002.

Review: M. Longino in FR 77 (2003), 1258–1259. DeJean examines the 17th-century reemergence of the term "obscene," anchoring her analysis in three important moments obscenity's early history. The first of these addresses the homophobic persecution of Théophile de Viau, as well as the technique of suggestive obscenity by means of ellipsis. Next DeJean turns to the democraticization of eroticism through the publication of the cheap best-seller L'École des filles. DeJean's final gesture involves "Molière's savvy marketing of "obscenity" through Agnes' "le…" in L'École des femmes, an ellipsis that "set up the spectator to run a quick inventory of the female genitalia" (1259), generating press for the play which ensured its box office success.

Review: M. Mohr in SCN 61 (2003), 325–329: "DeJean argues that obscenity was reinvented in France between 1550 and 1663, and that it spread in its new form to England and Italy." The reviewer praises DeJean for the case studies she examines dealing with Théophile de Viau, L'Ecole des Filles, and Molière's role in the reinvention of obscenity with L'Ecole des femmes and its surrounding controversy. The reviewer, however, faults DeJean for over ambition in including a single chapter covering "ancient Rome, the Middle Ages, Italy and England," which "suffers from oversimplification and occasional factual inaccuracies." "Despite its drawbacks, The Reinvention of Obscenity has much for readers interested in early modern French print culture."

Review: K. Perry Long in Ren Q 56 (2003): 1266–1268: Praised as "a nuanced study of the rebirth of obscenity in seventeenth-century literature and culture," the volume treats "the early history of pornography," the "marketing of books to a variety of social classes," the "increasing control [of authors] over the production of their own works" and women as a significant audience (1267). Texts considered are Théophile's l'Ecole des filles and Molière's Ecole des femmes and Critique de "l'Ecole des femmes."

Review: J. Turner in MP 101.3 (February 2004), 423–431: "In this important and thought-provoking book (her seventh), Joan DeJean selects three well-documented episodes in French seventeenth-century book censorship, analyzing them as three critical stages in the simultaneous emergence of modern sexual discourse and modern authorship. (…) Though some points are marred by impetuous reading of the primary evidence and overdramatic foreshortening of history, the whole argument is seductive and many of the details deeply perceptive. This dashing book should be required reading for anyone working in print culture and the history of sexuality."

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

Review: B. Piqué in S Fr 46 (2002): 443: Praiseworthy for its linguistic and socio-literary competence, this third volume by Denis treating the "galant" (La Muse galant..., 1997; the anthology De l'air galant..., 1998), invites us to reconsider, reformulate and recontextualize categories and notions such as author and work, emphasizing the "galant" collectively (443).

DENIS, DELPHINE. "Préciosité et galanterie: vers une nouvelle cartographie" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 17–39.

The concepts of précisosité and galanterie lie in unstable critical territory: their configurations of allegorical space have alternately co-existed and overlapped according to ever shifting critical perspectives.

DESJARDINS, LUCIE. Le corps parlant. Savoirs et représentation des passions au XVIIe siècle. Québec, Paris: Presses de l'Université Laval, L'Harmattan, 2000.

Review: B. Bolduc in UTQ 73.1 (Winter 2003/4), 567–569: L'ouvrage de Desjardins renferme une impressionnante somme d'informations en mettant en dialogue des disciplines aussi variées que la médecine, l'éthique, la poétique, la rhétorique et l'esthétique. "Dans cette version remaniée de sa thèse de doctorat, l'auteur se donne pour objectif d'analyser les enjeux des représentations des passions, les principes et les règles qui en rendent compte, tels qu'ils se présentent dans un corpus composé d'une trentaine de textes choisis et publiés entre 1640 et 1680." Malgré quelques réserves, le critique trouve que l'ouvrage "présente la problématique de la représentation des passions dans toute sa richesse."

DESSAN, PHILIPPE et GIOVANNI DOTOLI, eds. D'Un Siècle à l'autre: littérature et société de 1590 à 1610. PU Paris/Sorbonne, 2001.

Review: BCLF 636 (2002), 108–09: "Ce volume réunit un ensemble de quinze communications issues de deux colloques tenus à Bari en 1997 et à Chicago en 2000. Leur objet d'étude était le passage symbolique du XVIe au XVIIe siècle, dans les limites chronologiques arbitraires de 1590 à 1610."

DEVINCENZO, GIOVANNA. "La femme de lettres selon Marie de Gournay" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 87–92.

Marie de Gournay's example and work advanced the inclusion of women in the republic of letters.

DIETZ, BETTINA. Utopien als mögliche Welten. Voyages imaginaires der französischen Frühaufklärung 1650–1720. Mainz: von Zabern, 2002.

Review: P. Fuchs in HZ 276 (2003): 764–766: Diligent, well-founded and informative study focuses on utopia in travel literature of the second half of the 17th c. and the early 18thc., investigating well-known and lesser known authors, including Fénelon, Fontenelle, Gabriel de Foigny, Denis Veiras, Claude Gilbert, Lahontan, and Tysot de Patot. Part two examines the reception of these works, censorship, criticism, popularization, believability, and so forth.

DOTOLI, GIOVANNI. Littérature et société en France au XVIIe siècle. Vol. II, Fasano, Schena / Paris, Didier Erudition, 2000. Vol III, Préface de Jean Mesnard, Fasano, Schena / Paris, Presses de l'Université de Paris-Sorbonne, 2001.

Review: S. Poli in S Fr 46 (2002): 434–435: Highly praiseworthy for its erudition, coherence, interdisciplinarity and attentiveness to all levels and aspects of 17th c. culture. Jean Mesnard, in his introduction, calls Dotoli "une vraie force de la nature." Sections of this ample study treat perspectives of comparatist research, theatre (Montchrestien), the commedia dell'Arte, Molière's Don Juan and, separately, the Misanthrope, the burlesque (definition and mentalités), Perrault and Pierre Boucher (ethnology of l'Amérindien in his Histoire).

Review: J.-Cl. Vuillemin in PFSCL XXXI, 60 (2004), 246–249. "Inspiré des prolégomènes théoriques hérités du structuralisme génétique concocté jadis par Lucien Goldmann, M. Dotoli part du principe que l'écrivain, tout en proposant sa propre conception du monde, demeure "le porte-parole de son référent situationnel" (II, 104). Nonobstant les vertus alléguées de l'interdisciplinarité et de l'approche comparatiste (III, 21–62), c'est surtout le milieu de l'écrivain… qui prend une importance capitale dans les textes ici réunis."

Review: BCLF 636 (2002), 107–08: "Mis à jour et traduits en français (si nécessaire), ces travaux pour la plupart déjà publiés entre 1984 et 2001 sont présentés en neuf sections qui sont révélatrices de la souplesse critique dont fait preuve l'auteur... Donnant au théâtre la meilleure place, G. Dotoli montre à la fois sa grande érudition (sa bibilographie burlesque est, à cet égard, précieuse) et sa finesse dans l'analyse des textes."

DUCHENE, ROGER. Mon XVIIe siècle, de Mme de Sévigné à Marcel Proust. CD-ROM. Marseille: CMR 17, 2001.

Review: J.-R. Armogathe in DSS 223 (2004), 346–347: "Une excellente idée de Roger Duchêne fournit un remarquable outil de consultation, un "cédérom" pour PC et Mac contenant l'essentiel de sa bibliographie: plus d'une centaine d'articles, essentiellement sur le XVIIe siècle, les tables de matières, des introductions, des extraits de ses livres, un historique documenté des rencontres et colloques du CMR 17 (entre 1971 et 1993), un choix inédit, enfin, de lettres de femmes du XVIIe siècle."

Review: F. Lagarde in PFSCL XXXI, 60 (2004), 249–250. This short review indicates in sum what can be found on this CD-Rom which incorporates over 2000 pages of research written by Roger and Jacqueline Duchêne, and six hundred letters written by women in the seventeenth century. A full table of contents is available on http://cmr17.free.fr/C004/100htm.

DUCHENE, ROGER. Les Précieuses ou comment l'esprit vint aux femmes. Suivies de: Antoine Baudeau de Somaize: Les Véritables Précieuses, Les Précieuses ridicules mises en vers. Le Grand Dictionnaire des Précieuses ou la Clé de la langue des ruelles (1660). Le Grand Dictionnaire des Précieuses (1661) et autres annexes. Paris: Fayard, 2001.

Review: S. Hartwig in RF 115 (2003): 117–118: Welcomed as an important addition and corrective to much research on the précieux phenomenon, Duchêne's clearly argued study identifies both positive and negative connotations of the word in some 40 texts (about half are positive). Fiction and historical reality overlap as Duchêne's dossier of certain previously inaccessible texts demonstrates (the 1654 Carte du Royaume des précieuses by the Marquis de Maulévrier, for example). Duchêne's book is judged an essential reference work for future researchers in this area.

Review: M.-O. Sweetser in FR 78 (2004), 147–48. In a series of careful illustrations, Duchêne attempts to show that the term "précieuse" was used with a variety of positive connotations prior to the staging of Molière's 'ridiculizing' play. The book includes lengthy analyses of texts from both categories-those which employed the term for purposes of praise and those which launched précieuse satire and attack. Highly laudable is Duchêne's inclusion of many of these texts in a lengthy annexe at the back of the book, coupled with an extensive index. Also worthy of note is Duchêne's observation that Les précieuses ridicules derives much of its humor from a conflation of préciosité and galanterie. From a socio-economic point of view, the play's hyperbolic provincials are a far cry from the grandes dames to whom the term "précieuse" was more commonly applied.

Review: M.-O. Sweetser in RHLF 103.3 (2003), 718–19. A detailed and accessible chronological presentation of the works of Somaize. Author argues that the works are not representative of social reality, but are rather a work of fiction. Author also concludes that the ambiguous use of the term (as much or more positive than negative) makes clear that it is impossible to "donner une description cohérente de ce qu'auraient été les précieuses" (Sweetser) and that the idea of a "mouvement précieux" is thus erroneous.

DUMORA, FLORENCE. "Note sur l'objet théorique selon Louis Marin." DSS 223 (2004), 289–302.

The author revists the notion, as Héléne Merlin-Kajmin explains in introducing this article, that "le "classicisme" du XVIIe siècle se troublait sous l'effet de la modernité, entrant avec elle dans un rapport de dialogue étroit, voire de connivence, et c'est ce dialogue que, dans le sillage de Louis Marin, Florence Dumora relance ici en montrant comment la réflexion menée sur le songe au XVIIe siècle, réflexion d'une très grande subtilité, déploie une théorie de la représentaton autrement plus complexe que celle à laquelle a voulu la réduire le Foucault lecteur de Port-Royal, et comment notamment cette pensée du songe, [...] fait pleinement place à ce que la modernité a appelé l'autoréférentialité pour en faire l'un de ses traits distinctifs."

DUTTON, DIANNE. "Rhétorique et poétique du plaidoyer de l'âge classique: Olivier Patru, Antoine Le Maistre et Claude Gaultier." DAI 65/01 (2003), 156.

Argues that dismissing the plaidoyer as non-literary does violence to the categories of the time. "Pleadings did not belong exclusively to judicial rhetoric, wherein the end is the Just; they were also a form of epideictic rhetoric, aiming to attain the Beautiful."

EGGINTON, WILLIAM. How the World Became a Stage: Presence, Theatricality, and the Question of Modernity. Albany: SUNY P, 2003.

Review: B. J. Nelson in MLN 118, 5 (2003),1327–29: "Bridging the fields of philosophy, comparative literature, and cultural studies, Egginton seeks to establish, through a series of historical and theoretical comparisons of French and Spanish classical theater, a common ground for both the ontological constitution of modernity and the epistemological drive of the theatrical subject for knowledge of self and world."

ELMARSAFY, ZIAD. Freedom, Slavery, and Absolutism: Corneille, Pascal, Racine. Lewisburg, PA: Bucknell UP, 2003.

Review: C. Kerr in Choice 41.5 (2004), 912. Proposes that early modern France feared liberty more than slavery, and that the absolutist state assuaged that fear, along with period literature that endorsed strong central sovereign power as a promise of justice and peace. "Corneille re-encodes politics in terms of love: private passions must be subjugated to love of the monarch. In Pascal, where the deity becomes absolute ruler, only divine love can save the individual from tyrannical earthly desires. Racine repeatedly presents narratives of enslavement and deliverance through the mediation of a savior king" (912).

EMELINA, JEAN. "L'Horreur dans la tragédie" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 171–179.

Emelina claims that in spite of Aristotle, horror haunts 17th-century tragedy. Beginning with references to horror in 17th-century critical texts, Emelina explores the nature of horror, contrasting it to la terreur and its counterparts with attention to the various meanings attached to the word "horror," the causes of horror, the more positive evocation of the frisson sacré, and the part of horror that is sublime as well as the predominance of metaphysical horror, whose effects do not last and which generally precedes terror. Emelina distinguishes horror felt by a play's characters to that experienced by the spectators.

