FRENCH 17

ARNOUL, ELISABETH. "Rôle et représentations de la belle-mère: les enfants du premier lit face au remariage du père." In Defrance, Anne, Denis Lopez, and François-Joseph Ruggiu, eds. Regards sur l'enfance au XVIIe siècle. Actes du colloque du Centre des recherches sur le XVIIe siècle européen (1600–1700), Université Michel de Montaigne-Bordeaux III, 24–25 novembre 2005. Biblio 17 Number 172. Tübingen: Gunter Narr Verlag, 2007. 359–372.

The author contrasts myth and reality by examining the figure of the stepmother in literature (e.g., contes de fées) and autobiographical texts (e.g., mémoires). In spite of their overwhelmingly negative image in literary texts, stepmothers were in fact important for assuring family balance and continuity and acted positively in their stepchildren's upbringing.

AYRES-BENNETT, WENDY. "La modernité de l'usage linguistique de L'Astrée vue par les yeux d'un remarqueur." DSS 235 (2007), 255–273.

Using Vaugelas' Remarques sur la langue françoise as a foil, the author attempts to situate d'Urfé in Vaugelas' chronological appreciation of French authorship and she examines, "dans quelle mesure l'usage linguistique de L'Astrée est conforme à l'usage dit 《  moderne  》 par Vaugelas [...]"

BARBAFIERI. CARINE. Atrée et Céladon. La galanterie dans le théâtre tragique de la France classique (1634–1702). Rennes, Presses Universitaires de Rennes, 2006.

Review: S. Rollin in PSCFL, 67 (2007), 527–529. Reviewer welcomes this volume and its analysis of a vast corpus, seeing it as providing "une meilleure compréhension de la cohérence du théâtre du XVIIe siècle en dessinant sur la cartographie de celui-ci une seconde voie esthétique parallèle à la voie héroïque communément mise en lumière."

BARON, PHILOPPE, DENNIS WOOD & WENDY PERKINS, eds. Femmes et littérature. Colloque des Universités de Birmingham et de Besançon. Paris: Presses Universitaires Franc-Comtoises 2003. Annales littéraires de l'Université de Franc-Comté, 749.

Review: S. Bung in RF 118 (2006): 376–78: This volume embraces woman "à la fois comme objet et comme créatrice de littérature" (7) and is composed of selected contributions to the January 1998 Colloque of Birmingham jointly organized with colleagues from Besançon. The necessarily heterogeneous material is organized historically and methodologically in the following sections: "Mythes et symboles de la femme," "Corps de femmes," "Femmes et société" and "Subtiles écrivaines."

BEASLEY, FAITH. Salons, History, and the Creation of Seventeenth-Century France: Mastering Memory. Aldershot: Ashgate, 2006.

Review: J. Campbell in Ren Q 59.4 (2006): 1225–26: Both a "critique of critiques" and "a study on canon formation," Beasley's examination is also "valuable for its consideration of the shaping of the history of Louis XIV's reign" (1225). Judged "timely," "convincing," and "of interest to scholars of women's literary history as well as those who specialize in the literature of le Grand Siècle" (1226).

Review: M.-C. Canova-Green in MLR 102.4 (2007), 1155–56: "Focusing on the influential salon culture led by women, Faith Beasley retraces the various stages of the appropriation and obfuscation of this rich heritage by later generations. Not only were the seventeenth-century salons reinterpreted and their role in literary culture redefined, the influence exerted by women through the salons was also misrepresented and eventually erased from the nation's collective memory. Less concerned with determining the historical 'truth' of the salon than with analysing how it has been 'remembered' by posterity, Beasley offers a compelling account of the rewriting of France's literary past at the hands of successive generations of Academicians and literary historians." Work "destined to become an essential reference for the field of French seventeenth-century literary studies."

Review: J. Prest in FS 61.2 (2007), 221–222: Beasley's account of women's roles in the seventeenth-century salon is a "sobering reminder" of the misogynist, revisionist and inaccurate literature that continues to inform even literary historians of today. Her book "convincingly" argues the importance of women in the literary world of the period and then charts their historical suppression or marginization from Boileau to Victor Cousin to the present.

BIET, CHRISTIAN & CHRISTOPHE TRIAU. Qu'est-ce que le théâtre? Paris: Gallimard, 2006.

Review: N. Müller-Schöll in ThR 32 (2007): 197–98. Examines Western theatre from all sides and implants "Foucault's way of dealing with historical objects into the historiography of theatre." Author's points of reference are the practices of theatre on stage and in the auditorium. Where seventeenth-century France is concerned, the authors avoid describing the theatre "as if the normative ideas of D'Aubignac had defined the everyday life on stage of the Grand Siècle" and instead show the theatre to be "a space for social exchange and for many-sided crossed gazes. . . a space of discourse where the society of the city started to come to terms with itself."

BOISSEAU, MARYVONNE, ed. Traduire la figure de style. Paris: Presses de la Sorbonne Nouvelle, 2005.

Review: n.a. in BCLF 687 (2006), 29: "De manière intéressante, ces huit contributions, loin de se succéder de façon parallèle et disjointe, trouvent des échos les unes dans les autres et font apparaître la place centrale de la figure de style dans une théorie de la traduction." Voir l'article de M. Boisseau sur Racine qui "montre que c'est du rythme que surgit la métaphore et que les écarts entre traducteurs proviennent essentiellement de l'adoption d'une rythmique différente."

BONNIFFET, PIERRE. Structures sonores de l'humanisme en France: de Maurice Scève: Délie, objet de plus haulte vertu (Lyon, 1544) à Claude Le Jeune, Second livre des Meslanges (Paris, 1612). Bibliothèque Littéraire de la Renaissance 57. Paris: Champion, 2005.

Review: L.K. Donaldson-Evans in Ren Q 59.2 (2006): 530–31: A "Ficinian-inspired humanist perspective" guides Bonniffet, "who is both a musicologist and a singer" (530). Impressive for its attention to both primary and secondary sources from the early modern period as well as to recent criticism. A grounding in music theory is judged helpful to the reader of this praiseworthy examination of the relationship between music and poetry in the long Renaissance.

Review: M. Mastroianni in S Fr no. 148 (2006): 144: Bonniffet's analysis of the structure of significant musical examples and poetic texts demonstrates the diversity and talent of the period from 1544 to 1612 as it focuses on genres such as the psalm, the "chanson spirituelle" and the "air spirituel." Convincing testimony to the rhetorical elaboration of the trivium: (l'inventio, la dispositio and l'elocutio).

BRUYER, T. & J. VANACKER. Che dire di te, Lucrezia ? Parodies italiennes et françaises du mythe de Lucrèce à la Renaissance et à l'Age baroque. BHR 69.2 (2007), 327–351.

《  Qui dit Lucrèce, dit : vertu, fidélité conjugale, héroïsme et révolution politique. Pourtant, de Machiavel à Mlle de Scudéry, une série de textes renversent ce paradigme conventionnel. Selon Dentith, toute pratique culturelle, offrant une imitation polémique d'une autre production culturelle relève de la parodie. Cette définition suscite les questions suivantes : A quel type de parodie, ces auteurs recourent-ils ? Quels sont les motifs parodiés ? Et enfin, les parodies françaises sont-elles redevables à la littérature italienne ?  》 Pour le XVIIe siècle en France, voir la discussion de Lucrèce ou l'Adultère puni d'Alexandre Hardy et de Clélie de Mlle de Scudéry.

BURY, EMMANUEL & FRANCINE MORA, eds. Du roman courtois au roman baroque : Actes du colloque des 2 – 5 juillet 2002. Paris : Belles Lettres, 2004.

Review : R. Brown-Grant in MLR 102.4 (2007), 1153–1154 : 《  In a welcome attempt to remedy the traditional lack of dialogue between scholars of medieval literature and early modern texts, this collection of twenty-six conference papers asks whether the relationship between medieval romance and baroque romance is one of rupture or of continuity." See articles by A. Berthelot on Perrault, E. Eglal on Honoré d'Urfé; M.-G. Lallemand on La Calprenède; C. Esmein who "regards the seventeenth century as the point at which medieval romances were no longer deemed acceptable owning to their lack of verisimilitude and loose rules of composition."

Review: J. Grimbert in FR 80 (2007), 1118–19: "This stimulating collection, based on papers presented at a colloquium at the University of Versailles, focuses on whether sixteenth- and seventeenth-century French novels continued, or broke with, the tradition of their medieval predecessors." Consideration is given to Chapelain, Perrault, d'Aulnoy, d'Urfé, and La Calprenède, among others.

CALAME, CLAUDE & ROGER CHARTIER, eds. Identités d'auteur dans l'Antiquité et la tradition européenne. Grenoble: Jérôme Millon, 2004.

Review: D. Donnet in RBPH 84.1 (2006), 129–131: Onze communications: "Une double question. . . plane sur cet ouvrage: quelles sont les modalités énonciatives et les formes poétiques auxquelles renvoie la 'fonction-auteur' dans l'Antiquité? Comme pistes de réponses, une enquête interne, et des confrontations avec d'autres traditions littéraires, du Moyen-Age européen, de la Renaissance, du 17e siècle."

CANOVA-GREEN, MARIE-CLAUDE. "Le divertissement à la cour des Bourbons et des premiers Stuarts, ou comment ordonner le désordre." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 333–353.

The growing use of theatre and performance to celebrate and enhance the social and political order of absolute monarchy saw a rise in disorder on the part of an undisciplined audience eager for spectacle and distinction. Thus the space of the theater began to win out over the use of ballrooms and great halls: in theaters spectators were restrained in their seats and neatly ordered according to rank and position, neatly mirroring the monarchical political order.

CAPRON, AURELIE C. "Staging Women: Representation of Female Scholarship in Seventeenth-Century Spanish and French Drama." DAI 68/02.

This dissertation is a critical examination of how women's education was highly debated in the early modern period. A comparative approach is adopted (Spain and France), as well as a literary historical perspective. Study contributes "an intellectual and literary historical perspective to the fields of gender studies and theater, broadening our understanding of the socio-historical context of women's education and scholarship in Early Modern Europe."

CARLIN, CLAIRE L. & KATHLEEN WINE, eds. Theatrum Mundi: Studies in Honor of Ronald W. Tobin. Charlottesville, VA: Rockwood Press, 2003.

Review: Chr. Biet in RHLF 107.1 (2007): 240–242. This work rewrites the theatre itself, putting into question theatrical modes and the purpose of several places: seeing for example, Dom Juan, not just as satire but a renewal of linguistic expression. The third part of the work discusses the banquet, Titus Andronicus, cooking in the theatre, horror, violence in action, monsters, etc. Finally, the authors deal with "conscience d'être du théâtre." It studies métathéâtralité, rhetorical devices, and ends with modern points of view on classical works, as well as the influence of the theatre on today's world.

Review: M.-O. Sweetser in FR 80 (2007), 1119–20: Taking shape in response to Tobin's work on theater, this collection of essays pays considerable attention to works by Corneille, Racine, and Molière, but also contains essays by several medievalists and includes a section on "Modern Perspectives". The volume contains contributions from Georges Forestier, John Lyons, Jean-Marie Apostolidès, and Ralph Albanese, among others. Recommended by the reviewer.

CAROL, PAL. "Republic of Women: Rethinking the Republic of Letters, 1630–1680." DAI 67/11 (2007).

Dissertation studies the heterogeneous Republic of Letters as a community that included men and women. Focus is on the "multinational network of female scholars," the network's scholarly activity, and the "real and supportive intellectual women's network [that] centered around the erudite Anna Maria van Schurman of Utrecht." It is argued that understanding that network is vital for the intellectual history of the early modern time period.

CASANOVA-ROBIN, HÉLÈNE. Diane et Actéon. Éclats et reflets d'un mythe à la Renaissance et à l'âge baroque. Paris: Champion, 2003.

Review: B. Kuhn in RF 118 (2006): 251–54: Organized in two major sections: "Le mythe de Diane et Actéon à travers les siècles, la place prédominante du poème d'Ovide dans sa transmission" and "La lecture ovidienne de la fable et ses échos dans la poésie et l'art figuré à la Renaissance et à l'âge baroque", Casanova-Robin's rich and comprehensive study is valuable additionally as a study of Ovid and his work's reception in the Early Modern.