ESCOLA, MARC. "Récrire Horace." DSS no. 216 (2002): 445–467.

Review: A. Arrigoni in S Fr 47, no. 139 (2003): 438: Reviewer appreciated Escola's perspective on the "dualismo critico" which confronts Horace and renders it of such great interest. Focuses on the central and disturbing element of fratricide.

FERRARI, STEPHAN. "Histoire tragique et grande histoire: rencontre de deux genres." DFS 65 (Winter 2003), 18–35.

Une étude du rapport entretenu par l'histoire tragique et la grande Histoire des XVIe et XVIIe siècles. D'après l'auteur, cette étude "permet de mieux cerner le fonctionnement interne du genre et de mieux comprendre certains aspects de son évolution poétique."

FINUCCI, VALERIA and KEVIN BROWNLEE, eds. Generation and Degeneration: Tropes of Reproduction in Literature and History from Antiquity through Early Modern Europe. Durham, NC: Duke UP, 2001.

Review: G. Ruggiero in Ren Q 56 (2003): 843–846: Wide-ranging in approaches (theoretical debates involve figures like Foucault, Lacan, Freud, Nietzsche, Irigaray and others) and themes (literature, medicine, theology), the volume is praised for its "essays by some of the most innovative and challenging scholars working on literature and history today" (843).

FORESTIER, GEORGES. "Poétiques de la passion dans la tragédie française" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 189–197.

Forestier examines the notion that classical theater focuses on "une action simple, soutenue de la violence des passions" (189; emphasis his) in an effort better to understand the true role of the passions in 17th-century theater. Forestier distinguishes between conflicts born internally (from heart or mind) and those imposed by the world without, and notes that as the century progresses, passion no longer explains human misfortune but actually comes to cause it by at once motivating action and undermining it. Concludes by underlining Racine's explicit relegation of passion as secondary to action.

FRAGONARD, MARIE-MADELEINE, ed. Le Mythe de Diane en France au XVIe siècle. Niort: Association des amis d'Agrippa d'Aubigné, 2002.

Review: BCLF 649 (2003), 94: Actes d'un colloque tenue à Paris du 29 au 31 mai 2001: "Des enseignants et des chercheurs venus de spécialités et d'horizons géographiques les plus divers y étudient les multiples facettes du mythe de Diane, tant dans le domaine de la littérature que dans les champs de l'histoire, des arts visuels et de la musique."

GAINES, JAMES. "The Violation of the Bumpkin: Satire, Wealth, and Class in Monsieur de Pourceaugnac" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 155–168.

Gaines situates Molière's play in the tradition of country bumpkin satire which was itself a "vehicle for the ideology of social closure" (156). Gaines studies Scarron's Le Marquis ridicule, Gillet de la Tessonnerie's Le Campagnard, Raymond Poisson's Le Baron de la Crasse, Molière's Les Précieuses ridicules, Jean Claveret's L'Ecuyer, and H. Le Noble's Les Barons fléchois. Monsieur de Pourceaugnac is seen to incorporate various characteristics of the country bumpkin, as he represents at once "the out-of-fashion provincial rube, the presumptuous usurper, and the rural officier corps."

GALLUCCI, JOHN A. "Equivoque et mystère: autour de Boileau et Arnauld" in Pascal/New Trends in Port-Royal Studies. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 1. Arizona State University, Tempe, May 2001. Tübingen: Biblio 17 Number 143, Gunter Narr Verlag, 2002. 247–257.

Boileau and Arnauld's literary polemic against Perrault develops a theory of literary reading and allows us to see affinities between the concept of the sublime and Port-Royal.

GETHNER, PERRY, ed., Femmes dramaturges en France (1650–1750), Pièces choisies. Tome II. Tübingen, Gunter Narr Verlag, 2002.

Review: C. Mazouer in PFSCL XXXI, 60 (2004), 251–253. Reviewer comments briefly on each of the six plays which Gethner has included in his new volume. He views Gethner's "travail philologique" as impeccable, and adds: "Quant aux préfaces, elles sont sobres, utiles et engagent à la lectures des œuvres. Quant à l'annotation, elle est assez précise et bienvenue".

GETHNER, PERRY. "Mad About Lully: Three Scenarios for Opera Mania" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 223–230.

Ancien Régime opera criticism (especially performed parodies) offers a curious paradox: while maintaining that opera's fantasy world was morally harmful it nonethless praised music and dance.

GINGER, ANDREW, JOHN HOBBS and HUW LEWIS, eds. Selected Interdisciplinary Essays on the Representation of the Don Juan Archetype in Myth and Culture. Lewiston: Edwin Mellen P, 2000.

Review: Anon in FMLS 39 (2003): 114: Volume is found to be "lively" but reviewer is disappointed with the meager representation of France. These Acts of the 1999 conference at the University of Edinburgh, "Don Juan: the Rebel tamed?", are wide-ranging, with useful bibliography and index.

GLAUSER, ALFRED. Ecriture et désécriture du texte poétique de Maurice Scève à Saint-John Perse. Paris: Nizet, 2002.

Review: BCLF 646 (2003), 94: "Ayant pour objet essentiel le 'poème qui se désécrit', l'auteur envisage les traces du 'poète épuré, vu dans l'optique d'une création idéale', telles qu'il est possible de les percevoir dans des textes choisis où se manifeste une interrogation sur la facture de l'oeuvre, où s'insère dans la trame un commentaire, un à-côté qui fait douter de son intégrité en tant que masse', où se donne même à lire la 'négation d'un sens absolu et dont la forme est dissolue'..." La Fontaine figure parmi les auteurs.

GOLDSMITH, ELIZABETH. "Fugitive Lives; Travel, Identity, and Runaway Women in the Age of Versailles." EMF 9 (2004): 110–124.

Examines how "[e]xiles, fugitives, ordinary travelers and their observes explored how physical separation and the itinerant life could grant access to new ways of imagining the self"; looks at texts by Sévigné, Marie Mancini, and Marie–Sidonie de Courcelles.

GOLDZINK, JEAN. "Le torrent et la rivière" in Jean Racine: 1699–1999. Gilles Declercq & Michèle Rosellini, eds. Actes du colloque Ile-de-France - La Ferté-Milon, 25–30 mai 1999. Paris: Presses universitaires de France, 2003. 719–728.

Treats same three main parallèles between Corneille and Racine referenced in Mortgat-Longuet's article (Part IV, below) with more in-depth analysis of the parallèles themselves and extending the work to the 18th c.: Batteux, Vauvenargues, and La Harpe. Brief reference to Staël at the end of the piece.

GOMEZ-GERAUD, MARIE-CHRISTINE and PHILIPPE ANTOINE, eds. Roman et récit de voyage. Paris: Presses de l'Université de Paris-Sorbonne, 2001.

Review: F. Wolfzettel in RF 115 (2003): 126–127: Wide-ranging treatment of these "deux-écritures" (8) includes over 20 essays examining the theme from Antiquity to the 20th c. Includes one contribution on the Grand Siècle; Sylvie Requemora reminds the reader of the definition by François Bertaud (1669) of travel literature as a "genre métoyen."

GOODDEN, ANGELICA. The Backward Look: Memory and the Writing Self in France 1580–1920. Oxford: Legenda, 2000.

Review: Anon in FMLS 39 (2003): 334: Focus is the 18th c. in this wide-ranging investigation of memory and the creative imagination. 17th c. scholars will appreciate the attention to Descartes.

GOODKIN, RICHARD. The Tragedy of Primogeniture in Pierre Corneille, Thomas Corneille, and Jean Racine. Philadelphia: University of Pennsylvania Press, 2000.

Review: K. Ibbett in MP 101.4 (May 2004), 607–610: Goodkin's "important study of seventeenth-century French tragedy looks at plays from Pierre Corneille's Médée (1635) to Jean Racine's Phèdre (1677) and asks how we might reread such texts in the light of recent studies on inheritance, birth order, and sibling rivalry. This thoroughly researched study combines a historicist reading with a psychological approach to issues of birth order. The combination makes for a two-pronged attack: Goodkin looks at primogeniture in the seventeenth-century context of a developing capitalist ethic while also taking up the insights suggested by recent psychological studies of the family." The reviewer finds that "any scholar of the seventeenth-century theater would have much to gain from Goodkin's impressive rereadings of these important texts."

GOUVARD, JEAN-MICHEL. L'analyse de la poésie. Coll. Que sais-je? Paris: PUF, 2001.

Review: F. Pilone in S Fr 47, no. 139 (2003): 519–520: Gouvard's work initiates the reader in this vast field. Poetry and its analysis is considered from a variety of perspectives, linguistic, literary, philosophical. Poetry is associated with the great questions of life in this study which takes the reader from ancient Greece to the present day. Review does not give details on 17th c. considerations.

GOUVARD, JEAN-MICHEL. Critique du vers. Paris: Champion, 2000.

Review: M. Roccati in S Fr 47, no. 139 (2003): 518: Wide-ranging introduction to verse and principles of analysis. Furnishes a "représentation distributionnelle de l'alexandrin classique" (115) in its application on a corpus of some 1000 verses written between 1630 and 1840. Ample bibliography and index.

GRANDE, NATHALIE. Le Roman au XVIIe siècle. L'exploration du genre. Rosny, Bréal, 2002.

Review: M. Debaisieux in PFSCL XXXI, 60 (2004), 253–254. "Tout en visant à la clarté et à la concision, Nathalie Grande évite de simplifier son panorama du roman. La présentation est fondée sur une érudition évidente, mais sagement contrôlée, qui répond aux besoins des étudiants et leur fait apprécier la complexité et la diversité du genre. L'évolution quelque peu tortueuse du roman est bien rendue dans les réflexions qui servent de transitions entre les différentes catégories. Les commentaires des ouvrages juxtaposent, dans un juste équilibre, les remarques sur le contexte littéraire ou social à une analyse de texte faisant une synthèse éclairante d'études récentes. […] L'apport bibliographique (choix et système de références) s'avère être le point faible de l'ouvrage."

GRANDE, NATHALIE. Stratégies de romancières: De Clélie à la Princesse de Clèves (1654–1678). Paris: Champion, 1999.

Review: C. Esmein in DSS 222 (2004), 116–117: "Le présent ouvrage se propose de mener une étude sociopoétique du roman féminin au milieu du XVIIe siècle. C'est à partir d'un corpus de 31 romans, œuvre de neuf romancières (...) que l'auteur s'interroge sur l'adoption du roman par les auteurs féminins comme véhicule privilégié: le lien avec le mouvement précieux, avec les mutations romanesques contemporaines ou avec les revendications d'une écriture féminine sont autant de questions que soulève le regroupement de ces ouvrages."

Review: A. Larsen in FR 77 (2003), 375–377. "Grande se penche donc sur la question de savoir pourquoi et comment les femmes se sont mises non seulement à écrire, mais à écrire des romans" (376). Grande presents the novel as a particularly feminine genre, and women writers of the period as crucial players in its renovation, particularly in the revamping of the novel's poetics. Grande also touches upon a certain "stratégie de l'audace" used by women writers to gain entry to the literary domain.

GRANDE, NATHALIE. "Le temps dans la fiction, les fictions du temps. Réflexions sur le temps et ses repésentations dans quelques oeuvres de fiction narrative en prose." LC 43 (2001): 147–159.

Review: C. Rizza in S Fr 46 (2002): 441: Temporal dimensions are analyzed in key works of fiction such as l'Astrée, Célinte, La Princesse de Montpensier. Focuses on time in relation to genre, exemplarity, idealism and structure, among other points.

GREENBERG, MITCHELL. Baroque Bodies: Psychoanalysis and the Culture of French Absolutism. Ithaca, NY: Cornell UP, 2001.

Review: N. Paige in Fr F 28.3 (2003): 121–124. Highly praised as "the boldest and most ambitious recent contribution to the psychoanalyses of the French seventeenth century," but with certain reserves, in particular, "the constant slippage between the historical and the psychoanalytical arguments" (124). Includes illustrative analyses of texts from Molière, Racine, two early pornographic texts, texts of l'Abbé de Choisy and of Marie de l'Incarnation.

GRELE, DENIS D. "L'identité du héros dans les utopies du règne de Louis XIV." Neophil 87 (2003): 209–222.

Discovers important differentiating characteristics in two types of utopias, "présentation fragmentaire: l'utopie programme" and "représentation complète: l'utopie romanesque." In the first the narrator is an eyewitness, rarely a hero, while in the second the narrator is present "dans son intégralité" (214). The utopie, rather than being a "récit de voyage" is similar to the memoir. Points in common include: instruction of the reader, the history of the narrator's youth and education and a framework of the adventures as a "lien entre le monde 'réel' et le monde utopique'" (218). Treats Veiras, Gabriel de Foigny, Claude Gilbert, Lesconvel, Tyssot de Patot and Fontenelle. Useful bibliography of primary sources.

GREINER, FRANK. Les Métamorphoses d'Hermès: Tradition alchimique et esthétique littéraire dans la France de l'âge baroque (1583–1646). Paris: Champion, 2000.

Review: D. M. Posner in Ren Q 56 (2003): 190–192: Grenier's focus in this thèse d'état is alchemical themes in numerous Baroque texts, technical and expository treatises as well as literature. Demonstrates the shift in the alchemical tradition from the oral or manuscript based to "one residing primarily in the written word" (190). Praiseworthy for its rich and careful documentation, its "encyclopedic bibliography," Grenier's study "will therefore be a valuable resource to anyone interested in exploring alchemical themes, la poésie scientifique and Baroque aesthetics" (191).

GUILIANI, PIERRE. "D'un XVIIe siècle à l'autre: la question du sang sur scène. Une mise en perspective." RHLF 104.2 (2004), 305–23.

Examines the various seventeenth-century arguments made against the representation of blood on the stage; argues that in the generation between Louis XIII and Louis XIV one passes "d'une violence volontiers sanglante à une violence toute verbale, qui substituera graduellement à l'épanchement suspect de l'humeur noble le plaisir licite des larmes."

GUISSARD, MICHEL. La Nouvelle française. Essai de définition d'un genre. Louvain-la Neuve: Academia-Bruylant, 2002.

Review: R. Godenne in LR 56 (2002): 380: Appreciative of Guissard's "approche globale" and final result: "[il] délivre un certificat d'existence à un genre littéraire" (380).

HACHE, SOPHIE. La Langue du ciel: Le sublime en France au XVIIe siècle. Lumière Classique 27. Paris: Honoré Champion, 2000.

Review: E. Campion in FR 77 (2003), 1232–1233. Calls attention to Guez de Balzac's 1620s familiarity with the concept of the sublime as elaborated by the pseudo-Longinus, an awareness visible well before Boileau's 1674 translation of "Du sublime," the text at which most scholars situate the emergence of the sublime as a cultural notion in France. Hache shows that 17th-century literature became less concerned with analyzing the sublime as a style and increasingly attentive to readers' and listeners' reception of emotionally sublime works. Hache sketches the ensuing debate on how moral uplifting and sublime feeling might relate to religious vs. lay texts and performances.

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

Review: L. Seifert in MLQ 65 (2004), 301–304. Suggests that female fairy tale writers did not trace their works to a fictitious orality as did male writers such as Perrault and the Brothers Grimm. Chapter 1 explains the establishment of a fairy tale canon which effectively excluded women's contributions. Chapter 2 shows how writers such as d'Aulnoy framed tale-telling in salons, not in mock-paysan oral culture. The third chapter examines the birth of the literary fairy tale in 18th-century England, while the last two address the reframing and transliteration of fairy tales, a facet of these works which Harries sees as the genre's defining trait. Reviewer admires Harries' transhistorical perspective.

HART, JONATHAN. Representing the New World: The English and French Use of the Example of Spain. New York: Palgrave, 2001.

Review: J. E. Kicza in Ren Q 56 (2003): 1216–1217: Judged "a comprehensive and well-substantiated examination" (1217) of the "ambivalent and contradictory ways" (Hart 3) French and English writers made use of Spain's success. The five chapters are chronologically organized; 17th c. French scholars will be particularly interested in chapters 4 (1589–1642) and 5 (1643–1713).

HARTOG, FRANÇOIS. Régimes d'historicité. Présentisme et expériences du temps. Paris: Le Seuil, 2003.

Review: L. Zimmermann in Littérature 135 (sept. 2004): 124–26: Hartog argues that contemporary historiography is one of "presentisme," a valorization of the present that looks more to the future than to the past. Author analyzes the notions of memory and patrimony and outlines three approaches within historiography: the approach of the "Anciens," oriented toward the past; that of the "modernes," who look toward the future, and the most recent approach in which the present is the defining term. Should interest literary scholars both because of the author's excellent analyses of literary texts and the questions it raises for ways of doing literary history.

HENIN, EMMANUELLE. Ut pictura theatrum. Théâtre et peinture de la Renaissance italienne au classicisme français. Geneva: Droz, 2003.

Review: A. Niderst in PFSCL XXXI, 60 (2004), 257–258. "On ne sait trop ce qu'il faut louer. […] Dans tous les domaines [Hénin] nous donne l'impression d'une culture supérieure, qui domine les matières envisagées, sait percevoir des rapports inaperçus jusqu'alors, et ouvrir de nouvelles perspectives. Cette immense culture n'entrave pas la rigueur de la démarche, qui d'ailleurs sait éviter dans l'exégèse des textes de poétique et de rhétorique, le pédantisme et l'obscurité, les écueils où de pareils sujets entraînent si souvent."

Review: BCLF 660 (2004), 59–60: "L'ancienne pensée de l'art, s'interrogeant sur les fondements théoriques de la peinture, quand elle affirmait la parenté de la peinture et de la poésie, pensait plutôt, apprend-on, à celle de la peinture et du théâtre."

HEYNDELS, RALPH and BARBARA WOSHINSKY, eds. L'autre au XVIIe siècle. Tübingen: Narr, 1999.

Review: D. Fricke in RF 115 (2003): 267–269: Important, rich and highly readable volume of proceedings of the 4th CIR-17 Colloque (Miami, 1998). Special thanks not only to the fine editors but to Wolfgang Leiner, editor-in-chief of PFSCL and the Biblio 17 series. Wide-ranging essays explore "l'autre" or "la mondialisation avant la lettre" (267). The "modernity" of the French 17th c. is evident in essays treating such themes as the Ottoman Empire, the science-fiction of the salons, the criminal, Racine's Esther, the libertin, among others.

HINDS, LEONARD. Narrative Transformations from L'Astrée to Le Berger extravagant. West Lafayette, IN: Purdue UP, 2002.

Review: J. Gilroy in FR 77 (2003), 587–588. Uses ideas from Bakhtin and Kristeva's notion of intertextuality to examine citation in d'Urfé's L'Astrée and Sorel's parody thereof. For Hinds, both authors "look not only to the literary past but also anticipate and prepare the way for innovations and modernization in narrative fiction" (587). D'Urfé's updating of the pastoral is second only to Sorel's mockery of d'Urfé's end product, an adaptation that attempts "to salvage what is good [in the baroque pastoral novel] and redirect it toward a more realistic manner of writing" (588). "Sorel's 'antiromance' thus serves as a transition between the old romance and the soon-to-emerge modern novel" (588).

Review: C. Rolla in S Fr 47, no. 139 (2003): 436–437: Comparative study of transformation from idealistic pastoral romance to the more realistic anti-romance. Hinds's theoretical framework is furnished by Bakhtin and Kristeva and particular attention is paid to narrative themes. Important demonstration of relevance of the two works in the 17th c. literary panorama and of their influence on the development of baroque and classical narrative. Abundant critical bibliography.

Review: M. E. Vialet in PFSCL XXXI, 60 (2004), 261–263. "Hinds's study of the transition from L'Astrée to its parody, the polemical and self-conscious anti-romance embodied by Sorel's Le Berger extravagant, not only makes this transformational and historical moment accessible but it also provides for lively and engaging reading. As a window on the narrative and critical perspectives developed in the almost seven thousand pages of the combined Astrée and Berger, as one of the most concise and informative introductions to early modern and Baroque literature, and finally as a study of heteroglossia and intertextuality at the beginning of the seventeenth century, Leonard Hinds's book is a 'must read.'"

HODGSON, RICHARD, ed. La Femme au XVIIe siècle. Actes du colloque de Vancouver, University of British Columbia, 5–7 octobre 2000. Tübingen: Gunter Narr, 2002.

Review: C. Rolla in S Fr 47 (2003): 701–702: These Acts of the October 2000 Colloque held in Vancouver treat not only the representation of the woman in the 17th c. but also her important role in the century's intellectual and literary life. Impressive by quality of analyses and rich variety of texts studied. Following the three "conférences magistrales" of Gisèle Mathieu-Castellani, Pierre Ronzaud and Christian Biet, the essays are grouped in the following sections: "Images de la femme dans l'imaginaire masculin," "Quand les femmes s'écrivent," "L'intériorité féminine: mélancolie, démence, dégéneration," "Tabous et transgressions: amazones, sexualité et corps de femme," "Dévotion, foi et mysticisme féminins," and "Pour le meilleur ou pour le pire? Mariage et sacrifice?"

Review: M.-O. Sweetser in OeC 28,1 (2003), 229–31: "L'histoire dans ses divers domaines tient une large place: histoire de la société, des idées, des mentalités avec recours aux sciences humaines." D'autres études consacrées aux écrivains marquants: Théophile de Viau (G. Mathieu-Castellani; N. Négroni); Corneille (M. Longino; D. Simhon; N. Ekstein); les Scudérys (D. Kuizenga; A. Rosner); Molière (K. Waterson); Guilleragues (V. Schröder); Mme de Sévigné (C. Cartmill); Mme de Lafayette (D. Duffrin Kelley).

HOOGLAND, RENEE. "The Matter of Culture: Aesthetic Experience and the Corporeal Being." Mosaic 36.3 (sept. 2003): 1–18.

Purpose is to explore the question of the place of the aesthetic in literary theory today, examining, among others, contributions by Iser, De Man, Valdés, Ricoeur, Guattari, Bakhtin.

HOUGH, CHARLOTTE KAY. "Bonheur and Utopia: A Crisis of Humanism." DAI 64/04, 1275.

"The organizational task of seventeenth-century utopian fiction inserts an ideological system into a poetic that breaks with former models, and creates a form that is clearly romanesque. Utilizing the circular structure of the imaginary voyage, the utopian narrative exemplifies an increasingly complex fictional mediation as it passes from a theological vision of the world to questioning the authenticity of a 'real' history." Examines Gabriel de Foigny, Denis Veiras, Claude Gilbert, and Simon Tyssot de Patot.

HOUPPERMANS, SJEF, PAUL J. SMITH and MADELEINE VAN STRIEN-CHARDONNEAU, ed. Histoire, jeu, science dans l'aire de la littérature. Mélanges offerts à Evert van der Starre. Amsterdam: Rodopi, 2000.

Review: L. Luisoni in S Fr 47, no. 139 (2003): 517–518: Praised both for its rigor and vision, these mélanges include several essays of interest to 17th c. specialists: Maarten Van Buuren's "Paul Valéry et le classicisme," Madeleine Van Strien-Chardonneau's "Madame de Genlis et le roman historique" (we recall Genlis's trilogy La Duchesse de la Vallière, Madame de Maintenon, Mlle (sic) de La Fayette) and Paul J. Smith's "Le rat et l'huître: les avartars d'un emblème, d'Alciat à La Fontaine."

HOQUET, THIERRY, ed. La Connaissance du physique et du moral (XVIIe–XVIIIe siècles). Corpus: Revue de Philosophie, 43. Université Paris X, 2003.

Review: A. Niderst in PFSCL XXXI, 60 (2004), 264–265. This 'important numéro' of Corpus divides into two parts. In the first part, "par petites touches, nous avons comme un panorama de l'histoire de la pensée européenne de la fin de la Renaissance à la fin du siècle des lumières." The second part, Dossier Charles Bonnet, contains a 'très long, très savant, très éclairant article de Christiane Frémont."

IBBETT, KATHERINE MARY. "The Bodies of Politics: Spectacle and Secrecy in French Theater, 1624–1661." DAI 64/07 (2004), 3318.

A reading of Corneille relating his representations of the martyr and the hostage to contemporary theories of "raison d'état." "I argue that in this period theorists of theater and state share an anxiety about what may be shown and what must be hidden from the public; thus, neoclassical poetics worries over what sort of bodies should appear on stage, and reason of state theory concerns itself with what sort of knowledge may be revealed."

INVENTION DU ROMAN FRANÇAIS AU XVIIe SIECLE, L'. DSS no. 215 (avril–juin 2002) 54e année.

Review: A. Arrigoni in S Fr 47, no. 139 (2003): 155: This number of DSS publishes the Acts of a French-German conference held in Bonn (2000). Special attention to l'Astrée as a "roman expérimental du geste théâtral," the religious and the romanesque, the emergence of the individual in the novel, narrative forms, historical and "semio-cultural" perspectives, among other subjects.

JARRETY, MICHEL. La Poétique. Paris: PUF, 2003.

Review: G. Bosco in S Fr 47 (2003): 776–777. Embracing the rhetoric of poetry since its origins in Aristotle, this rich and clear manual of the "Que sais-je" collection takes up the relationship between poetry and rhetoric, the theory of genres and the imitation of models.

JEANNERET, MICHEL. Eros rebelle: littérature et dissidence à l'âge classique. Paris: Seuil, 2003.

Review: F. Briot in RSH 273 (2004): 166–67: Study presented in three sections. "Le Tabou" examines the collections of satirical texts of the beginning of the 17th century, that reviewer finds too easily explained as a repression by church and royal powers, that Jeanneret calls "idéologie militaire de la société civile." Part 2, "La Provocation" analyzes the stakes of reading "pornographic" texts, providing detailed readings but lacking serious attention to their "aspects ludiques." Reviewer regrets that many texts are not read in the original, which leads to distortions. Part 3, "Le spectacle du désir" treats the great pillars of Classicism, Corneille, Racine, and Molière, and is original in its reading of their work in light of the texts previously examined. Reviewer finds this study "à la fois intéressant et frustrant."