CAZES, HELENE. "Spectacles et rumeurs: la cérémonie de l'enfant prodige devant les Docteurs." In Defrance, Anne, Denis Lopez, and François-Joseph Ruggiu, eds. Regards sur l'enfance au XVIIe siècle. Actes du colloque du Centre des recherches sur le XVIIe siècle européen (1600–1700), Université Michel de Montaigne-Bordeaux III, 24–25 novembre 2005. Biblio 17 Number 172. Tübingen: Gunter Narr Verlag, 2007. 373–390.

The author examines the representation of the child prodigy, "un nouveau héros classique de la scène littéraire," in Adrien Baillet's Des Enfans devenus célèbres par leurs etudes ou par leurs écrits and a booklet written by twelve-year-old prodigy Antoine Lancelot. These texts focus on preaching as the greatest proof of prodigious abilities, allude to the biblical story of Christ in the temple, and make the child prodigy a figure of collective redemption.

CHARTIER, ROGER. Inscrire et effacer: culture écrite et littérature (XIe–XVIIIe siècle). Paris: Gallimard, 2005.

Identified in Choice 44 (2006) as a "Significant European Scholarly Title" for 2005.

CHERBULIEZ, JULIETTE. The Place of Exile. Leisure Literature and the Limits of Absolutism. Lewisburg: Bucknell UP, 2005.

Review: L. Leibacher-Ouvrard in Fr F 31.3 (2006): 159–162: As Leibacher-Ouvrard so felicitously states, Cherbuliez's Place of Exile is "lui-même un voyage de distanciation critique" (161). Continuing along the lines of Joan DeJean's Tender Geographies (1991) and Nicholas Paige's Being Interior. . . (2001), Cherbuliez focuses on the imposition of "vivre 'à l'extérieur'" for representative women authors but also indicates "combien ces écrits de femmes ont souvent accueilli la participation de collaborateurs masculins (secrétaires, correspondants, imprimeurs, etc.) tels que Huet, Segrais ou Saint-Evremond" (161, Leibacher-Ouvrard). Cherbuliez's thesis is illustrated by four cases in as many chapters: "Diversions: Montpensier's Exilic Communities," "Detours: Ovidian Fantaisies of Community and Villedieu's Les Exilez de la Cour d'Auguste," "Periphery: Zayde and the Domestic Conquest of the Nation," and "Diaspora: Francophone Refugee Fiction from Hortense Mancini to Anne de La Roche-Guilhen." Judged a "bel ouvrage" which proves the significance (literary, socio-cultural, political, for example) of this "leisure literature."

CHONE, PAULETTE. "En marge de L'Astrée. A propos de l'inspiration pastorale de Claude Lorrain et de son Campus agni de Vienne." DSS 235 (2007), 325–335.

A look at some of the artistic and cultural pastoral context on the margins of L'Astrée.

CIAVOLELLA, MASSIMO and PATRICK COLEMAN, eds. Culture and Authority in the Baroque. Toronto: UTP, 2005.

Review: L. R. N. Ashley in BHR 69.1 (2007), 198: Superior anthology that contributes "to the better definition of baroque" and "permits of a wide range of interests: architecture, exploration, music, poetry. . ."

CIVADI, JEAN-MARC. La Querelle du Cid (1637–38). Edition critique intégrale. Paris: Champion, 2004.

Review: G. Peureux in RHLF 106.4 (2006): 972. This edition fully captures the debate and provides us with new possibilities to understand certain aspects of it, "notamment l'influence de la querelle sur la critique littéraire, mais aussi sur le dramaturgie, et son insertion dans les questions politiques du temps." The author "recense des corrections effectuées entre le manuscrit. . . et l'édition de 1638."

CLARKE, JAN. "Un théâtre qui n'a jamais existé: le tripot dans la rue du Temple." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 103–117.

The author examines the recently-discovered bail for a theater that was to be built in the rue du Temple in the 1630s to see what it reveals about the design of theatrical spaces in the seventeenth century. Additionally, Clarke concludes that the planned theater offered a template of sorts for the layout of the rebuilt Théatre du Marais (1644).

CONSTANT, JEAN-MARIE. La Folle liberté des baroques 1600–1661. Paris: Perrin, 2007.

Review: D. Bermond in RDM (mai 2007), 187–189: "Dans cet essai tout en nervosité, baroque, se risquerait-on à dire, Jean-Marie Constant décline les mille et une manières de manifester sa liberté en cette première moitié du XVIIe siècle. L'auteur brosse des figures d'une belle trempe, qui ont fait de l'indocilité une règle de conduite, tells la duchesse de Chevreuse et la Grande Mademoiselle, deux croqueuses de pouvoir, ou ce comte de Montrésor, contestataire impénitent, conseiller de Gaston d'Orléans, lui-même prince de l'équivoque, qui se revendique 'esprit libre' par opposition aux 'esclaves' vivant dans 'la servitude' à la cour."

COUCHMAN, JANE & ANN M. CRABB, eds. Women's Letters across Europe, 1400–1700: Form and Persuasion. Aldershot: Ashgate, 2004.

Review: E. Moody in Ren Q 59.3 (2006): 930–32: Praised for its archival scholarship and high quality historical analysis, this volume of 15 essays focuses on letters and lives including pragmatic circumstances. Connections between "the state," "the private," "the public" and "the domestic" are shown to be tightly interwoven (Couchman and Crabb, 143) as the very organization of the volume underscores them with its sections presenting 1) "letter-writers attempting to influence family members and friends to achieve personal goals," 2) "women attempting to influence events and decisions in public spaces," and 3) women who 'derive authority' (16) for forceful aggression in public arenas from their religious beliefs" (931).

COUDERC, CHRISTOPHE. "Entre traduction et transfert culturel: de La villiana de Getafe de Lope de Vega à La Diane de Jean de Rotrou." PFSCL, XXXIV, 67 (2007), 107–131.

A comparative analysis of the two plays which highlights particularly the creative originality of Lope de Vega.

COURTES, NOEMIE. L'Ecriture de l'enchantement. Magie et magiciens dans la littérature française du XVIIe siècle. Paris: Champion, 2004.

Review: J.-P. Collinet in RHLF 106.4 (2006): 975–976. Reviewer states the ambitious objective of this work, which intends to know "too much at the same time." Furthermore, he finds fault with the book's length, with the discussion of certain topics and its attempt to go beyond the Grand Siècle in its historical analysis. Yet he values the discussion of lesser known works in Courtès' book.

CRAVERI, BENEDETTA. L'âge de la conversation. Traduit de l'italien parEliane Deschamps-Pria. Paris, Gallimard, 2002.

Review: R. Marchal in RHLF 106.4 (2006): 980–981. Review argues that this study "decrit une poétique et une mondanité. . . et qui dans le glissement insensible de l'oralité à l'écrit produit ces genres mimétiques de la conversation: ana, anecdotes, entretiens et dialogues, jeu de portraits, marques d'oralité de l'écriture épistolaire et mémorielle, etc." Author values the amount of information assembled, which extends from "l'âge de la conversation, de l'Hôtel Rambouillet jusqu'à. . . Mme de Staël."

DAGEN, JEAN & PHILIPPE ROGER, eds. Un siècle de deux cents ans? Les XVIIe et XVIIIe siècles: continuités et discontinuités. Paris: Éditions Desjonquères, 2004.

Review: E. Leborgne in RF 118 (2006): 505–507: Stemming from the June 2001 colloque "Un siècle de deux cents ans?" at the Sorbonne and the Fondation Singer-Polignac, this volume demonstrates a politico-historical continuity which limits the liberty to think, write and publish thereby constraining writers to invent a personal style, both subversive and natural (505). As Dagen's presentation reminds us, "les règles d'ordre et de perfection. . . fondent au XVIIe siècle le mythe du français classique comme langue universelle de l'esprit et de la clarté" (506, reviewer). Referring to the permanence of the model of Antiquity, the spirit of the Counter-Reformation and the progress in the sciences, the essays present "une grande homogénéité" (506). While regretting a certain inequality of representation among fields of research, no analysis of "le sensualisme. . . qui naît au XVIIe siècle" (506), little reflection on evolution of literary genres (yet in preparing this annotation we did note a section devoted to that very subject!), or esthetics, as well as a slim consideration of minor subjects, Leborgne highlights useful emphases of the volumes's five sections: "Siècles littéraires, siècles philosophiques," "Perception du temps et légende des siècles," "Poétiques, pratiques," "Evolution des genres" and "Un même monde littéraire?"

DANDREY, PATRICK, ed. Anthologie de l'humeur noire: Ecrits sur la mélancolie d'Hippocrate à l'Encyclopédie. Paris: Gallimard, 2005.

Review: S. Guenoun, in PSCFL, 66 (2007), 258–263. Reviewer welcomes this anthology where "Seule l'énigme de ce 《  noir carburant  》 qui a fait tant couler d'encre, sollicite l'attention de notre anthologiste-fabuliste, exigeant la restitution minutieuse et rigoureuse de textes-clés, symptomatiques de constructions médicales et théologiques quasi-délirantes, sauvés, le temps d'une lecture, par une élégante et magistrale présentation."

DANDREY, PATRICK. "La comédie héroïque de Wolfgang Leiner." PFSCL XXXIV, 66 (2007), 87–92.

Overview of Wolfgang Leiner's role in the development of seventeenth-century studies through, for example, his creation of PFSCL, Œuvres et critiques, and the collection Biblio 17.

DANDREY, PATRICK. "Democritus ridens. Rire, morale et folie dans les Lettres Hippocratiques." Poétique de la pensée. Etudes sur l'âge classique et le siècle philosophique. En hommage à Jean Dagen. Eds. Béatrice Guion et al. Paris: Honoré Champion Editeur, 2006.

DAUVOIS, NATHALIE & JEAN-PHILIPPE GROSPERRIN, eds. Songes et songeurs (XIIIe – XVIIIe siècle). Sainte-Foy, Québec: PU Laval, 2003.

Review: n.a. in BCLF 675 (2005), 54–55: L'ouvrage est "le produit d'un séminaire qui se tint à Toulouse de 1998 à 2000. Comme on pouvait plus ou moins s'y attendre, aucune synthèse n'émerge de cette série d'articles, parce que les rêves que racontent les écrivains n'ont pas nécessairement eu lieu, ou alors pas sous la forme mise en scène. La seule exception est peut-être consitutée par les trois songes de Descartes, songes à la croisée des chemins, messagers d'une aventure individuelle à venir." Manque d'index et de bibliographie.

DAYBELL, JAMES. "Recent Studies in Seventeenth Century Letters." ELR 36.1 (2006): 135–170.

Although the focus of most of the general studies is English letters, they include others of a broader nature such as the mention of a special issue of HLQ (2003), Studies in the Cultural History of Letter Writing. Individual topics include genre, epistolary manuals, women's letters, female literacy, letters of petition, epistolary models (articles cited here indicate that from the mid-seventeenth century "French epistolary models supplanted classical letters as exemplars for imitation, especially by women, 138), material aspects, publication, homoeroticism and letters, manuscript newsletters, prehistory of the newspaper, emotions, family relations, the love letter, transatlantic correspondence, epistolary communities, delivery of letters and postal system. Among the studies of individual writers, 17th c. French scholars will appreciate entries on 17th c. publication of Milton's state letters to France and on "textual echoes of the 'powersharing' between Louis XIV and Mazarin in Paradise Lost" (147). A final section assesses the state of criticism, pointing to greater accessibility through several electronic initiatives and indicating areas important for future inquiry.

DE CAPITANI, PATRIZIA. Du spectaculaire à l'intime: Un Siècle de commedia erudita en Italie et en France (début du XVIe siècle-milieu du XVIIe siècle). Paris: Champion, 2005.

Review: M. Bregoli-Russo in Ren Q 59.2 (2006): 537–39: From de Capitani's examination of French translations and adaptations of Italian theatrical works, notably currents of romance, intrigue and serious comedy, and with her focus on the intercultural relationship of the commedia erudita and the early modern French theatre, we gain a new appreciation for the dynamism of the model and "its capability to adapt to the variations in mentality and taste" (539). De Capitani has organized her impressive work in four chapters: 1) "Pour une approche comparative du théâtre comique italien et français du XVIe siècle et de la première moitié du XVIIe siècle," 2) "La comédie romanesque et ses avatars: La tradition siennoise et la France 1532–1647," 3) "La comédie d'intrigue: De l'Arioste et ses interprètes français aux premières comédies traduites par Larivey," 4) "La comédie sérieuse et sentimentale: Larivey et Rotrou face aux expériences italiennes de la seconde moitié du XVIe siècle—vers 1560–1646" (537–538).

DE COURCELLES, DOMINIQUES. Langages mystiques et avènement de la modernité. Paris: Champion, 2003.

Review: A. Traninger in RF 118 (2006): 102–103: Found highly useful for future examinations of the intersections of philosophy, theology and literature. Focusing on wisdom, love of the word and embracing a time period from the 13th to the 17th c., De Courcelles's work includes helpfully analyzed case studies and is attentive to biography, chronology, geography and theories of genre.

DEFRANCE, ANNE. "L'enfant dans le conte de fees littéraire (1690–1715)." In Defrance, Anne, Denis Lopez, and François-Joseph Ruggiu, eds. Regards sur l'enfance au XVIIe siècle. Actes du colloque du Centre des recherches sur le XVIIe siècle européen (1600–1700), Université Michel de Montaigne-Bordeaux III, 24–25 novembre 2005. Biblio 17 Number 172. Tübingen: Gunter Narr Verlag, 2007. 265–280.

With a few notable exceptions, children and the theme of childhood are curiously absent from the fairy tale. The author surveys representations of childhood and education in the fairy tale to show that children are mere accessories and instruments for addressing an adult audience. She then examines the intersection of the fairy tale and history in texts that evoke the childhood of Louis XIV (Préchac's Sans Parangon) and the Duc and Duchesse de Bourgogne. (Mlle de la Force's Tourbillon). When fairy tales incorporate historical elements, they either become panegyric or they become ambiguously critical through their mélange of féerie and fact.

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

Review: M. J. Muratore in SYM 60.4 (2007), 267–269: "The work consists of an introduction and three chapters devoted to three separate 'obscenity' trials: a poem by Théophile de Viau (published in 1622); an anonomously written narrative, L'Ecole des filles (1655); and Molière's comedy L'Ecole des femmes (1662)." De Jean "traces the evolving meanings of the term 'obscene' from its initial usage in antiquity through its reemergence in sixteenth-century France (after a brief disappearance during the Middle Ages), to its definitive entrance into the seventeenth-century lexicon at around the time of Molière's L'Ecole des femmes."

DE LA GORGE, JÉRÔME. "Un lieu de spectacle à Versailles au temps de Louis XIV: la grotte de Thétis." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 307–318.

The author examines the use of the grotte de Thétis at Versailles as a "lieu de spectacle" for the staging of Lully's La Grotte de Versailles and Molière's Malade Imaginaire. The extraordinary setting was an inspiration to Lully who composed his "églogue en musique" to take advantage of the scale and acoustic qualities of this intimate setting.

DELEHANTY, ANN T. "Mapping the Aesthetic Mind: John Dennis and Nicolas Boileau." JHI 68 (April 2007), 233–253.

Demonstrates how the literary criticism of John Dennis and Nicolas Boileau, in attempting to use a religious model to explain poetry, fails to balance the transcendental with the rationally knowable. "Both theorize a non-rational faculty rooted in sensible experience which is able to gain knowledge outside of reason's grasp. The essay argues that each writer uses a religious model to describe the profoundest intellectual effects of poetry. This appropriation of a religious model, however, results in an inability for both writers to account for the rationally knowable aspects of poetry along with its transcendental effects." (abstract) "The difficulties for their theories teach us a great deal about poetry's liminal status between sacred and profane during the period" (237). Delehanty concludes by saying that "The question which both Dennis and Boileau leaves unanswered is whether it is possible to reconcile the subjective and objective approaches to literary analysis. Their work only points us to some of the great difficulties in any attempt to do so" (252).

XVIIe siècle, avril 2004, 223.

Review: D. Dalla Valle in S Fr no. 148 (2006): 144: Twelve essays treat in this issue the notion "XVIIe siècle et modernité." Dalla Valle's review lists the titles of each article, suggesting the rich and varied nature of the issue (from classical models to linguistic considerations, moralists, justice, and the theatre, for example).

XVIIe siècle, juillet 2004, 224.

Review: D. Dalla Valle in S Fr no. 148 (2006): 145: This issue on "Excellence classique et marginalité au XVIIe siècle" includes papers presented at the colloque of the doctoral school of the U. de Toulouse II in April 2003. Additionally there are articles treating Malebranche, Pascal, and widows of the Bordeaux parliament.

XVIIe siècle, octobre 2004, 225.

Review: D. Dalla Valle in S Fr no. 148 (2006): 145: This issue includes papers from the 2002 colloque of Rouen "Corneille après Corneille, 1684–1791." The review is organized into sections on "Corneille des Lumières," "Corneille édité et mis en scène," "Voltaire critique de Corneille," "Réception critique de Corneille," "L'influence de Corneille sur la dramaturgie du XVIII siècle," and "Récritures de Corneille au XVIIe siècle."

DOTOLI, GIOVANNI. Montaigne et les libertins. Paris: Honoré Champion, 2006.

Review: n.a. in BCLF 687 (2006), 58: "Montaigne et les libertins s'intéresse avant tout à la réception des Essais aux XVIIe siècle dans les différents milieux que l'on qualifie de libertins." Dotoli a contribué "à montrer que le XVIIe siècle libertin a fait de Montaigne une lecture spécifique, qui eût sans doute quelque peu décontenancé l'auteur lui-même sur bien des points."

DOTOLI, GIOVANNI et al. Les Traductions de l'italien en français au XVIIe siècle. Bibliothèque des traductions de l'italien en français du XVIe au XXe siècles. Paris: Schena Editore-Presses de l'université de Paris-Sorbonne, 2001.

Review: R. Crescenzo in RHLF 106.4 (2006): 968–969. This book discusses the appearance of "italianismes" at the French court during the seventeenth century. The author hereby tries to get rid of the negative connotation that the term "italianisme" has acquired in France.

DOTOLI, GIOVANNI. "Wolfgang Leiner ou une nouvelle façon de lire le XVIIe siècle." PFSCL XXXIV, 66 (2007), 29–33.

A personal recollection of a friendship, and an overview of Wolfgang Leiner's approach to the seventeenth century.

DU CREST, SABINE. "Le lieu de l'ailleurs dans les spectacles de cour au XVIIe siècle en Italie et en France." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 319–331.

The exotic—"la représentation de l'Autre et de l'ailleurs"—was an important theme in seventeenth-century culture that came from a profound desire to discover and know the Other. Nevertheless the representation of the exotic was less real than evocative and obeyed the esthetic principles of vraisemblance rather than reality. Above all, exotic images sought to capture spectators' imaginations rather that confront them with images of difference.

DUGGAN, ANNE. Salonnières, Furies, and Fairies: The Politics of Gender and Cultural Change in Absolutist France. Newark: U of Delaware Press, 2005.

Review: J. Perlmutter in FR 80 (2006), 451–52: A book anchored in readings of Scudéry and d'Aulnoy which attempts to unsettle the centrality of the seventeenth-century canon and to question the idea that women writers undertake their work first and foremost as women. Accords importance to the salon as an alternative public sphere, a site for utopic play, and a locus for wide-ranging debates between male and female writers. The book is praised by the reviewer.

Review: A. Stedman in M&T 20 (2006), 270–272: "[A] compelling study of how seventeenth-century French writers used literary production to dialogue with one another over issues of class, gender, nobility, religion, politics, morality, and individual subjectivity. Over the course of six clearly written chapters, which weave the stories of the individual writers into a complex sociohistorical context, Anne E. Duggan "tells a story" (20), beginning with Madeleine de Scudéry and the public influence of salon women, moving on to the patriarchal reaction of academicians like Boileau and Charles Perrault, and finally focusing on Marie-Catherine d'Aulnoy's response to the decline of the salon, the nobility, and the moralist discourses responsible for late seventeenth-century parental and spousal domination."

DUMORA, FLORENCE. L'Oeuvre nocturne: songe et représentation au XVIIe siècle. Paris: Champion, 2005.

Review: G. Peureux in FS 61.2 (2007), 221: This review of Dumora's thesis praises her analysis of dreams and visions in the seventeenth century as an "oeuvre logique et complexe, ambitieux et parfois difficile." The work has a strong introduction and doesn't shy away from the epistemological diversity it must confront, in particular the relationship of the dream to artistic production. Dumora's book allows one to see the complexity of "rapports logiques du réel et de l'illusion, du moi et du non-moi, du corps et de l'âme."

ERTLER, KLAUS-DIETER & WERNER HELMICH, eds. Das Rezensionswerk von Ulrich Schulz-Buschhaus. Eine Gesamtausgabe. Tübingen: Narr, 2005.

Review: F.-R. Hausmann in RF 118 (2006): 383–87: This voluminous work of 1107 pages is a testimony to the breadth, depth and judgment of its honoree's prolific scholarship, reviews and direction of numerous theses, dissertations and "Habilitationsschriften." 17th c. scholars will appreciate the considerable emphasis on the baroque. Indices allow for searching of particular authors and themes.

ESMEIN-SARRAZIN, CAMILLE. "Les nouvelles françaises ou la poétique galante d'un roman miroir de la société de son temps." In Guellouz, Suzanne and Marie-Gabrielle Lallemand, eds. Jean Renault de Segrais. Actes du colloque de Caen. 9 et 10 mars 2006. Biblio 17, Number 173. Tübingen: Gunter Narr Verlag, 2007. 59–73.

Les nouvelles françaises occupy an intermediate point between the baroque heroic romance and classicism's nouvelle. The text's representation of a reading community that frames the series of nouvelles reduces the distance between reader and text and makes the novel a miroir de son temps for examining contemporary moeurs.

ESMEIN, CAMILLE. Poétiques du roman: Scudéry, Huet, Du Plaisir, et d'autres textes théoriques et critiques du XVIIe siècle. Paris: Champion, 2004.

Review: J. Mallinson in FS 61.3 (2007), 367–368: This critical anthology, though not exhaustive—which would be impossible—is "a model of scholarly rigour" and its value "would be difficult to overestimate." For works she does not cover in her edition, Esmein provides a "penetrating note" on its importance and its content. An edition that is "unlikely to be superceded for decades."

FÖCKING, MARC & BERNHARD HUSS, eds. Varietas und Ordo. Zur Dialektik von Vielfalt und Einheit in Renaissance und Barock. Stuttgart: Steiner, 2003.

Review: P. Ihring in RF 118 (2006): 106–109: Very wide-ranging volume examines diversity and unity in the Renaissance and the Baroque and embraces numerous geographical areas of Europe and genres from philosophical treatises to the political lyric, from comedy to historiography and others. 17th c. scholars will appreciate the study on laughter and power (the French focus here is Desmarets de Saint-Sorlin's Aspasie).

FUMAROLI, MARC. "Hommage à Wolfgang Leiner." PFSCL XXXIV, 66 (2007), 11–12.

Personal recollection and homage to Wolfgang Leiner.

GADHOUM, SONIA. "La conversation dans le roman comique: statut et fonctions". SCFS 28 (2006), 103–115.

Analyses the function of conversation within three 'realist' comic novels, namely Tristan l'Hermite's Le Page disgracié, Sorel's Polyandre and Furetière's Le Roman bourgeois, asking: "sous quelles formes les conversations sont-elles introduites? Quelles fonctions ont-elles dans la narration et dans la structure même de l'œuvre? Quelles fonctions assurent-elles au regard des projets d'écriture des uns et des autres auteurs?"

GAUTHIER, PATRICIA. "L'enfant vu par les utopistes du règne de Louis XIV." In Defrance, Anne, Denis Lopez, and François-Joseph Ruggiu, eds. Regards sur l'enfance au XVIIe siècle. Actes du colloque du Centre des recherches sur le XVIIe siècle européen (1600–1700), Université Michel de Montaigne-Bordeaux III, 24–25 novembre 2005. Biblio 17 Number 172. Tübingen: Gunter Narr Verlag, 2007. 293–304.