Review: V. Desnain in MLR 99.2 (2004), 487–88: "Michel Jeanneret's book presents erotic literature from the sixteenth and seventeenth centuries in the context of political and social opposition to a centralized and increasingly repressive power and as a response to the tightening hold of religious authorities on individuals' lives (he insists, for example on the role of the confessor) as Louis XIV rises to absolute power." Treats authors including Théophile de Viau, Corneille, Molière, and Descartes.

Review: L. Leibacher-Ouvrard in PFSCL XXXI, 60 (2004), 265–268. "Cet ouvrage qui se lit avec beaucoup de plaisir fonctionne sans aucun doute comme un très belle 《 promenade 》 (15). Bien menée et vagabondant à travers des genres variés, elle dépasse de très loin les "quelques quartiers mal famés du Grand Siècle", auquel elle proposait de se limiter. La vision d'ensemble à laquelle elle aboutit est d'une grande richesse, formant un large panorama dont le visiteur-lecteur, spécilisé ou non, ressortira indéniablement stimulé."

Review: W. Stephens in MLN 119.4 (2004), 887–92: "...Eros rebelle explores the culture wars that took place over sexuality in seventeenth-century France. In a broader context, Jeanneret sees sexually explicit literature as an intergral part of a culture-wide battle over rules, which split French society into two camps along Horatian lines, the proponents of plaisir versus the moralistic guardians of utile."

Review: BCLF 649 (2003), 93: L'auteur "s'intéresse plutôt à la façon dont les auteurs se répartissent entre les chantres d'un érotisme festif et joyeux et les esprits visant à une instrumentalisation du sexe. Son travail, érudit et agréablement documenté, passe en revue les différents aspects de la question par le biais d'une relecture commentée des principaux auteurs. De Ronsard à Molière, sans oublier Montaigne ni Corneille, pour les plus illustres, les écrits sur l'érotisme sont aussi des prises de parole sur l'amour et le sexe."

JOUHAUD, CHRISTIAN et ALAIN VIALA, éds. De la publication. Entre Renaissance et Lumières. Paris, Fayard, 2002.

Review: F. Lagarde in PFSCL XXXI, 60 (2004), 268–270. Reviewer comments briefly on the editorial introduction and on each of the articles by A. Tarrête, M. Bombart, D. Ribard, M. Virol, J-P. Cavaillé, Cl. Girard, N. Schapira, Cl. Lévy-Lelouch, F. de Vivo, C. Callard, D. Blocker, S. Delahaye, S. Van Damne, M. Maître, C. Cazanave, and A. Lilti. "Ce suivi détaillé des chaînes de publication élabore une sociologie et une histoire de la publication, ou de la 《 publicité 》 au sens où l'entendent les auteurs, plutôt qu'une science de la littérature."

JUIF ERRANT, LE. UN TEMOIN DU TEMPS. Paris: Editions Asam Biro-Musée d'Art et d'Histoire du Judaïsme, 2001.

Review: D. Dalla Valle in S Fr 47, no. 139 (2003): 229: Important and richly illustrated catalogue of an exhibition at the Paris Museum (2001–2002). Interdisciplinary, the volume treats the theme from literary, artistic and anthropological perspectives. The diffusion of the myth in the 17th c. is explored in an article by M. Kriegel, "Le Lancement de la légende ou la 'Courte description et histoire d'un juif nommé Ahasvérus'" (the text in question was translated in 1605 from the original German).

KENNEDY, DENNIS, ed. The Oxford Encylopedia of Theatre and Performance. Two Volumes. Oxford: Oxford UP, 2003

Review: E. Ziter in TDR 183 (Fall, 2004), 194–96: Range of critical perspectives on subject of performance. Emphasis on "concepts, theories, styles and movements." Eschews categorization according to "national traditions and geographic regions" and organizes performance history around population centers and linguistic traditions.

KIRSCH, FRITZ PETER. Epochen des französischen Romans. Wien: WUV 2000.

Review: E. Engler in RF 115 (2003): 86–89: Reviewer offers a considerable number of questions and corrections as she tackles this second version of Kirsch's analysis of the very broad subject, suggesting, for example, regarding Lafayette, the usefulness of an examination of 17th c. salon conversation and of the different narrative modes of Lafayette and Scudéry.

KNAPP, BETTINA. French Fairy Tales: A Jungian Approach. Albany: SUNY P, 2003;

Women in Myth. Albany: SUNY P, 1997;

Woman, Myth, and the Feminine Principle. Albany: SUNY P, 1998;

Gambling, Game, and Psyche. Albany: SUNY P, 2000.

Review: P. J. Archambault in SYM 58,1 (2004), 43–50: In this "Review Essay" on four of Bettina Knapp's books, Archambault has high praise for her approach and vast range in French Fairy Tales: A Jungian Approach (2003): "She is dealing in a fresh new way with an ancient academic pursuit, that interdisciplinary connection among literature, psychological analysis, and religion." Tales analyzed include lesser known works (Madame d'Aulnoy's "The Blue Bird"), as well as familiar ones (Perrault's "Donkey's Skin," "Sleeping Beauty," and "Bluebeard"). In Gambling, Game and Psyche (2000): "The opening chapter on Pascal's "Wager" is an excellent piece on the great Jansenist thinker as a metaphysical gambler. . ."

Review: P. De Méo in DFS 66 (2004), 109: Reviewer sees the great strength of Knapp's book in that her approach embraces not only the sociopolitical aspects of fairy tales and the psychoanalytical perspective but also takes into account perspectives of myth and spirituality. The book is organized chronologically with significant fairy tales selected from the Middle Ages to the twentieth century. Included in the 17th century are Perrault's Donkey Skin, Sleeping Beauty, and Bluebeard and Mme d'Aulnoy's The Bluebird. Knapp uses Jung's approach "to analyze these fairy tales with respect to the individuality of the author in all of her or his complexity, and with respect to universal archetypes. Knapp's analyses are enriched by her vast knowledge of world religions and literature."

Review: A. E. Duggan in E Cr 43 (2003): 110–111: Found interesting in its analyses but "problematic" in its theoretical underpinnings. Knapp, however, is attempting "to provide insight into and solutions for readers' own psychological problems" (111). Arranged chronologically, each section situates the authors in history, provides a biographical sketch and analyses the tales " in the tradition of Marie-Louise von Franz and Bruno Bettelheim" (110). 17th c. selections include D'Aulnoy.

KRAMER, MICHAEL, éd. La Comédie de proverbes. Pièce comique d'après l'édition princeps de 1633. Genève: Droz, 2003.

Review: C. Mazouer in PFSCL XXXI, 60 (2004), 270–272. "La Comédie de proverbes intéresse au premier chef les historiens de la langue. Le travail de Michael Kramer répond à leur attente."

Review: BCLF 649 (2003), 125–26: "Cette édition fournit donc une somme impressionnante de données pour qui s'intéresse à la langue populaire de notre premier XVIIe siècle: elle se recommande par son érudition et son sérieux."

LAFOND, JEAN. Lire, vivre où mènent les mots. De Rabelais aux formes brèves de la prose. Paris: Champion, 1999.

Review: F. Lagarde in OeC 28,2 (2003), 182–84: "Le beau titre est tiré d'un Album de Valéry et fait référence à un abandon du lecteur à la littérature et à sa poésie, abandon ici très contrôlé par un prodigieux savoir encyclopédique." Etudes précédemment publiées à l'exception d'un article sur La Rochefoucauld qui "se démarque assez nettement des thèses de Starobinski et de Jean Mesnard: il y a bien une morale, et non pas seulement une esthétique, dans les Maximes."

LANGER, ULRICH, ed. Au-Delà de la Poétique: Aristote et la littérature de la Renaissance. Genève: Droz, 2002.

Review: BCLF 647 (2003), 86: ". . .actes du colloque tenu en septembre 2000 à la Newberry Library de Chicago et à l'université du Wisconsin à Madison. Sont ainsi réunies, par les soins d'Ulrich Langer, neuf contributions (dont trois en français et six en anglais), extrêmement riches et denses et dont les sujets sont d'une grande diversité." Voir l'article de R. Goodkin selon qui "c'est également l'Ethique à Nicomaque, et non point la Poétique, qui serait la véritable source d'inspiration de d'Aubignac quand il entreprend, dans les années 1640, la rédaction de La Pratique du théâtre."

LARSEN, ANNE R. "French Women and the Early Modern Canon: Recent Conferences, Editions, Monographs and Translations." Ren Q 53 (2000): 1183–97.

Larsen reviews in four sections, as the title indicates, recent results of a dramatic resurgence of interest in the field. Most of the editions, conferences, etc. extend into the 17th c., Marguerite de Valois' Correspondance (Champion, 1998) and Mémoires (Champion, 1999), for example. Larsen highlights an important number of contributions, including the acts of the Colloque de Chantilly, Femmes savantes... ed. Colette Nativel (Droz, 1999) which features essays on law, the male gaze, "women on the fringes," Madame de la Sablière, Madeleine de Scudéry, Madame Dacier, Madame de Villedieu, Jeanne Guyon, etc. Larsen calls for further study of the socio-historic and economic aspects of women's production as she rejoices in the "invigorating portent of developments."

LARZUL, SYLVETTE. "Further Considerations on Galland's "Mille et une Nuits": A Study of the Tales Told by Hanna." M&T 18.2 (2004), 258–271.

"Whereas the earlier volumes of Galland's French translation are based on Arabic manuscripts, the later volumes include a variety of tales originating from the oral performance of the Syrian narrator Hanna. This second part of Galland's work leaves more room for creation than the first one and emphasizes exoticism to a larger extent. Apart from being constantly concerned with the representation of cultural specificities, the author multiplies the exotic leitmotivs and thus depicts a universe composed of khans, sofas, and veils. Galland's penchant for luxury also reigns freely in those tales, with his artistry giving rise to a magnificent Orient overflowing with gold and gems." (Abstract)

LE BRUN, JACQUES. "Fable et mythe au XVIIe siècle: les débuts de l'histoire des religions" in Jean Racine: 1699–1999. Gilles Declercq & Michèle Rosellini, eds. Actes du colloque Ile-de-France - La Ferté-Milon, 25–30 mai 1999. Paris: Presses universitaires de France, 2003. 473–492.

Le Brun studies erudite writings of the 17th c. on pagan and Antique religions: John Selden, Gérard Jean Vossius, Jean Le Clerc, Fontenelle, and (most extensively) Pierre-Daniel Huet. For Racine, the essential references are Greek and Latin; he diverges from Huet, privileging the most "scandalous" ancient stories.

LECOQ, ANNE-MARIE, ed. La Querelle des Anciens et des Modernes, précédé d'un essai de Marc Fumaroli. Paris: Gallimard (Folio classique), 2001.

Review: J.-P. Landry in RHLF 103.3 (2003), 724–25. An annotated anthology of texts relating to the quarrel, accompanied by a chronology, bibliography and an index. Review find's Fumaroli's 212-page introductory essay, which examines the quarrel's origins and implications, brilliant and dense. A 50-page postface, by Jean-Robert Armogathe, traces the quarrel back to Saints Paul and Augustine. "Cet excellent livre" shows that even if the Moderns "won," "la vraie culture se constitue d'un va-et-vient permanent entre le passé et le présent."

LELOUCH, CLAIRE. "Les Notices biographiques dans les Œuvres complètes de Racine (1722–1783)" in Jean Racine: 1699–1999. Gilles Declercq & Michèle Rosellini, eds. Actes du colloque Ile-de-France - La Ferté-Milon, 25–30 mai 1999. Paris: Presses universitaires de France, 2003. 729–746.

Excellent in-depth analysis of the role of notices biographiques in Racine's Œuvres complètes whose work is part of the birth of this new genre. Considers notices with and without specific authors' names attached to them, and the legitimacy of case, as well as the role of the notice in forming the reputation of a specific author. Argues convincingly for careful attention to be paid to this revelatory paratext.

LEROY, CHRISTIAN. "La Poésie en prose française du XVIIe siècle à nos jours. Histoire d'un genre. Paris: Champion, 2001.

Review: G. Banderier in RBPH 80,3 (2002), 1080–82: Ouvrage "qui par sa précision et par l'ampleur de l'enquête à laquelle s'est livré l'auteur, dépasse de loin le cadre d'un travail d'initiation ou de vulgarisation." Parmi les auteurs du 17e siècle: Balzac, Scudéry, Le Moyne, Chapelain.

Review: BCLF 640 (2001), 87: "Divisé en trois parties, cet ouvrage solidement structuré éclaire la présence ambiguë de la 'poésie en prose', assurément gênée par le triomphe du 'poème en prose.' Non seulement savante, cette étude s'avère agréable à lire-phénomène assez peu fréquent pour être noté."