While utopian texts neglect childhood as a lived experience, they nonetheless represent children as an essential component of society since the birth and education of children are crucial for the propagation and survival of these invented, ideal worlds' values. The utopian text therefore offers "l'image fantasmée d'un enfant porteur de lendemains qui chantent, image en miniature d'une humanité vierge qui grandira, inchangée par le temps, forte des valeurs inculquées dans le jeune esprit des citoyens, pour atteindre la perfection dans l'âge d'homme."

GENETIOT, ALAIN. Le Classicisme. Paris: PUF, 2005.

Review: A. Niderst in PSCFL, 67 (2007), 538–539. Reviewer queries the validity of a study on the controversial term 'classicism,' although believes the book will be of great use to students and young researchers.

Review: B. Papasogli in S Fr no. 148 (2006): 148–149: Génetiot's highly useful synthesis provides the reader with a solid historiographical and critical basis (149). Génetiot is careful to define "classicism" as "un objet construit par la réception" (9) and then examines this reception and "formation." The "moment classique" is an "aspect" of the French 17th c. and, as Génetiot notes, there is a double polarity: "celle de la régularité normée d'une part et d'autre part celle des agréments, du goût et du sublime qui viennent relativiser les notions de raison et de clartés classiques" (4).

GETHNER, PERRY. "Guerre et combat dans les premières tragédies lyriques." In Garapon, Jean, ed. Armées, guerre et société dans la France du XVIIe siècle. Actes du VIIIe colloque du Centre International de Rencontres sur le XVIIe siècle. Université de Nantes, 18–20 mars 2004. Biblio 17, Number 167. Tübingen: Gunter Narr, 2006. 257–266.

The author surveys the dramatic, visual, and musical conventions of the representation of war in operatic tragedy and concludes that they all share the common ideological goal of celebrating the monarch.

GINGRAS, FRANCIS, ed. Une étrange constance: les motifs merveilleux dans la littérature d'expression française du Moyen Age à nos jours. Sainte-Foy, Québec: PU de Laval, 2006.

Review: n. a. in BCLF 685 (2006), 56–57: "Il s'agit des actes d'un colloque organisé en octobre 2002 à l'université Western Ontario (Canada). F. Gingras est médiéviste et le Moyen Age se taille la part du lion dans cet ouvrage. . ." Deux contributions sur Cyrano de Bergerac et La Fontaine.

GOLDER, JOHN. "'A l'instart et conformément. . .au jeu de paume du Marestz': ce que l'Hôtel de Bourgogne devait au théâtre du Marais en 1647." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 87–101.

Acknowledging a lack of decisive documentary evidence, the author argues that the renovated Hôtel de Bourgogne (1647) imitated and improved on the layout of the rebuilt Théâtre du Marais (1644).

GOLDSMITH, ELIZABETH C. & COLETTE H WINN, eds. Lettres de femmes inédits et oubliés du XVIe au XVIIIe siècle. Paris: Champion, 2005.

Review: C.F. Klaus in Ren Q 59.1 (2006): 178–80: Praiseworthy for its rich selection of women's correspondence, this "informative survey" of the multi-faceted development of the letter also analyzes themes, centers of interest, networks of influence and involvement in financial dealings. Letters are diverse and unexpurgated; they provide to scholars in many fields letters previously accessible only with great difficulty or not at all. Extensive documentation includes a selective bibliography.

Review: M. Lazard in FS 60.4 (2006), 510–511: This review is more of a compte rendu than an actual critique of the work. The final paragraph indicates, however, strong support for this collection of writings. The introduction is "nourrie," the reviewer says, and the glossary and extensive indexing bring a great deal of usability to the text. It is a "recueil" that provides "de précieuses indications sur la vie et la mentalite féminines d'Ancien Régime."

Review: M. Longino in FR 80 (2007), 907–08: With a generous introduction which provides a survey of the development of the epistolary genre, as well as copious annotations, the volume is useful for teaching and research alike. The work draws on many scholars' collaboration to introduce and present selections from the letters of ten different French women, most of them completely unknown to us today. "[A]ffords the reader a window into different facets of early modern living conditions for literate and for the most part relatively affluent French women" (908). The volume preserves original spelling.

Review: J. Vignes in IL 58.4 (2006): 56–57. Summarizes the content of this collection, which assembles three centuries of female correspondence with a brief introduction. Points to the variety and range of letters included in this study.

GOSSIP, CHRISTOPHER J. "'Tenir l'affiche' dans les théâtres parisiens du XVIIe siècle." RHLF 107.1 (2007): 19–33.

Gossip attempts to answer two questions, which he poses at the outset of the article: first, "ce qui signale la fin d'une série de représentations, étant donné qu'une pièce peut être reprise d'un jour à l'autre?" He moreover addresses the question of the publication of the manuscripts, and the influence publication has on plays written in the seventeenth century. He argues that it is a general rule that "plus la publication d'une pièce du XVIIe siècle était retardée, plus grand avait été son success."

GOUPILLAUD, LUDIVINE. De l'or de Virgile aux ors de Versailles: métamorphoses de l'épopée dans la seconde moitié du XVIIe siècle en France. Genève: Droz, 2005.

Review: T. Conley in SCN (2006), 234–236: Very favourably reviewed, "[t]he ambition of this book is to discern the presence of the Aeneid in French literary circles in the reign of Louis XIV. The author argues that Virgil was present but not always obvious to the poets, artists, architects and orators who defined France's classical age. That the nation sought to define itself by an epic was less evident than its prevailing desire to be known by a founding heroic poem."

Review: D. Maskell in FS 61.1 (2007), 95–96. This is a "copiously documented" analysis of Virgil's reception at the time of Louis XIV. While its index is "meagre and ill serves a book of this nature," Goupillaud's work receives a very positive review for its otherwise thorough and intriguing approach to this topic. Covering painting, theater, the novel, the "grands auteurs" and the "minores," and, of course, the Querelle des Anciens et des Modernes, this work uses a "wealth of textual material in French and Latin."

Review: n. a. in BCLF 674 (2005), 55–56: "Il n'existait aucune étude d'ensemble sur la réception et l'influence de Virgile au Grand Siècle, aussi surprenant que cela paraisse, dans le mesure où le poète de Mantoue n'a jamais été place ailleurs qu'au premier rang des écrivains." Ouvrage érudit d'une lecture agréable.

GRODEK, ELZBIET A, ed. Écriture de la ruse. Amsterdam: Rodopi, 2000.

Review: I. Vissière in RHLF 107.1 (2007): 246–247. This study unites about 20 writers who discuss the idea of the textual ruse in literature from the Middle Ages to the eighteenth century, most of which, however, are well know to theorists already, among them women writers in the seventeenth century. Vissière questions what the real value is in Toposator.

GUELLOUZ, SUZANNE. "Structures de la nouvelle chez Cervantes et chez Segrais." In Guellouz, Suzanne and Marie-Gabrielle Lallemand, eds. Jean Renault de Segrais. Actes du colloque de Caen. 9 et 10 mars 2006. Biblio 17, Number 173. Tübingen: Gunter Narr Verlag, 2007. 75–91.

The author examines Cervantes and Segrais's interest in the creation of "effets de réel," the development of characters, the treatment of time and space, narrative structure, and the use of double identities. In spite of the affinities between the two authors, Segrais is not Cervantes' successor. Each author reflects the situation of his respective society: Cervantes writes in an era marked by the Council of Trent, while Segrais is the product of a transitional period.

HARRIS, JOSEPH. Hidden Agendas: Cross-Dressing in 17th Century France. Tübingen: Gunter Narr (Biblio 17, n. 156), 2005.

Review: L. Rescia in S Fr no. 148 (2006): 147–148: Prose, poetry, drama and opera provide examples for Harris's analyses of the socio-cultural and literary-historical phenomenon. Considers reactions of institutions, the bienséances and the particularly well-documented case of the abbé de Choisy. Well documented and with rich bibliography.

HASKELL, YASMIN ANNABEL. Loyola's Bees, Ideology and Industry in Jesuit Latin Didactic Poetry. Oxford: Oxford University Press, 2004.

Review: J.-P. Collinet in RHLF 106.4 (2006): 976–977. This work deals with poetry in Latin, which was created by the Jesuits over two centuries. It includes the work of Italian and French Jesuits. Collinet approves of this study, its two appendixes, and its numerous illustrations.

HELGESON, JAMES. "Early Modernity Without the 'Self': Notes on Anachronism and the First Person." SCFS 29 (2007), 29–39.

Through an analysis of passages from Alberti, Descartes, Pascal and Wittgenstein, focusing on the topos of 'the man at the window,' suggests that "it is possible to make sense of the pronoun 'I' in directional or intentional statements trans-historically without calling on the terminology of the 'self.'" Rather than focusing on 'selfhood,' suggests instead examining "conceptions of 'outwardness' derived, for example, from cognitive models and rhetorical theory."

HENIN, EMMANUELLE. "Plaisir des larmes et plaisir de la representation: d'un paradoxe à l'autre." Poétique 151 (2007), 289–309.

Explores how tears in 17th-century French tragedy become "le creuset ignoré de la pensée esthétique" (290). Hénin notes that tears involve not just a paradoxical experience of pleasure and pain, but also the paradox of a simultaneous emotional and aesthetic pleasure ("le plaisir des larmes" and "le plaisir de la représentation"). Dramatic theorists' handling of this second paradox becomes a way of charting how they prioritize elements such as pleasure and usefulness in drama, a history which Hénin charts from an era of Horatian utile dulci in the 1630s–1660s, to a later, more exclusive emphasis on pleasure, to an 18th-century triumph of the pathetic, in which empathy eliminates catharsis and "la mort de la tragédie coïncide avec l'avènement de l'esthétique" (304).

HENRICHOT, MICHEL. "Mars aux enfers: la guerre vue des dialogues des morts." In Garapon, Jean, ed. Armées, guerre et société dans la France du XVIIe siècle. Actes du VIIIe colloque du Centre International de Rencontres sur le XVIIe siècle. Université de Nantes, 18–20 mars 2004. Biblio 17, Number 167. Tübingen: Gunter Narr, 2006. 139–150.

Each of three categories of the genre of the dialogue des morts offers a different treatment of war, revealing the genre's richness and variety. Contemporary affairs are the focus of satiric dialogue-pamphlets while in Fénelon's pedagogic dialogue, events are secondary to teaching and entertaining the dauphin with history. Finally, in Fontenelle's Nouveaux Dialogues, war offers a multitude of exempla for the author to treat with a detached wit.

HOGG, CHLOÉ. "The Power of Frivolity: Villedieu, La Force, and the Nouvelle historique." PFSCL, XXXIV, 67 (2007), 359–372.

Suggests reading Villedieu's Les Annales galantes (1670), Les Désordres de l'Amour (1675) and La Force's Histoire secrète de Bourgogne (1694) as "a way of accommodating the unserious, suggested by Bakhtin's dialogic model of parody: the nouvelle historique as the 'parodic double' to the 'straightforward, serious' genre of history."

HOWE, ALAN, ed. A partir des analyses de MADELEINE JURGENS. Archives nationales: documents du Minutier central des notaires de Paris. Ecrivains de théâtre 1600–1649. Paris: Centre historique des Archives nationales, coll. 'Documents de Minutier central des notaires de Paris', 2005.

Review: M. Bannister in FS 61.3 (2007), 365–366: This summary and annotation of legal documents sheds significant light on the lives and enterprises of many important seventeenth-century writers: Hardy, Rotrou, Tristan, Corneille, La Calprenède, Baro, and more. The reviewer accentuates Howe's "meticulous" work and the "immense" quantities of details, which confirms his position as "one of the leading authorities" of theater of the period.

Review: n. a. in BCLF 676 (2005), 52: "Après un premier volume consacré au théâtre professionnel à Paris, c'est-à-dire au monde des comédiens et des compagnies qui les emploient, ce second catalogue d'actes notariés se rapporte aux auteurs ayant donné à l'impression au moins une pièce pour le théâtre dans la première moitié du XVIIe siècle, ainsi qu'aux libraires qui les ont publiés. L'archiviste (M. Jurgens) et l'historien du théâtre (A. Howe) collaborent ici de façon fructueuse en allant bien au-delà du simple travail de catalogage des cent soixante-treize actes, puisés dans cinquante-cinq études de notaires, qui composent l'ensemble." Cet ouvrage constitue "une base de donnée décisive pour les études théâtrales qui invite plus que jamais littéraires et historiens à associer leurs disciplines pour une meilleure compréhension de leurs objets."

HUBERT, JUDD. "Accounting for Critical Displacements." CdDS 11.1 (2006): 1–18.

Study of scholar's experience. He was taught that he lacked the resources in America to do serious work, but with all of the many different kinds of North American interpretive theories, he has overcome what French seventeenth-century traditionalists believed was impossible. He then goes about giving an autobiographical explanation of each of his many publications and how he came to write them.

JAKOBS, BEATRICE. "Le concept de la négligence chez les moralistes français." PFSCL, XXXIV, 67 (2007), 407–427.

Examines the idea of "l'ars est celare artem, le développement d'un principe purement rhétorique en un principe autant rhétorique qu'éthique." Goes on to analyse "la mise en œuvre de la négligence par quelques moralistes: présente non seulement comme thème fréquemment abordé dans les œuvres mais aussi 《  pratiquée  》 lors de la réalisation stylistique de celles-ci, la négligence sera caracterisée comme étant un déterminant de l'écriture moraliste."

JOUHAUD, CHRISTIAN. Sauver le Grand Siècle? La transmission du passé. Paris : Seuil éd., 2007.

Review : V. Milliot in QL 942 (du 16 au 31 mars 2007), 20–21 : 《  Récusant la fragile dichotomie entre témoignages historiques et discours produits par les historiens, [Jouhaud] propose de regarder diverses sortes d'écrits traitant du 'Grand Siècle', comme autant d'objets historiques. Il invite à une mise en histoire de l'historiographie, à une confrontation avec les sources dites littéraires. (...) Chaque chapitre, chaque ouverture est ensuite constitué de vignettes, d'éclairages qui donnent à relire et à reconsidérer des textes plus ou moins célèbres, des lectures du XVIIe siècle. On croise par exemple, Voltaire et son Siècle de Louis XIV, Chateaubriand et la Vie de Rancé ou les Pensées de Pascal. Mais la réflexion convoque aussi la mémoire des Camisards étudiée par Philippe Joutard, les possédées de Loudun de Michel de Certeau, des classiques de l'historiographie comme Baroque et classicisme (1957) de V. L. Tapié, l'Histoire littéraire du sentiment religieux (1916–1933) d'Henri Brémond, ou encore l'ouvrage de Paul Bénichou, Morales du Grand siècle (1948).  》

KAPP, VOLKER. "L'image de l'Allemagne dans le roman d'après les travaux de Wolfgang Leiner." PFSCL XXXIV, 66 (2007), 63–67.

Overview of some of the central ideas concerning the representation of Germany in French literature as analysed in Wolfgang Leiner's monograph Das Deutschlandbild in der französischen Literatur (1989).

KATRITSKY, M. A. The Art of the Commedia: A Study in the Commedia dell'arte', 1560–1620, with Special Reference to the Visual Records. Amsterdam and New York: Rodopi, 2006.

Review: R. Andrews in MLR 102.4 (2007), 1166–68: A valuable study that "contains early on (p. 29) a salutary plea for an integration of what we can learn from textual records on the one hand and from iconography on the other. After immersion in the images contained in this book, one comes away with a kaleidoscope of street charlatans, carnival masquerades, grotesques, acrobatics, codpieces, and farcical plots of seduction and humiliation. These things lend themselves, of course to being visually depicted in an entertaining way. By contrast, scholars working on the textual evidence (scenarios, published plays, and actors' self-propaganda) pursue what lends itself to being recorded in words. They observe the close links between improvised and scripted drama, and the ambitions of the snobbier sections of the profession—their pretence that they no longer had anything to do with street theatre or scurrility. A revisionism whish is more interdisciplinary, and to which The Art of Commedia now provides an indispensable contribution, will eventually produce a more comprehensive and accurate view.

KENNY, NEIL. The Uses of Curiosity in Early Modern France and Germany. New York: Oxford University Press, 2004.

Review: N. Paige in MLQ 68 (2007), 119–22. Brings a broad and potentially unruly topic under control, organizing its material in terms of two groups, "institutions" and "discursive tendencies." Reviewer finds Kenny particularly strong in his discussion of literary and aesthetic uses of curiosity, and applauds his conscientious use of scholarship, resistance to hype, and scholarly care. The book is deemed not entirely convincing in its attempt to argue against a generalized cultural shift toward the valorization of curiosity, but the reviewer nonetheless grants the work praise.

KÜPPER, JOACHIM, with ANDREAS KABLITZ & BERNHARD KÖNIG, eds. Margot Kruse. Beiträge zur französischen Moralistik. Berlin: de Gruyter, 2003.

Review: H. Schulte in RF 118 (2006): 397–99: This volume honors Kruse, the "Doyenne der Hamburger Romanistik", on her 75th birthday. Welcome both for the pleasure and the profit it will give to its readers, the work remains impressive for its scholarly stringency and stylistic significance in both the German and French languages (399). 17th c. scholars will find numerous treasures here, from global studies on moralists of the Grand Siècle, to individual analyses of themes ("sagesse et folie", "liberté", for example) and no less than 4 studies on Pascal.

LAVOCAT, FRANCOISE. La Syrinx au bûcher: Pan et les satyres à la Renaissance et à l'âge baroque. Genève: Droz, 2005.

Review: L. Mackenzie in Ren Q 59.2 (2006): 562–63: Highly useful as "an authoritative repertoire of references" for scholars of both literature and philosophy, this study of the satyr extends from the late 15th to the late 17th c. and includes references to source texts of Greco-Roman Antiquity as well as examples from Italian, French, Spanish and English texts. Erudite and wide-ranging with "nuanced analysis," Lavocat's study is organized into chapters dealing with "the disappearance of the allegorical function of Silenus, Midas, and Marsyas," "the 'fall' of Pan from royal allegory and Neoplatonic signifier to a mere commemoration of himself, accompanied by Counter-Reformation [representations]," "rewritings of the story of the death of Pan," "the 'voice' attributed to the satyr," and the satyr's brief presence in pastoral theatre." Pascal is among the authors examined.

Review: n. a. in BCLF 675 (2005), 54: ". . .Pan et les satyres subirent une profonde mutation au long du XVIe siècle, surtout après le concile de Trente et à l'âge baroque. . . L'auteur passe au crible de ses analyses un siècle environ de la création occidentale, entre la cour médicéenne, Pic de la Mirandole et Louis XIII, à la recherche de l'explication du fait que l'allégorie des forces occultes, de la création et de l'inspiration, ait pu muter vers des incarnations de la subversion, de la licence érotique, de la satanisation."

Review: M. Closson in BHR 69.1 (2007), 248–52: ". . .jusqu'à présent, il n'y avait guère d'études sur cette figure [le satyre] dans la littérature des XVIe et XVIIe siècles. Le très beau livre de Françoise Lavocat, qui s'accompagne d'un dossier iconographique passionnant, vient donc combler un manque et cela dans une perspective particulièrement originale. . .. Son projet consiste en effet à étudier, comme elle l'écrit dans son introduction, 'le passage des divinités champêtres, en particulier de Pan et de son entourage satyrique, de l'univers de la fable mythologique à celui de la fiction', ou en d'autres termes, de s'interroger sur le processus à la fois de 'dégradation et d'incarnation' qui a permis la transformation d'une figure allégorique en personnage littéraire, transformation qui précède et accompagne sa presque complète disparition au cours du XVIIe siècle."

LEIBACHER-OUVRARD, LISE. "Divergences et Queeriosités : Ovide moralisé ou les mutations d'Iphis en garçon (XIIe– XVIIIe)." FLS 34 (2006): 13–34.

With the tale of Ovid's Iphys and Ianthe (Iphis et Ianthé) as a starting point, the author underlines the hetero-normative role the myth had in the fashioning of what would later be viewed as lesbian stories. First considered as queer (queeriosity), and condemned, then viewed as allegorical, moralizing, medical, thus redressed, these tales are once more put into question in modern times. The author also discusses the transformation of anatomical knowledge at the end of the Renaissance and throughout the seventeenth century. She concludes with Louis XIV asking that Ovid's Metamorphoses be transformed into rondeaux in 1676; his Iphys remains a woman before the marriage: "son 'Iphis en garçon' persistera d'ailleurs dicrètement dans la subversion en y faisant du changement de sexe et de l'hétérosexualité obliges une ridicule affaire de 'poil au menton'" (27).

LE MARCHAND, BÉRÉNICE. 'Mise en scène et jeux de miroirs des contes de fées de la fin du Grand Siècle." PFSCL, XXXIV, 67 (2007), 155–179.

Examines the extent to which the interplay between mirrors and reflections in eighty two fairy-tales (published between 1661 and 1715) underpins a theatrical representation of the difference between the beginning and the end of Louis XIV's reign. "Ainsi, dans leurs œuvres les conteurs brossent un tableau décrivant l'aspect spectaculaire [. . .] du temps passé pour ainsi effacer momentanément la réalité du déclin et décrire, par conséquent, un monde appartenant à l'apparence et l'illusion. Cette remise en scène du passé nostalgique dans les contes s'apparente ainsi à la mise en abîme, c'est-à-dire à un effet de profondeur et de cadres enchâssés."

Littératures classiques 51 (2004).

Review: M. Pavesio in S Fr no. 148 (2006): 145–146: This issue, "Le théâtre au XVIIe siècle: pratiques du mineur," is edited by Hélène Baby with the collaboration of Christian Delmas. Reviews the various connotations of "mineur" from the 17th c. to our day. The issue is organized in sections on "Écritures mineures," "Mineurs ou majeurs" (in function of the success or theatrical legitimization of a play), and "Frontières des genres majeurs" (tragicomedy, heroic comedy, comedy-ballet, etc.)

LOSKOUTOFF, IVAN. "Le mécénat littéraire du président de Maisons." DSS 233 (2006), 717–752.

The château de Maisons has been greatly studied, "mais personne ne s'est intéressé à ce que son fondateur lisait, à ce qu'il faisait écrire, à son goût littéraire." The author explores at length the following questions: "Quelle fut la clientèle du Président de Maisons? Au-delà du simple soutien financier procuré aux écrivains, quelles furent la nature et l'extension de son influence? On a défini le mécénat comme la manifestation de 《  l'esprit de la maison  》; y eut-il un 《  esprit de Maisons  》?"

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

Review: J. Clarke in FS 60.4 (2006), 511: The reviewer is generally sympathetic to this work, though Clarke says its approach is somewhat "pedestrian." The reviewer would have preferred more information on the composition of orchestras and singers, and the details of employment as well. In spite of this, and in spite of a bibliographic style that is at times confusing, the book remains useful as a quick reference linking composer and playwright.

Review: Ch. Mazouer in RHLF 107.1 (2007): 234. The object of this book is precise: viz. where music insertions take place, as well as their role in French theater from 1550 to the end of the classical age. Part one discusses the place of theoretical discourse in classical theater, which is in fact a difficult task, as music has been marginalized in theatrical compositions since Aristotle's Poetics. Chronological approach. Argues that the French (1650) refuse the operatic influence brought up from Italy. The conclusion leaves the doors open to the idea of any fixation, any generalization toward the role music played throughout the period in question. The second part of the work discusses ancient models and modern methods. The third part of the work is most concerned with musical fixation and juxtaposition to coincide with a precise theatrical dramatic sense: tragédie à machines, comédie-ballet, pastorale, théâtre religieux, etc. Mazouer judges this study to be a "livre nécessaire."

LYONS, JOHN & CARA WELCH, eds. Le Savoir au XVIIe siècle. Actes du 34e congrès annuel de la NASSCFL. Tübingen: Narr, 2003.

Review: H. Stenzel in RF 118 (2006): 235–38: After a generally negative review which finds little coherence in this multi-faceted volume, Stenzel does single out certain studies which he judges enlightening to this key notion of the 17th c.: John Campbell's (on mythology and "savoir"), Dominique Bertrand's (on "le rire"), Myriam Maître's (on "les belles" and "les Belles Lettres"), Anne E. Duggan's (Clélie. . . or Writing the Nation), Volker Schröder's (Écrire les Gracques au temps de Louis XIV") and Emmanuel Bury's (philology and ars critica), among others.

MABER, RICHARD G. Publishing in the Republic of Letters: The Ménage-Graevius-Wetstein Correspondence 1679–1692. Amsterdam: Rodopi, 2005.