LEVILLAIN, HENRIETTE. Qu'est-ce que le baroque? Paris: Klincksieck, 2003.

Review: BCLF 657 (2004), 85: "Le problème est que ce mince volume n'est point un travail destiné à ouvrir une discussion (a priori déjà close de longue date) entre spécialistes, mais bien un livre à l'intention des étudiants..."

LOJKINE, STEPHANE. La Scène du roman. Méthode d'analyse. Paris: Armand Colin, 2002.

Review: F. Pilone in S Fr 47, no. 139 (2003): 229: Proposes a theoretical instrument for textual analysis as Lojkine develops the study of the scène of a text as concrete and visual. Narrative effectiveness is then related to scenic effectiveness as indeed is the "interiorità psicologica dell'individuo." Panorama includes Madame de La Fayette.

LONG, KATHLEEN PERRY, ed. High Anxiety: Masculinity in Crisis in Early Modern France. Kirksville, Missouri: Truman State UP, 2002.

Review: D. LaGuardia in E Cr 43 (2003): 101: Praiseworthy for its thorough and comprehensive definition and examination of masculinity and its application of contemporary critical theory ("psychoanalysis, performance studies, cultural materialism, feminism in its diverse varieties" 101). Focus is from the early 16th c. to the end of the 17th; texts as diverse as sonnets, essays, jokes, memoirs, comedies, fairy tales are examined along with theology and sacred iconography.

LONGINO, MICHELE. Orientalism in French Classical Drama. Cambridge: Cambridge UP, 2002.

Review: B. Brazeau in Ren Q 56 (2003): 1263–1265: Praised as "absorbing" and "innovative" (1263), Longino's volume demonstrates that the 17th c. and its theatrical production "represents a crucial phase in the development of a collective French identity" (Longino 1). Plays which receive Longino's close analysis and which contributed "notions necessary for colonialism" are: Médée, Le Cid, Le Bourgeois gentilhomme, Tite et Bérénice (Corneille) and Bérénice (Racine) examined together, and Bajazet (1264). Brazeau suggests a related question for future research: "What were the applications of this collective French identity in the New World?" (1265).

Review: C. Carlin in DFS 66 (2004), 112–113: Longino studies representations of the Ottoman "Other," both hostile and admiring. "Each of the seven canonical plays analyzed is read alongside documentary texts (newspaper articles, maps and other illustrations, letters and memoirs by merchants, collectors, diplomats, linguists) which show how the French were penetrating the Ottoman world at the same time that depictions of the Orient were becoming increasingly popular on the Paris stage. Longino's supple, multi-dimensional methodology [...] allows her to study plays by Corneille, Molière and Racine in an important but neglected dimension of their seventeenth-century context."

Review: S. Melzer in MLQ 65 (2004), 616–618. Postulates that 17th-century France and its theater held an oppositional relationship to the Orient, one which played a crucial role in the construction of Frenchness. Supported by the state, 17th-century French theater assumed the task of creating a national story and identity. However, as Longino points out, French dramatists' heavy borrowing of plotlines from classical authors meant that "the official story of France's identity was woven out of stories of an other" (616). Dispelling the seeming insularity of the classical stage, Longino again and again shows it to be run through with writers' and playgoers' avidity for travel narratives from the east. Methodologically, the book pays careful attention to offstage characters and historical references, which are shown to have a central, rather than a marginal, importance to the plays. Highly praised by the reviewer, "[Longino's] book has cleared and broken important new ground" (618).

Review: R. Parish in MLR 99.1 (2004), 193: Treatment of seven canonical plays including Médée and Le Cid by P. Corneille, Le Bourgeois gentilhomme by Molière, the two Bérénice plays, and Bajazet and Mithridate by Racine. Good presentation of "the complex état présent which informs the whole area of debate."

LOUVAT-MOLOZAY, BENEDICTE. Théâtre et musique. Dramaturgie de l'insertion musicale dans le théâtre français (1550–1680). Paris, Champion, 2002.

Review: Cl.-G. Dubois in PFSCL XXXI, 60 (2004), 275–279. "Un ouvrage qui répond avec savoir et savoir-faire à ce qu'on attend de lui, à l'intérieur des limites fixées, sur un corpus déterminé, sans débordements ni bavures: corpus sanum pour le matériau traité et mens sana pour l'auteur qui le traite."

LOUVAT-MOLOZAY, BENEDICTE. "Le traitement du temps dans la tragi-comédie et la pastorale (1628–1632): les enjeux dramatiques du début autour de la règle des vingt-quatre heures." Littératures classiques 43 (2001): 127–146.

Review: C. Rizza in S Fr 46 (2002): 437: Of particular importance for considerations of time, genre and "mixité générique."

LYONS, JOHN. "Au seuil du panoptisme général." DSS 223 (2004), 277–287.

Expanding on the framework of Foucault's 'panoptisme' and Bentham's original intentions, Lyons reaches back to the 17th c. to explore both Corneille's Le Cid and Lafayette's La Princesse de Cléves as examples of the veritable "mise en place du panoptisme" during the 17th c. and concludes that the "panoptisme de Foucault, en tâchant de rendre compte d'une civilisation "moderne" à partir du XVIIIe siècle, ouvre la possibilité de décrire la littérature du XVIIe siècle dans son ambivalente modernité." In her introduction to this number of DSS, Héléne Merlin-Kajman describes Lyons' objective: "comprendre le procès de subjectivation de Chimène et de Mme de Clèves à la lumière des analyses de Foucault sur l'individualisation normative et le dispositif panoptique, John Lyons nous donne ici un témoignage éblouissant de leur productivité critique, tout en montrant que ces grands textes [...] conduisent à des nuances, alors inaperçues par Foucault, concernant l'épaisseur active et la complexité contradictoire des subjectivités ainsi révélées."

LYONS, JOHN D. & CARA WELCH, EDS. Le Savoir au XVIIe siècle. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003.

Individual articles indexed by author in the appropriate section.

MACE, STEPHANE. L'Eden perdu. La pastorale dans la poésie française de l'âge baroque. Paris: Champion, 2002.

Review: L. Petris in BHR 65,3 (2003), 769–73: "Héritière de l'Antiquité, de la Renaissance néo-latine et des bucoliques en langue vulgaire, la poésie pastorale subit à l'âge baroque une mutation capitale qui favorise un revouvellement des formes comme des contenus, investis par les dévots comme par les libertins, qui en font le lieu d'une nouvelle expression de la subjectivité. C'est à décrire cette évolution que s'attache Stéphane Macé dans cet excellent ouvrage, qui étudie tour à tour l'héritage antique, néo-latin et vulgaire (première partie), le caractère protéiforme du genre de la pastorale (deuxième partie), en enfin les horizons esthétiques de la pastorale et de l'univers baroque (troisième partie)."

MANDOKI, KATYA. "Power and semiosis." Semiotica 151 (2004): 97–114.

Response to Bourdieu's and other critiques of semiotics as neglecting the political dimension. "[P]resents an analysis of power as an effect of semiosic processes that involve four components: body, place, capital, and discourse... [E]xamines Foucault, Bourdieu, and Sheets-Johnstone's concepts of power..." Incorporates a biological perspective, rather than a purely ideological or linguistic explanation of power dynamics.

MARGOLIN, JEAN-CLAUDE. "Perspectivisme, relativisme et scepticisme: précarité et créativité de l'Anamorphose." S Fr 46 (2002): 527–545.

Masterful elaboration of the three "isms" and application of the technique of anamorphose to the literature of the Baroque era. Highly instructive, well-documented and precise, Margolin's essay insists that the three "isms" define a philosophical attitude and a method of research rather than a determined ideological position (535). Refusing ontological dogmatism, "ils nous engagent à cheminer au niveau des phénomènes... [et] aident surtout à mieux comprendre... la puissance de créativité et la précarité de l'anamorphose, dans son extension icono-textuelle" (535).

MARTIN, CHRISTOPHE. "Agnès et ses soeurs: Belles captives en enfance, de Molière à Baculard d'Arnaud." RHLF 104.2 (2004), 343–62.

Examines first the motif, in the literature up to and including Molière, of the "précaution inutile" that is the sequestration of the innocent girl; proceeds to argue that eighteenth-century appropriations of this motif are contaminated by the idea of an experimental isolation that is actually efficacious. The author ascribes this modification to a new "epistemè": "Avec l'avènement de l'empirisme, en effet, l'idée d'une nature humaine parfaitement malléable n'est plus inimaginable."

MARTIN, CHRISTOPHE. "Espaces 《 incitatifs 》, de La Prison sans chagrin (1669) à La Petite maison (1763): Genèse et ambiguïtés d'un chronotope libertin." E Cr 43 (2003): 16–27.

Examines a series of "actualisations concrètes" of these "espaces incitatifs" in order to assess and define the chronotope. Some but not all of the "traits constitutifs" may be found in the anonymous La Prison sans chagrin, but missing is a functional complicity "qui relie l'espace et le corps, par la posture et le geste" (Henri Lafon as qtd. in Martin 18). Other analyses from the 18th c. confirm, as Martin states in his conclusion, that "l'espace incitatif est au coeur du désir libertin et de ses contradictions" (26).

MARTIN, MARGOT. "Devilish Utterance Through Sublime Expression: The Union of the Sacred and the Profane in Marc-Antoine Charpentier's Médée" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 231–237.

Médée offers an amalgamation of the sacred and the secular music traditions and can be interpreted as either "devilish utterance" or "sublime expression."

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

Review: Z. Zalloua in FR 77 (2003), 372. Mathieu-Castellani calls attention to the importance of emotions in rhetorical practice. In the work's first half, the author reminds us how rhetorical passion has traditionally been denigrated in favor of more rational forms of decision-making (as seen, for example, in Plato's Gorgias.) Thus contextualizing rhetoric as moral philosophy's seductive antagonist, Mathieu-Castellani uses her book's second half to highlight the utterly different framework in which Descartes set rhetoric, considering the passions upon which rhetoric plays "as [would] a physician, subordinating their philosophical treatment to his dualistic preoccupations: "les passions deviennent l'objet du discourse philosophique en tant que mode de la relation et de l'union de l'âme et du corps" (196)" (372).

MAZOUER, CHARLES. Le Théâtre d'Arlequin-Comédies et comédiens italiens en France au XVIIe siècle. Préface de Giovanni Dotoli, Cultura Straniera n°112, Biblioteca della Ricercha, Schena Editore, Presses de l'Université de Paris-Sorbonne, 2002.

Review: F. Briot in RSH 271 (juillet–septembre 2003), 190–91: This volume is a collection of 16 articles published by Mazouer between 1986 and 1999 on Italian actors and comedies in 17th-century France. Articles are presented in three unequal sections, first examining the installation of Italians in France, second the Ancien Théâtre Italien et le Recueil de Gherardi, and third, Prolongements. Volume includes a bibliography, somewhat lacking in recent publications, and an index to plays and other spectacles cited. The nature of such collections leads to inevitable but unfortunate multiple repetitions in presentation, dates, quotes, references and sometimes analyses. Reviewer is also skeptical of categories like "plaisant," "impayable," or "grossier." Collection is however very useful in its practicality, and precious because it corrects a number of errors, shows the difficulty of evaluating not completely written theatrical texts, and gives us a far better understanding of Molière in particular.

Review: J. Emelina in PFSCL XXXI, 60 (2004), 284–285. Volume brings together sixteen articles published by Mazouer between 1985 and 2000. "Rien de plus pratique et de plus utile pour le chercheur que cette gerbe d'études érudites pleines de rigueur et de ferveur; rien, surtout, qui permette mieux de mesurer… le poids de la Commedia dell'arte dans notre paysage théâtral."

Review: S. Poli in S Fr 47 (2003): 707–708: Highly recommended for its solid erudition, sensitivity and coherence, the volume also includes a preface by G. Dotoli. Sections on "L'installation des italiens en France," "Scènes ou pièces entières" (the longest section; 55 texts are analyzed), and "[De l']Ancien théâtre italien [au] nouveau."

MAZOUER, CHARLES. Le Théâtre français de la Renaissance. Paris: Champion, 2002.

Review: D. Cecchetti in S Fr 47, no. 139 (2003): 152–155: Masterful work continuing Mazouer's monumental history of the French theatre (see his 1998 volume on the Middle Ages). Reviewer singles out for special praise the original and innovative chapter on the "Théâtre scolaire." Impressive array of analyses includes attention to theoretical texts as well as to particular examples of "tragédie, tragi- comédie, comédie française, comédie italienne en France... [and] pastorale dramatique" (152).

Review: D. DiMauro in Ren Q 56 (2003): 1262–1263: Judged "an up-to-date study of impressive breadth and erudition" by the "preeminent scholar in the field," this is the second volume of the series (vol. 1 on the medieval theatre appeared in 1998) (1262). Organized into 9 chapters, the study focuses on "theatrical production between... 1500–1610," situating it historically and culturally (1262) and is written in "lucid" and "elegant" prose (1263). 17th c. specialists will particularly appreciate chapters on tragedy and tragi-comedy, on the French and Italian comedies, on "le théâtre scolaire," and on "les spectacles de cour" and "la pastorale dramatique." Indices and exhaustive bibliography.