Review: W. Poole in FS 61.2 (2007), 225: While the Graevius-Wetstein part of the correspondence is lost, what remains of the letters illuminating Ménage's publication of Diogenes Laertius in Amsterdam, is "richly informative," in the reviewer's words, and "should be required reading for anyone interested in the later workings of the republic of letters or the history of the book." This is a "unique window" on scholarly publication at the time, a book which portrays vivid characters and interesting details of the late seventeenth-century publishing world.

MANTERO, ANNE & VERONIQUE FERRER, eds. Les Paraphrases bibliques aux XVIe et XVIIe siècles. Genève: Droz, 2006.

Review: n. a. in BCLF 687 (2006), 51: Actes du colloque tenu à Bordeaux des 22, 23, et 24 septembre 2004. Ce volume "d'une excellente qualité d'ensemble, contribuera à une meilleure appréciation de la notion d'originalité d'un maniement si délicat dès qu'on aborde la littérature d'Ancien Régime." On remarque pourtant "des oublis étonnants": personne n'a traité "de ces immenses paraphrases de la Genèse et de l'Apocalypse que sont, dans le domaine français, les Semaines de Du Bartas ou les Tragiques d'Aubigné (et, en Angleterre, les poèmes de Milton)."

MARCHAL-NINOSQUE, FRANCE. Images du sacrifice, 1670–1840. Paris: Honoré Champion, 2005.

Review: n.a. in BCLF 691 (2007), 62: Selon l'auteur, "le théâtre fut, dans la période considérée, le lieu privilégié de la représentation du sacrifice. Les mythes d'Iphigénie et d'Andromède ont permis à de nombreux dramaturges, décorateurs et machinistes inégalement talentueux de montrer de quoi ils étaient capables. Il ne fut plus question, comme dans les mystères médiévaux, de mettre sur la scène des épisodes tirés des Evangiles, qui auront désormais la faveur des poètes. . .. Les dramaturges prendront encore leur matière dans les récits hagiographiques, mais le drame édifiant, qui connut une telle faveur aux XVIe et XVIIe siècles, perdit de son lustre au siècle des Lumières."

MARCHAL, ROGER, ed. L'Ecrivain et ses institutions. Travaux de littérature XIX. Droz, 2006.

Includes articles by Frank Greiner, "Jean du Puget de La Serre et le roman de cour," Patrick Latour, "《 Donné et dédié 》. Image et réalité du mécénat littéraire de Mazarin en 1643–1644," Jean-Pierre Collinet, "Une institution sous-estimée: les Conférences académiques de Richesource," Alain Génetiot, "Boileau et les institutions littéraires," Monique Vincent, "Le Mercure Galant à l'écoute de ses 《 institutions 》," and Delphine Denis, "Les académies galantes, entre fiction et réalité."

MAZOUER, CHARLES. "Wolfgang Leiner et le théâtre." PFSCL XXXIV, 66 (2007), 79–83.

Overview of the importance of Wolfgang Leiner's work on early seventeenth-century theatre, particularly on Rotrou.

MAZOUER, CHARLES. "Wolfgang Leiner vu de France." PFSCL XXXIV, 66 (2007), 15–17.

Personal recollection and homage to Wolfgang Leiner from a French perspective.

MCCLIVE, CATHY. "L'âge des fleurs: le passage de l'enfance à l'adolescence dans l'imaginaire médicale du XVIIe siècle." In Defrance, Anne, Denis Lopez, and François-Joseph Ruggiu, eds. Regards sur l'enfance au XVIIe siècle. Actes du colloque du Centre des recherches sur le XVIIe siècle européen (1600–1700), Université Michel de Montaigne-Bordeaux III, 24–25 novembre 2005. Biblio 17 Number 172. Tübingen: Gunter Narr Verlag, 2007. 171–185.

While in the Middle Ages the onset of menstruation was considered a mark of adulthood, in the seventeenth centry, puberty in young women ushered in a transitional period called "l'âge des fleurs." It is "la ceuillette de la fleur de sa virginité" and childbearing that mark a girl's passage to womanhood which is characterized by her ability not only to "flower" but more importantly to "bear fruit."

MESNARD, JEAN. "Un compagnonnage avec Wolfgang Leiner." PFSCL XXXIV, 66 (2007), 93–101.

A personal recollection of a collaboration and friendship which spanned over five decades.

MILNE, ANNE. "Fables of the Bees: Species as an Intercultural Discourse in Eighteenth-Century Scientific and Literary Texts." E Cr 46.2 (2006): 33–41.

Although the focus of this article of eco-criticism is on John Gay's and Bernard Mandeville's writings, there are some considerations of La Fontaine's "The Drones and the Bees." Milne concludes that La Fontaine "fails to take into account the holistic perspective and fails to imagine bees as essential to a larger biological community. . . The scenario played out [in the fable] is completely unnatural and uncharacteristic of bee behavior. . . The major truth derived is not that of a cooperative, socially-dependent ecosystem but of a social hierarchy that emphasizes power relations and imperatives of ownership" (38).

MOREAU, ISABELLE & GREGOIRE HOLTZ, eds. "Parler librement": la liberté de parole au tournant du XVIe et du XVIIe siècle. Lyon: Ecole normale supérieure Lettres et sciences humaines, 2005.

Review : J.-P. Cavaillé in RPFE 197.1 (janvier-mars 2007), 100–102 : 《  Ces textes, presque tous composés par des doctorants, offrent un ensemble d'approches fort stimulantes de la question de la liberté de parole au début de l'époque moderne. Il s'agit de celle qui se joue dans des écrits publiés et assumés par des auteurs, dans des genres divers : philosophie, controverse religieuse, pamphlet, satire, apologie. . . Elle est saisie en action, dans ses contextes, plutôt que négativement, par les institutions de censure et de répression, dans une 《  approche pragmatique . [. . .] L'ensemble de ces analyses ouvertes, jalons dans un travail en cours de longue haleine, est d'une qualité scientifique qui n'a rien à envier aux publications d'actes dues à des chercheurs confirmés, souvent bien moins sérieuses et cohérentes.  》

Review: n. a. in BCLF 674 (2005), 54: Ouvrage qui "réunit les textes présentés lors des trois journées d'étude tenues à l'Ecole normale supérieure Lettres et sciences humaines de Lyon, en 2002 et 2003." On "souhaite 'mettre l'accent sur une analyse pragmatique des discours, sur la situation d'interlocution et les pôles institutionnels et auctoriaux qui délimitent le champ de la prise de parole.'"

MORGAT-LONGUET, EMMANUELLE. Clio au Parnasse. L'invention de l'histoire littéraire aux XVIe et XVIIe siècles. Paris: Champion, 2006.

Review: L. Fraisse in PSCFL, 67 (2007), 546–554. Lengthy and considered review which itself enters into the debate concerning the notion of 'literary history.' Welcomes this volume "qui concourt à déplacer de façon bénéfique, une fois de plus, notre point de vue sur l'histoire littéraire que nous reduisons si volontiers à Gustave Lanson." Sees it as a volume "sans précédents et destiné désormais à compter."

NAUDEIX, LAURA. Dramaturgie de la tragédie en musique. Paris: Champion, 2004.

Review: M. Hawcroft in FS 60.4 (2006), 514–515: This work is well aware of the "hybrid nature" of the "tragédie en musique," anachronistically named "opéra." The reviewer lauds Naudeix's approach and goes as far as to compare her work on musical tragedy to that of Jacques Scherer on spoken theater. Her work engages the genre fully, from notions of verisimilitude to the patronage system, and the cultural context in which musical tragedy flourished. The reviewer concludes that future scholars "will have to engage with this book, which is a rich mine of facts and synthesis."

Review: A. Stedman in FR 81 (2007), 167–69: A study of the little-examined genre of the tragédie en musique, a dramatic poem set to music and song. The genre became a point of convergence for French tragedy and Italian opera. Naudeix attempts to sketch the defining rules and characteristics of these works, which modified and transposed many of the conventions of French tragedy, as well as to chart the genre's development from the era of absolutism to the peak of the French Enlightenment. The reviewer suggests that Naudeix accomplishes this second task with only mixed success.

NAUTA, LODI & DETLEV PÄTZOLD, eds. Imagination in the Later Middle Ages and Early Modern Times. Groningen Studies in Cultural Change 12. Leuven: Peeters, 2004.

Review: M.V. Dougherty in Ren Q 59.2 (2006): 595–97: Nauta and Pätzold understand and state that "there is no such things as the history of the imagination," and acknowledge the "sheer variety of themes" under consideration here (xiii). They succeed in "producing a scholarly collection of essays on a topic of much importance" (595). Focus is on the traditions of rhetoric and philosophy. French scholars will appreciate erudite reflections on Augustinian thought, poetic imagination and painting, and imagination in Descartes's Méditations.

NEDELEC, CLAUDINE. "Etre poète et narrateur en même temps: le prosimètre romanesque chez Segrais et quelques autres." In Guellouz, Suzanne and Marie-Gabrielle Lallemand, eds. Jean Renault de Segrais. Actes du colloque de Caen. 9 et 10 mars 2006. Biblio 17, Number 173. Tübingen: Gunter Narr Verlag, 2007. 131–154.

The 465 verses inserted into the 515 pages of the Nouvelles françaises harken back to the baroque romance (notably L'Astrée) and seem to function as ornaments that slow down the action of the nouvelle and distract from the creation of vraisemblance. The author, however, argues that Segrais's verses contribute to the nouvelles' creation of vraisemblance since they are always motivated by the hero's social status as well as the narrative's action and register.

NIDERST, ALAIN. Anthologie de la poésie à l'âge baroque (1598–1660). Ed. Niderst Paris: R. Laffont, 2005.

Review: J. Conroy in FS 61.3 (2007), 364–365: This is a "splendid and very welcome volume" that leaves as much space as possible for primary texts from over 120 poets. This diversity speaks for itself, the reviewer says, and allows the reader to have a feel for a century when "almost any topic was materia poesis." The volume is organized chronologically and has a useful introduction that examines modern understanding of the baroque as well as nineteenth-century analysis of terms such as "précieux" and "burlesque." A useful complement to the other seventeenth-century poetry anthologies.

Review: J. Goery in RHLF 107.1 (2007): 235. Goery believes that the anthology by Niderst, however attractive and clearly written, is too politically situated, too restricted to the poetic, written, form of the baroque to be more than an opportunistic attempt at making money. The author's glosses are too personal and therefore left to be disputed. However, the pieces united are new, original and beautiful. Many of the 120 authors compiled are new to the reader, which gives the anthology its freshness. The linguistic modernization is tolerable even though many new bibliographies are sadly left out.

Review: M. Pavesio in S Fr no. 148 (2006): 147: Niderst has chosen dates for this anthology reflecting the beginning of the reign of Henri IV and the end of the reign of Louis XIII. Niderst's introduction includes helpful discussions of terms such as "baroque," "précieux," "galant," as well as a useful chronology of artistic, literary, intellectual and socio-political events. Presented chronologically, the poems included range from the religious to the amorous and political. Niderst's volume is divided into four sections: "Le roi et les deux reines," "Du désordre à la dictature," "L'Héroïsme et les mondanités," and "De la guerre civile à l'absolutisme." Helpful critical apparatus includes essential biographies and a bibliography of anthologies and critical studies.

NIDERST, ALAIN. "Les peintres du théâtre (Gillot, Watteau)." PFSCL, XXXIV, 67 (2007), 511–523.

Overview and analysis of the paintings of Gillot and Watteau devoted to late seventeenth-century and early eighteenth-century theatre. Four paintings are reproduced in miniature.

NOILLE-CLAUZADE, CHRISTINE. L'Eloquence du sage: platonisme et rhétorique dans la seconde moitié du XVIIe siècle. Paris: Champion, 2005.

Review: E. Gilby in FS 61.2 (2007), 224. This is an "accomplished" work of "concision and imagination" according to the review. Her rhetorical and thematic analysis of platonisme takes her to Port-Royal, Lamoignon, Bossuet, Guez de Balzac, Lamothe le Vayer, La Fontaine, La Bruyère and Fleury. The reviewer states that this is "a well-written account" of idealism in early-modern literature and philosophy.