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

Review: C. Bernard in Fr F 28.1 (2003): 135–137: Impressive by its quality , the numerous genres under consideration and various methodologies. 17th c. scholars will appreciate the two theoretical essays by Méchoulan, a "mise au point conceptuelle et historique" by Christian Biet as well as several other studies treating duels in Tristan, the theory of humeurs, vengeance sur la scène, Madame de Villedieu and Saint-Simon.

MERCIER, ALAIN, ed. La seconde après-dînée du caquet de l'accouchée et autres facéties du temps de Louis XIII. Paris: Honoré Champion, 2003.

MERRICK, JEFFREY and MICHAEL SIBALIS, eds. Homosexuality in French History and Culture. New York: Haworth, 2001. Published simultaneously as Journal of Homosexuality 41.3/4.

Review: J. Hayes in E Cr 43 (2003): 100–101: Wide-ranging and welcome collection of 17 essays from the Renaissance through the 1990s fills important lacunae. Interdisciplinary approaches include that of Lewis C. Seifert who analyzes references to sodomy in songs of the second half of the Grand Siècle.

MONTOYA, ALICIA C. "La femme forte et ses avatars dans les tragédies de Marie-Anne Barbier" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 163–173.

Barbier's work shows how women writers have appropriated and transformed the traditional topos of the femme forte.

MORTGAT-LONGUET, EMMANUELLE. "Aux origines du parallèle Racine-Corneille" in Jean Racine: 1699–1999. Gilles Declercq & Michèle Rosellini, eds. Actes du colloque Ile-de-France - La Ferté-Milon, 25–30 mai 1999. Paris: Presses universitaires de France, 2003. 703–717.

Well-developed study of a number of 17th-century parallèles as a genre unto itself, with specific reference to Longepierre, La Bruyère and Fontenelle. Particular attention to the idea that postériorité is equivalent to supériorité, as well as to the opposition between le génie and le goût. Stresses the great opposition between "l'esprit et le coeur" found between Corneille and Racine.

MURAT, MICHEL, ed. Le Vers français. Histoire, théorie, esthétique. Paris: Champion, 2000.

Review: P. Ihring in RF 115 (2003): 273–274: Volume is representative of both domains of poetry research: linguistic and literary. Divided into three main sections: Origins of Old French Poetry, Codification with the Pléiade, and the crisis of metrical uniformity and aesthetic authority (from 1850 on). 17th c. scholars will appreciate essays on dialectal variation and on Racine's phrase. Extensive bibliography and indices.

NANCY, SARAH. "Les règles et le plaisir de la voix dans la tragédie en musique." DSS 223 (2004), 225–236.

The author attempts to place the voice in this art form within the general discussion at hand in this number focused on the classic versus modern (XVIIe siècle et modernité) while addressing many essential problems of representation.

NEPOTE-DESMARRES, FANNY, éd. avec la colloboration de J.-Ph. Grosperrin. Mythe et histoire dans le théâtre classique. Hommage à Christian Delmas. Toulouse, Société de Littératures classiques, 2002.

Review: F. Lagarde in PFSCL XXXI, 60 (2004), 290–291. Reviewer comments briefly on the twelve reprinted seminal articles by Delmas, and on the fourteen new articles by R. Zuber, G. Molinié, P. Dandrey, Ch. Biet, F. Népote-Desmarres, J.-Ph. Grosperrin, D. Moncond'huy, B. Guion, A. Viala, P. Ronzeaud, G. Forestier, F. Berlan, B. Louvat-Molozay, and H. Visentin. Volume is described as "[un] ouvrage de réference digne de figurer dans toutes les bibliothèques universitaires."

NISSIM, LIANA, ed. La cruelle douleur d'Artémis. Il mito di Artemide-Diana nelle lettere francesi. Milano: Cisalpino, 2002.

Review: M. Pavesio in S Fr 47 (2003): 777: These acts of the 2001 Seminario Balmas include twenty-one essays on the rich and varied theme of Artemis-Diana from Antiquity through the 20th c. Four essays focus on the figure of Diana in the Mannerist and Baroque era. Important for the arts as well as for literature, the volume includes an impressive number of illustrations and tables as well as indices of myth, places and persons.

NORMAN, BUFORD. "Hybrid Monsters and Rival Aesthetics: Monsters in Seventeenth-Century French Ballet and Opera" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 180–188.

Norman questions the generalization that early seventeenth-century texts present monsters that consist of actual hybrid bodies, while the later seventeenth century would focus more on the monsters within. Cites examples in for and against this model, including Estienne Durand's Ballet de la délivrance de Renaud, Quinault and Lully's Armide, and Racine's Phèdre. Concludes that physical monsters did not cease to exist in the second half of the century.

NORMAN, BUFORD, ed. The Mother in/and French Literature. Amsterdam: Rodopi, 2000.

Review: S. Veys in LR 56 (2002): 329–330: Appreciative review of this collection of essays on the mother in its "multiplicité de visages" and its "détermination fondamentale" (330). Wide-ranging both in genres and periods covered as well as in perspectives, negative and positive. 17th c. scholars will benefit in particular from Domna Stanton's essay on Mme de Sévigné's "maternité divinisée et dévorante" and Deborah Hahn's treatment of "le type grotesque de la mère coquette... dans le théâtre comique" (329, 330).

NORMAN, LARRY F., PHILIPPE DESAN, & RICHARD STIER. Du Spectateur au lecteur-Imprimer la scène aux XVIe et XVIIe siècles. Cultura Straniera n°118, Biblioteca della Ricercha, Schena Editore, Presses de l'Université de Paris-Sorbonne, 2002.

Review: F. Briot in RSH 271 (juillet-sept. 2003), 191–92: This international conference held at the University of Chicago and the Newberry Library in March 2001 facilitated rich dialogues between French and Anglo-Saxon critique, French and English theater, and the theater of the 16th and 17th-centuries. Contributions examine relationships between the stage and the book with consistently high quality, with few exceptions. This collection helps us to better understand what we are talking about when we discuss the work of the great dramaturges of the period. Norman provides a learned and substantial preface entitled "Du spectateur au lecteur, ou du lecteur au spectateur?" Essays are grouped under four themes: part 1, "Perspectives théorique et historiques," which consists of three remarkable contributions by Roger Chartier, Christian Biet and Georges Forestier; part 2, "Le théâtre du XVIe siècle;" part 3, "Le cas Shakespeare;" part 4: "Le théâtre du XVIIe siècle."

Review: P. Gethner in PFSCL XXXI, 60 (2004), 294–297. Reviewer comments briefly on prefatory essay notes by L. Norman and on articles by R. Chartier, Ch. Biet, G. Forestier, J. Balsamo, E. Buron, A. Preda, L. Marcus, L. Erne, D. Bevington, L. Giavarini, G. Dotoli, M. Hawcroft. Although "approaches vary radically" and there is "an apparent lack of proof-reading", volume "contains much worthwhile material and deserves a place in university libraries."

O'HARA, STEPHANIE ELIZABETH. "Tracing Poison: Theater and Society in Seventeenth-Century France." DAI 65/01 (2004), 157.

This study "looks beyond the Affair and explores how poison circulated as a material substance and as a metaphor in ancien régime France." Includes analysis of poison crimes depicted in pamphlet literature, in factums, and on stage (Corneille, Rotrou, Racine, and others). In regards to the latter representations, study contends that "as the genre of tragedy developed, it increasingly represented poison in highly aesthetic and metaphorical ways, effectively neutralizing it."

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

Review: R. Goodkin in MP 101.3 (February 2004), 455–458: "This beautifully written and insightful study of the development of an 'autobiographical mentality' in seventeenth-century France reverses 'the marginalization of the religious in traditional literary history' (p. 10) by focusing on the writings of four religious figures-Jean de Labadie, Antoinette Bourignon, Jeanne Guyon, and Jean-Joseph Surin-whose works are symptomatic of the problems and paradoxes of early modern conceptions of interiority and subjectivity. (…) Paige is to be congratulated for his analysis of a particularly compelling early modern example of the quintessentially modern right: the pursuit of unhappiness."

PASQUIER, PIERRE. "L'ombre du temps: reflexion sur le statut du temps dramatique dans le discours esthétique classique." LC 43 (2001): 89–116.

Review: C. Rizza in S Fr 46 (2002): 441: Pasquier's focus is several theoretical texts (Aristotle, Chapelain, Mairet, Marechal and others) and their importance for the concept of time, le vraisemblable and the rapport author-spectator. Pasquier is also the editor of this number of LC and the author of its "Prologue."

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

Review: V. Sternberg in S Fr 47, no. 139 (2003): 125–126: Appreciative review of this study which consists of an introduction, two parts, a conclusion, a bibliography and an index. Found to be both "rigoureuse et intuitive," the investigation focuses on Spanish and Italian troupes, Calderón's relationships with the French and Italian theatres, his adaptations in France and the mediation of Italian troupes.

PIOFFET, MARIE-CHRISTINE. "Destin de la femme naufragée dans la fiction narrative du Grand Siècle" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 141–149.

The author examines a number of seventeenth-century novels and romances to distinguish the different representations of women lost at sea.

PISTER, DANIELLE, ed. L'image du prêtre dans la littérature classique (XVIIe – XVIIIe siècles). Actes du colloque organisé par le Centre "Michel Baude - Littérature et spiritualité" de l'Université de Metz, 20–21 novembre 1998. Berne-Francfort: Peter Lang, 2001.

Review: F. Preyat in RBPH 81,2 (2003), 502–07: "Saisir, dans la foulée de la réforme tridentine de l'Eglise jusqu'aux polémiques philosophiques des Lumières, l'image du prêtre à travers l'interaction entre réalité et fiction, voilà l'ambitieux programme que se proposent de satisfaire les dix-sept communications rassemblées par D. Pister."

PIVA, FRANCO, ed. Bruto il maggiore nella letteratura francese et dintorni. Fasano, Schena, 2002.

Review: P. Gethner in PFSCL XXXI, 60 (2004), 297–299. Volume contains twenty articles (of which seven are in Italian) concerning "the literary treatments of Brutus in the period roughly 1550 to 1850 [and] concentrates mainly on France, with a few excursions into England, Germany and Italy." Reviewer comments on articles by A. Mastrocinque, R. Grazia Lana Zardini, Ch. Mazouer, A. Niderst, Cl. Poulouin, F. Piva, J. Ehrard, C. Auger, J. Renwick, H.-J. Lüsebrink, R. Barny, Ph. Bordes, M. Delon, and B. Didier. "This volume, which pulls together a wealth of interesting information, is enjoyable to read and at time enlightening. Though the articles range from superficial to first-rate, the overall quality is high."

PLUS GRANDES OEUVRES DE LA LITTERATURE FRANCAISE, LES. Paris: Classiques Garnier multimédia, 2002.

Review: BCLF 646 (2003), 95–96: L'ouvrage "se présente sous la forme d'un cédérom que complète un livre illustré de plus de trois cent pages" et qui "se recommande par sa qualité et son utilisation aisée." Quelques regrets en ce qui concerne le XVIIe siècle: "les Provinciales n'accompagnent pas les Pensées; les deux dernières pièces de Racine manquent."

POT, OLIVIER, éd. La Critique littéraire suisse. Autour de l'Ecole de Genève. In memoriam Jean Rousset. Œuvres et critiques XXVII, 2. Tübingen, Gunter Narr Verlag, 2002.

Review: M.-O. Sweetser in PFSCL XXXI, 60 (2004), 300–302. "[Le volume] présente ici des études éclairantes sur les critiques ouverts et indépendents, rassemblés sous le titre aujourd'hui consacré d'Ecole de Genève, mais qui dépassement largement le cadre géographique ou universitaire qu'une telle appellation semblerait indiquer. […] On ne saurait trop recommander cet important fascicule qui fera date dans l'histoire de la critique."

PROBES, CHRISTINE MCCALL. "Le Savoir historique à l'intersection de l'art et de la poésie emblématiques: les gravures de Pierre de Loysi mises en rapport avec Les Sonnet franc-comtois" in Le Savoir au XVIIe siècle. Eds. John D. Lyons & Cara Welch. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003. 81–90.

Probes examines emblematic poetry and art to see how they are understood in an historical context and how they function as traces of the past ("garant du passé").

RACAULT, JEAN-MICHEL. Nulle part et ses environs. Voyages aux confins de l'utopie littéraire classique (1657–1802). Paris: Presses de l'Université Paris-Sorbonne, coll. Imago Mundi, 2003.