Papers on French Seventeenth Century Literature 32, 62 (2005).

Review: C. Rolla in S Fr no. 148 (2006): 146–147: This issue includes two sections drawn from the meeting of the 2003 Modern Language Association. The first, "Beaux Arts et Belles Lettres," edited by Christine McCall Probes, brings together articles on terminology and the concept itself, "esthetics" and "literature"; Boyceau's treatise on gardening and its contribution to the notion, and an essay proving that although the "vocable" did not exist in the 17th c., the concept was pervasive. The second section "J'ai trop aimé la guerre: gloire, suicide, carnage," edited by Richard E. Goodkin, includes treatments on the actuality of the theme, explorations of Horace and Cinna, the taming of armies in the "pièce à machines" and on war and glory in La Bruyère. Other studies complete the volume (on love and friendship, women translating history, the decline of the "monde héroico-chevaleresque à l'aube de l'âge moderne", among others).

PASQUIER, PIERRE. "L'Hôtel de Bourgogne et son evolution architecturale: elements pour une synthèse." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 47–71.

The author surveys the history of the Hôtel de Bourgogne which was built in 1548 by the Confrérie de la Passion for the staging of mystery plays (which had ostensibly been banned by the Parlement de Paris). The article traces the evolution of the space to show how a theatre with roots in medieval drama became synonymous with theatrical modernity and innovation.

PEREZ-ESPEJO, GUIOMAR HAUTCOEUR. Parentés franco-espagnoles au XVIIe siècle: poétique de la nouvelle de Cervantès à Challe. Paris: Honoré Champion, 2005.

Review: n. a. in BCLF 674 (2005), 59–60: L'auteur "commence par s'interroger sur la spécificité de la novela espagnole. . .. Puis, elle examine la diffusion de la novela en France, à l'aide d'une périodisation, contestable, commes elles le sont toutes: introduction du genre (1608–1628), âge d'or (1645–1660), et déclin (après 1660). . . .la dernière partie. . . montre comment la mode de la novela s'est étiolée, une fois que la France est parvenue à créer sa propre esthétique du récit bref, galant et de bon goût (avec notamment La Princesse de Clèves) se substituant aux outrances des récits espagnols."

PERIGOT, BEATRICE. Dialectique et littérature: Les avatars de la dispute entre Moyen Age et Renaissance. Bibliothèque Littéraire de la Renaissance 58. Paris: Champion, 2005.

Review: B. C. Bowen in Ren Q 59.2 (2006): 533–34: Extremely wide-ranging treatment of "disputatio." Although as Perigot's title suggests the focus is the 14th -16th c., in reality she reaches back to Aristotle and Augustine and forward to the 17th and 18th c. Highly informative and "often convincing," 17th c. scholars will find helpful the treatment of its literature which is shifting toward the rhetoric or becoming "ce qui n'est pas disputative" (Perigot 686), in particular considerations of Descartes and La Rochefoucauld.

PERRIN, JEAN FRANÇOIS, ed. Féeries: etudes sur le conte merveilleux (XVIIe–XIXe siècle). Vol. 1: Le Recueil. Grenoble: Université Stendahl, 2003.

Review: K. Bulver in FR 80 (2007), 1120–1121: This initial issue of what is to be an annual publication sets forth the following goal for the journal: "travailler le conte avec les instruments, les methods et les problématiques des études littéraires contemporaines". Féeries' first issue takes up the question of how tales' grouping and framing shapes their meaning. It contains scholarly essays as well as comptes-rendus of pertinent works; reviewer recommends it for specialists of narratology and fairy tales.

PETERS, JULIE STONE. Theatre of the Book, 1480–1880: Print, Text, and Performance in Europe. Oxford: Oxford UP, 2000.

Review: n.a. in FMLS 42 (2006): 97: Wide-ranging, Peters's study is judged "rich," "varied," "intelligent," and "invaluable." The 500-page exploration is organized into 15 chapters relating to "interactions of page and stage," and analyzes numerous topics such as the "significance of architectural metaphor and space."

PETRIS, LORIS. "La Philosophie morale aux champs: Ethica, œconomica, et politica dans Les Plaisirs de la vie rustique de Pibrac." RHLF 107.1 (2007): 3–18.

"La poésie rustique connaît, dans la seconde moitié du XVIe siècle, une diffusion aussi large qu'apparemment éphémère puisqu'elle se tarira au début du XVIIe siècle ; contrairement à la poésie bucolique et à la pastorale." Author discusses, in this context, Ronsard, [Guy Lefevere de] La Boderie, Du Bartas, and the influence of Horace and Virgil on authors of that period. Topics discussed are the individuum, the couple, and la patrie.

PLAZENET, LAURENCE. "Port-Royal au Prisme du Roman (1657–2004)." RHLF 106.4 (2006): 927–958.

In theory, the author argues, the polemics between drama and novel prohibits "a priori l'idée de tout rapprochement." Yet indirectly, authors manage to subtly portray Port-Royal, such as in Clélie or in Les Mémoires et aventures d'un homme de qualité (Prévost). The article also mentions the historical events of Port-Royal that constituted a base for Montherlant's Port-Royal.

POMMIER, RENE. Explications littéraires: Bossuet, Molière, Racine, Voltaire, Baudelaire. Paris: Eurédit, 2005.

Review: M. Hawcroft in FS 61.3 (2007), 368–69: The reviewer finds the content of Pommier's explications enriching and skillful, yet he is critical of the tone and intention of certain of Pommier's remarks. He notes that Pommier wants to "rétablir le vrai sens du text" and that the author can be dismissive of other critics, traits the reviewer finds offputting. The book is weighted towards Bossuet, while Voltaire and Molière only get a few pages.

PRAT, M.-H. ET J.-P. SERVET. Le doux aux XVIe et XVIIe siècles. Cahiers de GADGES, 2003.

Review: S. Hache in DSS 233 (2006), 759–760: "un ensemble de textes de grande qualité, qui fait suite au colloque organisé par le GADGES (Groupe d'analyse de la dynamique des genres et des styles, 1520–1720) [...]" 14 articles organised according to "la catégorie du doux, aussi importante que mal définie, entre en résonance avec de larges enjeux à la fois esthétiques, rhétoriques et anthropologiques: la douceur se fait ainsi expression artistique et représentation du monde."

PREST, JULIA. Theatre Under Louis XIV. Cross-Casting and the Performance of Gender in Drama, Ballet and Opera. New York: Palgrave Macmillan, 2006.

Review: R. Goulbourne in TLS 5446 (Aug 17 2007): 28–29. Might seem to be a "slight subject," but Prest "concisely and convincingly demonstrates the inherent interest of a largely neglected feature of seventeenth-century French theatre that is significant precisely because it is so rare." First chapter gives lucid analysis of Molière plays that use cross-casting. Subsequent chapters focus on school drama, court ballet and opera. "What emerges particularly clearly here. . . is the normativity that characterizes the seventeenth-century French stage: homosexual subtexts are invariably denied and women's role as the objects of the desiring male gaze reaffirmed."

Review: C. Kerr in Choice 44 (2007), 1346: A "thoroughly researched and illuminating study" which addresses issues such as the casting of men in unattractive female roles in Molière's comedies, the necessary cross-casting that took place in theater performed in girls' schools such as Saint-Cyr, and why emergent French opera rejected the complex figure of the castrato. Reviewer praises Prest's book as "concise, well-crafted,. . . [and] refreshingly original" (1346).

RACAULT, JEAN-MICHEL. Nulle part et ses environs. Voyage aux confins de l'utopie littéraire classique (1657–1802). Paris: P.U.F., 2003.

Review: P. Berthiaume in RHLF 106.4 (2006): 990–991. A collection of articles, which explicate repetition "inscrite dans un contexte idéologique qui postule la corruption de la nature humaine, l'utopie, parce qu'elle vise à réformer celle-ci 'comme une illusion' ou 'comme une transgression plus ou moins sacrilege.'" Author summarizes the structure into five sections, each dealing with one particular subject.

RIZZA, CECILIA. "Wolfgang Leiner vu d'Italie." PFSCL XXXIV, 66 (2007), 23–26.

Personal recollection and homage to Wolfgang Leiner from an Italian perspective.

ROBERT, RAYMONDE, ed. Mademoiselle LHéritier, Mademoiselle Bernard, Mademoiselle de La Force, Madame Duran, Madame d'Auneuil. Contes. Paris: Champion, 2005.

Review: E. Keller-Rahbé in RHLF 107.1 (2007) : 244. Modern version of a compilation of these five conteuses fairy-tale tellers from 1690 to 1709. In the introduction, Robert discusses socio-cultural stereotypes, going from childish tales in the early stages to a well-worked genre with a supposed adolescent audience. Robert then discusses the importance of this genre in the late seventeenth and eighteenth centuries. Reviewer deplores the absence of a worthwhile bibliography. Work is divided into five sections, one on each author, illustrated rather well but lacking exhaustivity. There is, however, at the end of the work, a "résumé des contes," as well as an index, which the reviewer found useful.

ROHOU, JEAN. Le Classicisme (1660–1700). Collection "Didact français" Rennes: Presses Universitaires, 2004.

Review: M. Pavesio in S Fr no. 148 (2006): 148: Useful manual for students of the 1er cycle is republished here (1996, first edition). Rohou promotes a global vision of this epoch as he defines terms and discusses genesis and evolutions during the reign of Louis XIV. All genres are included and the volume contains a helpful bibliography.

RONZEAUD, PIERRE. "L'écriture dédicatoire, geste social ou acte littéraire? Essai sur les travaux de Wolfgang Leiner consacrés aux épîtres dédicatoires et aux relations entre les écrivains et leurs mécènes." PFSCL XXXIV, 66 (2007), 43–50.

An examination of the importance of Wolfgang Leiner's work on paratextual épîtres, focusing particularly on the seven articles in the section "Ecrivains et mécènes: autour des épîtres dédicatoires" of Leiner's Etudes sur la littérature française du XVIIe siècle (1996).

ROUKHOMOVSKY, BERNARD, ed.. L'optique des moralistes de Montaigne à Chamfort. Paris: Champion, 2005.

Review: B. Jakobs in PSCFL, 66 (2007), 271–274. Reviewer welcomes the wide range of the twenty-five essays in this volume, commenting: "Grâce à la compréhension très étendue de la notion 《  moraliste  》, on a pu rassembler un grand nombre d'auteurs, ce qui a permis une analyse beaucoup plus approfondie et a donné une image multiforme du sujet."

SABOURIN, LISE. Le Statut littéraire de l'écrivain. Travaux de littérature, 20. Droz, 2007.

Volume includes articles by Jean-Pierre Chauveau, "Une figure du poète au XVIIe siècle: Tristan L'Hermite (1601–1655)," Patrick Dandrey, "Molière auto-portraitiste: du masque au visage," Alain Génetiot, "Le Parnasse satirique de Sarasin ou l'invention de l'auteur-honnête homme," Olivier Leplatre, "《 Foy d'autheur 》 : ichnographie de l'écrivain comique (autour du Roman comique de Scarron)," Claude Bourqui, "La fable du fabuliste: Esope, du Grand Cyrus à La Fontaine," and Ruth Whelan, "Le sourire du sage: représentations de l'écrivain dans la Critique générale de l'《 Histoire du calvinisme 》 de Mr. Maimbourg (1682) de Pierre Bayle."

SAFTY, ESSAM. La Mort Tragique. Idéologie et mort dans la tragédie baroque en France. Paris: L'Harmattan, 2005.

Review: J.-Cl. Vuillemin in PSCFL, 66 (2007), 274–276. Reviewer comments: "Ouvrage de solide érudition, La Mort tragique ouvre de fertiles perspectives de recherches et atteste non seulement l'importance d'une dramaturgie peu fréquentée, sinon superbement ignorée, mais en souligne également les nombreuses résonances externes."

SCHAPIRA, NICOLAS. Le Poète évêque, le Moine, le Financier et l'Académicien, les usages de l'épistolarité au XVIIe siècle. RdS 3–4 (2007), 141–164.