Review: J.-M. Goulemot in QL 864 (du 1er au 15 novembre 2003), 13–14: Cet ouvrage, qui traite des textes de L'Autre Monde de Cyrano de Bergerac à Atala de Chateaubriand, "regroupe une vingtaine d'études que... Racault a publié au hasard de colloques ou d'ouvrages collectifs et que connaissent tous ceux qui travaillent, réfléchissent ou rêvent éveillés face aux textes utopiques. Car, tout en admettant leur validité opératoire, on se gardera de limiter l'approche utopique aux deux catégories proposées ici: littéraire et sociologique. N'oublions pas les rêveurs passionnés en reconnaissant qu'ils habitent parfois le même espace que les sociologues, les politiques ou les littéraires et se confondent avec eux. Preuve heureuse de ces confusions: l'analyse littéraire de... Racault qui n'empêche pas la réflexion sur le sens politique des œuvres prises ici en compte."

RACEVSKIS, ROLAND. Time and Ways of Knowing Under Louis XIV: Molière, Sévigné, Lafayette. Lewisburg, PA: Bucknell UP, 2003.

Review: C. Levin in FR 77 (2003), 1233–1234. "This work presents a carefully researched study on the progress of the science of time measurement in the seventeenth century as well as a meticulous analysis of the use of time within the literary works the author associates with the cultural record he examines" (1234). Of interest to graduate students and scholars involved in the study of time.

REVARD, STELLA. Pindar and the Renaissance Hymn-Ode, 1450–1700. Tempe: Arizona Center for Medieval and Renaissance studies, 2001.

Review: J. K. Hale in MLR 99.1 (2004), 278–79: Chapter arrangement provides organizing principle of this study: 'Pindar, Man and Poet', 'Pindar and his Muses', 'Hymns to the Gods', 'Classical Hymn in the Renaissance', 'Pindar and the Christian Hymn-Ode', 'Three Graces in their merriment: Pindar and the Light Ode', and the Philosophical Ode in the Seventeenth Century'. Emphasis on Italian, French, and British poets.

RIBARD, DINAH et ALAIN VIALA, éds. Le Tragique. Paris, Gallimard, 2002.

Review: S. Chaouche in PFSCL XXXI, 60 (2004), 302–305. "C'est une anthologie… qui a trait au Tragique sous toutes ses formes." The introduction is followed by fifty-two extracts from different works, divided into six chapters, "marquant chacun une étape de la gestation de la notion de tragique de l'Antiquité à nos jours et suivis chacun d'un résumé synthétique (analyses et commentaires des textes et/ou mise au point historique sur le genre tragique)."

RIGGS, LARRY. "Monstres naissants: Masculine Birth and Feminine Subversion in the Theatrum Mundi" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 266–274.

Riggs situates issues such as gender, hegemonic discourse, self-fashioning, spectacle, and surveillance within the topos of the theatrum mundi, citing 17th-century theater as an especially fruitful area for work in these areas. Particular attention paid to Le Cid, Horace, Phèdre, Dom Juan, and Le Misanthrope.

RIGGS, LARRY. "Mythic Figures in the Theatrum Mundi: The Limits of Self-Fashioning" in Le Savoir au XVIIe siècle. Eds. John D. Lyons & Cara Welch. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003. 375–383.

Identifies a paradox at the heart of absolutism's use of theater which both buttresses and subverts the absolute monarch. Myth and legend, the stuff of theater, are the building blocks of the monarchy's lineage and prestige. At the same time, however, they also point to the lack of legitimacy and the absence of an underlying transcendent truth. The theater's dependence on mythological characters and themes suggests a theatrum mundi where there are no stable truths.

RIOT-SARCEY, MICHELE et al. Dictionnaire des utopies (Les référents). Paris: Larousse, 2002.

Review J.-Cl. Polet in Ecl 71.3 (2003), 281: Polet finds the some 1500 "notices" fit together well, whether they be "d'orientation ou de fondement spirituel et religieux, idéologiques ou politiques, historiques ou sémiologiques, comparatistes ou proprement françaises." A reference work highly recommended both for consultation and for informative, pleasurable reading.

ROBERT, RAYMONDE. Le conte de fées littéraire en France de la fin du XVIIe à la fin du XVIIIe siècle. Paris: Honoré Champion, 2002.

Review: J. Zipes in M&T 18.1 (2004), 121–122: The reviewer recognizes the enormous impact of this seminal study of the fairy tale in French literary studies since it was originally published in 1981. However, although this work, first published in 1981, paved the way for an entire new field of scholarly inquiry, Zipes finds this republication disappointing, namely because it fails to include any fresh analysis of "the extraordinary scholarship which her own work generated since the beginning of the 1980s.

ROHOU, JEAN. Le XVIIe siècle, une révolution de la condition humaine. Seuil: Paris, 2002.

Review: C. Rolla in S Fr 47, no. 139 (2003): 436: Important volume by this illustrious 17th c. specialist focuses on systems of relationships between humanity and the world as well as the passage from honor to self-interest and amour-propre as motivating factors. Interdisciplinary, with highly pertinent analyses, Rohou's study includes indices and a rich critical bibliography.

RONZEAUD, PIERRE, ed. L'Imagination au XVIIe siècle. Paris: Champion, 2002.

Review: BCLF 639 (2002), 84–85: "Le dernier numéro en date de Littératures classiques, composé sous la direction de Pierre Ronzeaud, renoue avec les grands concepts de l'Age classique en prenant comme objet d'étude l'imagination. Etroitement associée à l'illusion, à laquelle était consacré le numéro prédédent, cette notion possède une très vaste extensnion sémantique au XVIIe siècle, dont rend compte un champ lexical proprement labyrinthique (fantaisie, représentation, conception, vision, illusion, songe, chimère, etc.)."

ROSSO, CORRADO. La "Maxime." Saggi per una tipologia critica. Bologna: Il Mulino, 2001.

Review: R. Ruggiero in Archiv 240 (2003): 445–448: Welcome new edition of Rosso's 1968 study with introduction by Werner Helmich. Essential to the study of this genre and of particular interest to 17th c. scholars because of the genre's prevalence in that period.

ROUKHOMOVSKY, BERNARD. Lire les formes brèves. Paris: Nathan Université, 2001.

Review: F. Pilone in S Fr 47, no. 139 (2003): 518–519: Both a study of short forms and a small collection of such texts, Roukhomovsky's work is useful for its considerations on notions of brièveté (influence of the salons, mania for maximes and énigmes) and representatives such as La Rochefoucauld, La Bruyère and Pascal.

ROWAN, MARY. "Angélqiue Arnauld's Web of Feminine Friendships: Letters to Jeanne de Chantal and the Queen of Poland" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 53–59.

Angélique Arnauld's correspondence reveals the unique feminine voice of a "strong-willed nun" known for her "skillful exercise of authority" and her devotion to Jansenism.

ROYE, JOCELYNE. "La figure de la 'pédante' dans la littérature comique du XVIIe siècle" in Le Savoir au XVIIe siècle. Eds. John D. Lyons & Cara Welch. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003. 215–225.

Examines comic literature to bring out the terms of the criticism of women "pédantes" and their similarities and differences with the frequently ridiculed male "pédant." The figure of the pédante participates fully in the debate over the equality of the sexes and their participation in learning and access to knowledge. The caricature of pédantes also carries positive elements in the discussion of women's status: "elle revendique un juste équilibre dans un monde depuis trop longtemps masculin. Elle balaie les arguments de ceux qui affirment que la femme n'a ni les qualités ni les compétences requises pour se livrer aux affaires de l'esprit."

RUBIN, DAVID LEE et JULIA V. DOUTHWAITE, eds. Rethinking Cultural Studies 2: Exemplary Essays. EMF: Studies in Early Modern France, 7. Charlottesville: Rookwood Press, 2001.

Review: L. Leibacher-Ouvrard in PFSCL XXXI, 60 (2004), 305–307. Reviewer comments particularly on essays by M. Harper, R. Racevskis, J.-V. Blanchard, M. Longino and N. Paige. "Cette collection d'essais s'annoncait comme une série d'《 Exemplary Essays 》. Ce qualificatif est particulièrement approprié."

SAFTY, ESSAM. "Le Corps mort dans la tragédie baroque: de l'anonymat au spectacle" PFSCL 29, no. 57 (2002): 305–322.

Review: C. Rizza in S Fr 47, no. 139 (2003): 156: Important for its scholarly attention to deaths both collective (the people, crowds, etc.) and individual as represented by the baroque theatre. Dramatic qualities and spectators' reactions are examined.

SANDY, GERALD, ed. The Classical Heritage in France. Boston and Leiden: Brill, 2002.

Review: J. Pendergrass in Ren Q 56 (2003): 804–805: Important for its "insight into France's classical heritage" and its assessment of the "impact of classical studies in early-modern France" (804). Focus is on the Renaissance, but articles will be highly useful to 17th c. scholars, in particular Laurence Plazenet's essay on Amyot and his influence on "generations of French playwrights and novelists" (805).

SCOTT, CLIVE. Channel Crossings: French and English Poetry in Dialogue 1550–2000. Oxford: Legenda, 2002.

Review: R. Pensom in MLR 99.1 (2004), 281–82: "Crossing the boundary between the critical and the creative, Clive Scott continues the debate on the 'undecidable' in the meaning of art text and concomitant problems in the theory of translation." In 'Translating and Dramatizing Phèdre', Scott gives a "thought-provoking translation of a key passage of text embodying his idea that Racine's characters have a 'metrical thumbprint' ...but once again incoherent metrical analysis of Racine's text (pp. 101–04) decisively damages the case..."

SEIFERT, LOUIS. "The Male Writer and the 'Marked' Self in Seventeenth-Century France: The Case of the Abbé de Boisrobert." EMF 9 (2004): 125–142.

Argues that certain gendered norms (the sodomitical and the heterosexual) were not viewed as incompatible in the period, given information supplied by the life of Boisrobert.

SERMAIN, JEAN-PAUL. Métafictions (1670–1730). La réflexivité dans la littérature d'imagination. Paris: Champion, 2002.

Review: P. Hartmann in RHLF 103.3 (2003), 725–26. A work that "s'impose d'emblée à l'attention par sa hauteur de vue, sa connaissance intime du corpus et sa remarquable inventivité théorique." The concept of metafiction allows the author to group a wide variety of works that all "visent moins à créer de toute pièce un univers fictionnel crédible qu'à interroger les différentes manières... de saisir le réel." Reviewer lauds "ce livre exigeant et ardu" while wondering if the author's tendency to make metafiction the paradigm for the Ancien Régime novel is really warranted, given that to do so he ignores a number of major works, notably La Princesse de Clèves.

SERMAIN, JEAN-PAUL. "Les Modèles classiques: aux origines d'une ambiguïté, et de ses effets." DSS 223 (2004), 173–181.

The author examines the implications of designating a certain period in 17th c. literature and history as "classique". Adopted in the nineteenth century, Sermain discusses how the term came to differentiate between classic and modern and evaluates its merit and application in contemporary thought.

SHEPARD, JAMES C. Mannerism and Baroque in Seventeenth-Century French Poetry: The Example of Tristan L'Hermite. Chapel Hill, NC: North Carolina Studies in the Romance Languages and Literatures, 2001.

Review: J. Gilroy in FR 77 (2003), 373–374. Clarifying the temporally co-existent aesthetic categories of mannerism and the baroque, Shepard identifies the former as having "an essentially ludic quality"—a preoccupation with display and mastery of convention in the context of élite games—whereas "baroque literature is passionately serious" (374), personal, and religious. These terms are defined in the book's first third, while Shepard uses his remaining pages to illustrate how the poetry of Tristan L'Hermite spans both styles.

SPIELMANN, GUY. Le Jeu de l'Ordre et du Chaos. Comédie et pouvoirs à la fin de règne, 1673–1715. Paris, Champion, 2002.

Review: L. N. Cagiano in S Fr 47, no. 139 (2003): 442–443: Welcome contribution to the "fermento di interessi" in a reevaluation of this transition period between centuries. Noteworthy for its breadth of perspectives offered on the dramatic production of the time, particular attention is paid to two criteria—the success or failure of a creation (along with the public's taste) and the observation of innovative elements. Theatre develops not only as entertainment, but also as a place of power. This volume of over 600 pages is divided into five chapters: Toile de fond, Splendeurs et misères de la comédie Fin de règne, Le réel subverti, En marge du théâtre littéraire, La crise du mariage ou l'ordre ébranlé. An epilogue traces the "bilan d'un périple en 'zone incertaine'." Cagiano finds Spielmann's analyses and arguments very articulate and well documented, from Aristotle to the latest web site. Impressive bibliography and indices. An even more exhaustive appendix may be found at http://www.georgetown.edu/spielmann/finderegne.

Review: B. Norman in PFSCL XXXI, 60 (2004), 310–311. "This is one of the most important books on French theatre that I have read in a long time. In addition to presenting a wealth of information about long-neglected but important theatres, such as the foire and the Comédie-Italienne, it places this information in the context of the esthetic, social, economic and political developments and forces us to revise our notion of classicism".

STEFANOVSKA, MALINA. "L'anecdote dans les ana et les mémoires du XVIIe siècle" in Le Savoir au XVIIe siècle. Eds. John D. Lyons & Cara Welch. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003. 111–120.

Stefanovska focuses on how the anecdote or "historiette" functions as a form of historical knowledge in the 17th century.

STIKER-METRAL, CHARLES-OLIVIER. "Les leçons de l'Histoire: histoire, rhétorique et morale (XVIe–XVIIe siècles)." DFS 65 (Winter 2003), 45–57.

L'auteur conclut qu'il y a deux traditions historiques aux XVIe et XVIIe siècles: "la maîtresse de vie, dans le sillage de Plutarque, et la dénonciatrice des comportements humains, dans le sillage de Tacite." Ces deux traditions partagent certaines pratiques et diffèrent radicalement pour d'autres.

SUMMERFIELD, GIOVANNA. "Contes de fées by Women of the Seventeenth-Century [sic]: New Discourses of Sexuality and Gender" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 133–139.

The genre of the conte de fées allowed women to question prevailing discourse on sexuality and gender and offered a forum for expressing a new vision of women's equality.

SWEETSER, MARIE-ODILE. "Voix féminines dans la littérature classique" in Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003. 41–52.

The author analyzes how texts by a variety of authors (Villedieu, Urfé, Molière, Racine, Lafayette, Mme de Maintenon) represent the feminine quest for autonomy.

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

Review: D. M. Posner in Ren Q 56 (2003): 190–192. Found to be rich and illuminating if a bit uneven and scanty in its bibliography. Valuable for its patient examination of Lucain's presence in French Baroque literature and for its demonstration of positive readings of Lucain in response to "devastating critiques... both ancient... and modern" (192). Of particular interest is Ternaux's analysis of Corneille's adaptation of Lucain in La Mort de Pompée.

THEOBALD, CATHERINE J. "The Literary Portrait and the Early French Psychological Novel." DAI 65/02 (2004), 539.

Studies the role of the portrait "beyond its role as a salon game," especially its relation to the evolving novel, and its relation to painted portraiture. "[I]nstead of replacing or erasing the set-piece heroic portrait as a result of changing tastes in narrative verisimilitude, the nascent French psychological novel uses the literary portrait in new, complex ways as a function of verbal depiction's changing status as an activity and a textual object."

THOUVENIN, PASCALE. "Les Mémoires de Port-Royal: bilan et perspectives" in Pascal/New Trends in Port-Royal Studies. David Wetsel & Frédéric Canovas, eds. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 1. Arizona State University, Tempe, May 2001. Tübingen: Biblio 17 Number 143, Gunter Narr Verlag, 2002. 219–229.

Because they combine humility with visibilty, austerity and pleasure, and collective and individual writing, the memoirs of Port-Royal abound with paradox. The author also summarizes recent scholarship on the genre.

TOBIN, RONALD W. "In Memoriam. Paul Bénichou (1908–2001)" in Le Savoir au XVIIe siècle. Eds. John D. Lyons & Cara Welch. Actes du 34e congrès annuel de la North American Society for Seventeenth-Century French Literature. University of Virginia, Charlottesville, 14–16 mars 2002. Tübingen: Biblio 17 Number 147, Gunter Narr Verlag, 2003. 13–15.

Moving hommage to the author of Morales du grand siècle.

TOBIN, RONALD W. "Booking the Cooks: Literature and Gastronomy in Molière." Literary Imagination: The Review of the Association of Literary Scholars and Critics. 5.1 (winter 2003): 125–136.

In this article in English, Tobin revisits the main points of his article "Qu'est-ce que la gastrocritique?" (see below), adding England (Dickens) to his survey of gastronomically inspired texts, along with an additional focus on the etymology of the word gastronomy and new examples from Greek mythology and Roman history. Additional attention is also paid to La Varenne.

TOBIN, RONALD W. "Qu'est-ce que la gastrocritique?" DSS vol. 217, no. 4 (2002): 621–630.

Tobin refutes the notion that the classical era showed no interest in the physical elements of daily life by tracing alimentary themes, first in a wide variety of world literatures (including Greece, Germany, Spain, Mexico, Italy, Russia), and then focusing on French literature. Tobin studies the interpenetration of alimentary practices and cultural institutions, developing the notion of la gastrocritique based on the relation between "actes oraux" and "actes d'ingestion" and arguing for a pluridisciplinary approach. To date, dix-septièmistes seem not to have focused on this area (perhaps due to Racinian criticism); Tobin develops a convincing list of names worthy of gastrocriticism, including Boileau, Sorel, La Fontaine, d'Aulnoy, Tallemant des Réaux, Herault de Gourville, la princesse Palatine, Mme de Maintenon, Saint-Simon, Sévigné, La Bruyère, and the lesser-known Du Four de la Crespelière. Tobin devotes several pages to Molière.

TRIBOUT, BRUNO. "Des récits de conjuration entre histoire et fiction." DFS 65 (Winter 2003), 84–100.

En examinant des ouvrages d'auteurs aussi différents que le cardinal de Retz, Sarasin, Saint-Réal ou encore le Noble, l'auteur observe qu'"aucun ne pouvait satisfaire pleinement à telle ou telle étiquette: le morceau de l'histoire, voire le récit de vie, la nouvelle historique ou l'histoire secrète y font sentir des influences variées qui viennent se fonder dans l'esthétique mêlée des récits de conjuration."

TUCKER, HOLLY. Pregnant Fictions: Childbirth and the Fairy Tale in Early Modern France. Detroit: Wayne State University Press, 2003.

Review: K. Hoffmann in M&T 18.2 (2004), 323–326: An interdisciplinary study of fairy tales in early modern France, starting with Mme d'Aulnoy and continuing with Bernard, Murat, and others. Study is based on detailed research of literary, medical, historical, and scientific contexts with a particular on gender issues. According to Hoffmann: "It is a book that is a must for those working in gendered or interdisciplinary perspectives in fairy tales, and one that will be of interest to anyone curious about the ways in which early-modern science, marvel, and tale-telling crossed boundaries." Reviewer calls the book "a fascinating look at the intersections of medical discourse and fairy tales in seventeenth- and eighteenth-century France. Delving into the realms of midwifery, fertility, embryological theory, sexual and nutritional sex-selection practices, pregnancy cravings, cesarean sections, and maternal markings, Holly Tucker illuminates a space of intersecting social and narrative practices."

Review: C. Jamison in Choice 41.4 (2003), 714–715. Draws connections between women's writing/telling of early fairy tales and growing female upset at men's medical takeover of the birthing process, that is to say, the supplanting of midwives in favor of surgeons. Tucker's book examines tales, medical treatises, and legends/hearsay. "Highly recommended" by the reviewer.

UHRIG, REINHARD. Changing Ideas, Changing Texts: First-Person Novels in the Early Modern Period. Frankfurt, Berlin, and Bern: Lang, 2001.

Review: R. Skrine in MLR 98.4 (2003), 1076–77: "...an authoritative account of the origins and rise of the European novel founded on the thoughtfully evaluated research" treats the transmission and transformations of texts that "were manipulated by generations of editors, publishers, adapters, and translators." Thought-provoking juxtaposition of autobiography and fiction with Apuleius's episodic first-person narrative (The Golden Ass), Augustine's Confessions and "the multiple versions of the comical yet true history of Francion, a seventeenth-century success which was translated into English, Dutch, and German between 1643 and 1663, and ran through numerous ever-changing French versions between 1623 and 1721, becoming a compound of different segments proliferating to almost twice the original length 'in a manner similar to later additions to the Recherche by Proust' (p. 72)." Chapter 5 contains a subsection on "Morality in Seventeenth-Century Literature."

VAN DELFT, LOUIS. "Theatrum Mundi Revisité" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003. 35–44.

Van Delft contrasts past and present understandings of the notion of theatrum mundi, developing the paradoxical and complex nature of the theme, citing its importance to fields as disparate as theology, cosmography, cartography, the history of theater, etc.

VARTY, KENNETH, ed. Reynard the Fox: Social Engagement and Cultural Metamorphoses in the Beast Epic from the Middle Ages to the Present. New York: Berghahn Books, 2000.

Review: Anon in FMLS 39 (2003): 478: Wide-ranging collection of 15 essays by Reynard specialists illuminates this "hero" from the 12th to the 20th c. Important attention to diversity and to society.

VIOLA, CORRADO. Tradizioni letterarie a confronto. Italia e Francia nella polemica Orsi-Bouhours. Verona: Fiorini, 2001.

Review: B. Papasogli in S Fr 47 (2003): 709: Intelligent and careful comparatist study. French focus includes not only Bouhours's Manière de bien penser dans les ouvrages d'esprit, but also, as important writers of the "République des lettres," Rapin, Boileau and Madame Dacier.

VON STACKELBERG, JURGEN. "Erich Auerbachs Wissenschaftsauffassung." RF 115 (2003): 351–359.

Perceptively examines Auerbach's scholarship for its various interpretations, distinguishing at times the young Auerbach from the seasoned scholar. 17th c. specialists will appreciate in particular Von Stackelberg's insightful ad highly readable assessment of Auerbach on Pascal.

WAGNER, MARIE-FRANCE and CLAIRE LE BRUN-GOUANVIC, eds. Les Arts du spectacle au théâtre (1550–1700). Paris: Champion, 2001.

Review: A. Howe in MLR 99.1 (2004), 190–91: Collection of ten "well informed and stimulating" essays "as much concerned with Speech as with Spectacle" in French theater during the Renaissance and seventeenth century. See A. Soares on Corneille's L'Illusion comique, B. Louvat on Molière's comédie-ballets, and D. Lafon on the collaboration between these two dramatists.

WETSEL, DAVID & CANOVAS, FREDERIC, eds. Pascal/New Trends in Port-Royal Studies. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 1. Arizona State University, Tempe, May 2001. Tübingen: Biblio 17 Number 143, Gunter Narr Verlag, 2002.

Individual articles summarized in the appropriate section, organized by author.

WETSEL, DAVID & CANOVAS, FREDERIC, EDS avec la collaboration de Christine Probes et Buford Norman. Les femmes au Grand Siècle; Le Baroque: musique et littérature; Musique et liturgie. Actes du 33e congrès annuel de la North American Society for Seventeenth-Century French Literature. Volume 2. Arizona State University, Tempe, May 2001. Biblio 17 Number 144. Tübingen: Gunter Narr Verlag, 2003.

Individual articles summarized under author's name in the appropriate section.

Review: D. Kuizenga in PFSCL XXXI, 60 (2004), 319–321. Brief overview of the fifteen articles devoted to "les femmes au grand siècle' and the three devoted to "musique, littérature et liturgie". "Les articles réunis ici sont, dans leur grande majorité, d'une très haute qualité et méritent l'attention de tous ceux qui s'intéressent au grand siècle."

WILD, FRANCINE. Naissance du genre des "ana" (1574–1712). Paris: Honoré Champion, 2001.

Review: M. Escola in DSS 222 (2004), 133–138: The reviewer finds this to be an exceptionally important and much-anticipated study of the ana as a genre. He characterizes the book as "un exceptionnel "précis" sur le tournant des XVIIe et XVIIIe siècles trop souvent délaissé —, elle regarde largement vers l'amont (l'ère des "annotateurs" humanistes puis la période du 《 libertinage érudit 》 revisitées ici à nouveaux frais) et l'aval (pour l'analyse de la réception du genre, dans le contexte de la seconde Querelle des Anciens et des Modernes)."

WINE, KATHLEEN. "Theatrum Mundi: An Overview" in Theatrum Mundi. Studies in Honor of Ronald W. Tobin. Claire Carlin & Kathleen Wine, eds. EMF Critiques. Charlottesville: Rookwood Press, 2003.

An overview of the articles contained in this volume dedicated to Ronald Tobin, divided into sections entitled, "Theaters of Learning," "Comedy and the World," "Tragedy: Pure and Mixed," and "Modern Perspectives."

WORTH-STYLIANOU, VALERIE. Confidential Strategies: The Evolving Role of the Confident in French Tragic Drama (1635–1677). Travaux du Grand Siècle 12. Geneva: Droz, 1999.

Review: J. Gilroy in FR 77 (2003), 374–375. As her title suggests, Worth-Stylianou examines the development of confidents, which in many early dramas stood as mere expositional devices-'listeners' to whom main figures could speak, thereby conveying information to the audience without the awkwardness of monologue. Yet confidents in the hands of Racine are shown to evolve into "full-fledged sharers in the play's tragic passions and destinies" (374). Worth-Stylianou situates her subject amid 17th-century criticism on the convention of the confident, in particular, vis-à-vis D'Aubignac's disapproval of confidents in the works of Pierre Corneille. D'Aubignac claimed these figures were disjointed from their plays' primary actions and sentiments.

ZIPES, JACK, ed. and trans. The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm. New York: W.W. Norton, 2001.

Review: Anon in FMLS 39 (2003): 335. Enormous (over 1000 pages) anthology by a scholar praised for his authority. Fine essays and illustrations accompany famous and lesser-known stories, all arranged thematically.