According to the summary, "this article aims to analyze together several kinds of XVIIth century correspondence which usually are studied separately: business letters, devotional letters, 《 literary 》 letters sent and received within a network of friends. In order to understand a strategy of epistolary writing, these letters and the various forms of their publication including scribal publication are here considered as tools used within the social world. This strategy implies, for every writer, an effort to gain social recognition for excellence in the art of writing. Literary institutions are indeed involved here, but put to use to further careers and various other operations. We see, for example, a conflict within a religious order settled, a man of letters recognized in the eyes of the law, a pious individual making his way in society, and the shaping of a bishop's career grounded on influential social circles. These case studies allow us to grasp how social networks function, and to understand the specific role played by men of letters."

SCHOL, DOROTHEE. "Entre la taverne et le monastère : Wolfgang Leiner et la poésie baroque." PFSCL XXXIV, 66 (2007), 71–77.

Personal recollection and homage to Wolfgang Leiner, followed by an overview of the importance of his work on Baroque poetry.

SCHOLAR, RICHARD. The Je-Ne-Sais-Quoi in Early Modern Europe: Encounters with a Certain Something. Oxford: OUP, 2005.

Review: N. Hammond in MLR 102.1 (2007), 186–187: "It is extraordinary how much the term still pervades our daily discourse and equally extraordinary how relatively little work has been done on the provenance and history of the term. This book fills the gap triumphantly, covering fields as diverse as theology, natural science, poetry, philosophy, and theatre." Work includes "a brilliantly original reading of Pascal's fragment on Cleopatra's nose."

SEIFERT, LEWIS C. & CATHERINE VELAY VALENTIN. "Comments on Fairy Tales and Oral Tradition." & RUTH BOTTIGHEIMER. "Reply." "Critical Exchanges." Marvels and Tales 20.2 (2006): 276–284.

While Seifert and Velay-Valentin praise Bottigheimer's efforts to show intertextual relationships between French 17th- and 18th-century fairy tales and earlier tales, particularly those of Straparola, they question some of Bottigheimer's conclusions, particularly what they perceive to be her dismissal of an oral tradition that would serve as the basis for at least some, if not all, fairy tales. In her response, Bottigheimer defends her methodology, narrows her definition of the term "fairy tale" and maintains her stance that French fairy tales have their roots in literary rather than oral traditions.

SPAGNOLO SADR, TABITHA. "Confounding, Enriching Identity: Transvestism in Seventeenth-Century French Theater." DAI 68.04: 181.

The study aims to discern how transvestism "translates into a much deeper humanistic understanding of sexuality, authority, and social position." Spagnolo Sadr's argument is that transvestism, in the theatrical production of this time, "delivers an enriching view of the particular qualities of human nature inherent in the female and male senses of identity by transposing and confounding gendered relationships on stage." Corpus includes Rotrou, Tristan l'Hermite, Quinault, and Antoine de Montfleury.

SPRIET, STELLA. "Enseigner quel XVIIe siècle ?" CdDS 11.1 (2006): 121–136.

The diverse means of envisaging the 17th century render it difficult for the scholar to choose which one to grasp as truth: opposition between classicisme and Baroque, of course, but also multiple other subdivisions. Definition of each period and the zones of interpolation. Examines what defines the classical period and the new currents of thought today: mythanalyse and mutations.

STACEY, SARAH ALYN & VERONIQUE DESNAIN, eds. Culture and Conflict in Seventeenth-Century France and Ireland. Dublin: Four Courts Press, 2004.

Review: R. Whelan in MLR 102.1 (2007), 195–96: "This miscellany of eighteen essays hovers not so much around the themes of culture and conflict, as around high or elite culture (theatre, poetry, theology, fiction, translation, medicine, law), the controversies it generated, and the representations of conflict within it. . .. The papers were originally delivered at a conference held in 1999 to mark the acquisition by Trinity College Dublin in 1996. . . of Geoffrey Aspin's collection of seventeenth-century books, many of which are rare editions of theatrical works. So it is fitting that almost half of the papers are concerned with drama, both tragic and comic." Articles on Racine, Molière, P. Corneille, Furetière, Arnauld, Méré, Camus.

STEDMAN, ALLISON. "Teaching the Interdisciplinary Seventeenth-Century to Undergraduates: A Literary Historian's Perspective."

Pedagogical article about innovative ways of teaching in our multimedia, high-tech world and with American students who have very little background in reading. Techniques employed in two seminars in order to teach the seventeenth century through a multiple perspective intersecting the visual arts, cultural history, and literary texts.

SURGERS, ANNE. "Les décors de l'Hôtel de Bourgogne: usage et détournements du type 'à l'italienne' en France dans la première moitié du XVIIe siècle." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 72–86.

The author examines sketches of the staging of Hardy's La Folie de Clidmant to show that the irregular visual perspective and layout of the theatrical space was the result of an effort to emphasize the actor and maximize the use of space rather than a clumsy or negligent application of rules developed in Italy.

TAILLARD, CHRISTIAN. "Le théâtre de la comédie par D'Orbay: un modèle pour plus d'un demi-siècle." In Mazouer, Charles, ed. Les Lieux du spectacle dans l'Europe du XVIIe siècle. Actes du colloque du Centre de recherches sur le XVIIe siècle européen, Université Michel de Montaigne-Bordeaux III, 11–13 mars 2004. Biblio 17 Volume 165. Tübingen: Gunter Narr Verlag, 2006. 119–130.

The discovery of a sketch of D'Orbay's Comédie française among the papers of the eighteenth-century architect Victor Louis shows that D'Orbay's plan had become an essential reference point and model for theater design well after its execution in 1688.

THOMAS-CAMPAGNE, HERVE. "L'histoire tragique à la dramaturgie: L'exemple de François de Belleforest." RHLF 106.4 (2006): 791–810.

Examines Belleforest's influence, as a "Sophocle moderne," on the later literary tradition of histoires tragiques. "Si l'auteur de la Tragédie françoise d'un More cruel ajoute plusieurs éléments au récit qu'il porte à la scène en 1612, c'est en lisant la 'prose tragique' de Belleforest qu'il a pu découvrir l'un des éléments fondamentaux de la théâtralité dite 'baroque': le dispositif de mise en abîme imaginé par le conteur se métamorphose aisément en modalité du 'théâtre dans le théâtre' dans une pièce où le 'premier chasseur' joue le rôle de spectateur interne et met en relief les aspects les plus pathétiques de la situation." He also examines Belleforest's influence on Montfleury's Trasibule.

TONOLO, SOPHIE. Divertissement et profondeur: l'épître en vers et la société mondaine en France de Tristan à Boileau. Paris: Champion, 2005.

Review: R. Ganim in FR 80 (2006), 452–53: Attempting to valorize an overlooked genre, Tonolo examines the portability of the épître across a wide range of social frameworks, stressing its thematic and formal flexibility. A lengthy book, Tonolo's work is nonetheless quite readable, and is divided into two parts, "La naissance d'un genre" and "L'Epître en mouvement". Tonolo suggests that the épître became important to literary and political elites, including women, as a means of self-expression.

TRIPET, ARNAUD. Ecrivez-moi de Rome. . .: le mythe romain au fil du temps. Paris: Honoré Champion, 2006.

Review: n.a. in BCLF 686 (2006), 69–70: "Les vingt-six chapitres que compte l'ouvrage sont regroupés en huit parties d'inégale importance, que suit un chapitre de conclusion." Voir la quatrième partie, "Rome tragique," où "apparaissent successivement Shakespeare, Corneille et Racine, suivis par les 'burlesques' qui ont subverti le mythe. . .."

TSIEN, JENNIFER. "Between Cleverness and Folly: The Enigmas of the Mercure galant." CdDS 11.1 (2006): 193–218.

Article deals with word-games brought to life and made accessible to a larger public by Le Mercure gallant from the 1670's, despite a clear-cut hostility toward these games in the literary works from Molière to Louis-Sébastien Mercier. The author then deals with the issue inherent in these word games and tackles the question of why contemporaries felt that they showed the unoriginality of their users, imitating popular journals, while those who used them believed they proved to be hommes d'esprit.

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

Review: P. Hannon in FR 81 (2007), 165–66: "An interdisciplinary study exploring links between medical texts on childbirth and fairy tales in early modern France. The literary fairy tale, born in the late seventeenth-century salon and dominated by women, variously incorporated and challenged received medical "truths" involving embryology, infertility, midwives, and sex selection. As Tucker ably demonstrates, scientific writings on procreation skirted the boundaries between fact and fiction, making tale telling a prominent characteristic of both the male physician and the salonnière" (165). Reviewer praises the informative nature of the work and its potential to inspire future research.

VAN ELSLANDE, JEAN-PIERRE. "Imiter et désobéir: les enfants dans la littérature pré-moderne (XVIe–XVIIe siècles)." In Defrance, Anne, Denis Lopez, and François-Joseph Ruggiu, eds. Regards sur l'enfance au XVIIe siècle. Actes du colloque du Centre des recherches sur le XVIIe siècle européen (1600–1700), Université Michel de Montaigne-Bordeaux III, 24–25 novembre 2005. Biblio 17 Number 172. Tübingen: Gunter Narr Verlag, 2007. 45–59.

The author sketches a history of the representation of childhood by focusing on the figures of "l'enfant sage" and "l'enfant terrible" which represent two distinct pedagogical orientations. The former objectifies the child and viewed childhood as a time to mold and shape the passive child, whereas the latter sees the child as having "son mot à dire" as an active subject for whom norms and authority must be adapted.

VEDRENNE, LAETITIA. "Representations of Ruling Queens on the French Dramatic Stage 1560–1661." CdDS 11.1 (2006): 253–268.

Argues that Catherine and Maria de' Medici and Anne d'Autriche were abnormalities in the French political scene throughout history, since the advent of the Salic Law disassociated women with ruling the country. Queens are cut into categories, including active ruling Queens and consorts. Among the ruling queens, the ones represented on the French stage are considered threatened monarchs. Notable threats are manifested in images of their mortal condition, or through threats to their realms.

VERNET, MAX. "Un soupçon de modernité." SCFS 29 (2007), 41–50.

Examines an extract from Jean-Pierre Camus' L'Esprit du Bienheureux François de Sales (1640) in order to explore "une ou deux difficultés de la représentation au Dix-septième, et plus spécifiquement de la représentation romanesque, puisque l'histoire du roman qui nous est ordinairement proposée [. . .] nous conduit à penser ensemble le vraisemblable et l'historique," a problematic alliance.

WETSEL, DAVID & FRÉDÉRIC CANOVAS with CHRISTINE MCCALL PROBES and BUFORD NORMAN, eds. 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. Vol. 2. Tübingen: Narr, 2003.

Review: U. Jung in RF 118 (2006): 278–81: These selected, refereed contributions to the 2001 conference of NASSCFL held at Arizona State are organized in two sections, the first with 16 essays on "Les femmes au Grand Siècle" edited by Probes, the second with 3 essays on "Le Baroque: music et littérature" edited by Norman. In her introduction Probes correctly reminds us that recent decades have seen numerous and important studies on the woman from both sides of the Atlantic. This section is wide-ranging, from studies on concepts of "préciosité" and "galanterie" to specific feminine friendships as revealed in letters, to the theatre (5 articles), fairy tale authors (sexuality and gender), women's voices, and others, giving a taste of the 4 sessions that series editor and president of the society Wetsel had charged Probes with organizing. Norman's edited section includes a rich discussion of "opera mania" over three periods of French opera history, a study of Charpentier's religious music in his Médée, and conversely an examination of the worldly quality of Jean Gilles' Requiem, a composition which itself was featured in a performance for congressistes and the community-at-large.

WILLIS WOLFE, KATHRYN. "To Be or Not to Be : Overcoming the Persistence of Misleading Genre Classification in two Comédies by Cyrano de Bergerac and Saint-Évremond." PFSCL, XXXIV, 67 (2007), 375–388.

Analyses Saint-Évremond's La Comédie des Académistes and Cyrano's Le Pedant joué as examples of Menippean Satire rather than as plays, despite the insistence of literary criticism from the seventeenth to the twentieth centuries to treat them as such.

ZAISER, RAINER. "Wolfgang Leiner et le roman : de l'histoire comique à l'histoire tragique." PFSCL XXXIV, 66 (2007), 57–61.

Overview of the importance of Wolfgang Leiner's article 'Begriff und Wesen des Anti-Romans in Frankreich' (1964).

ZAISER, RAINER. "Wolfgang Leiner vu d'Allemagne." PFSCL XXXIV, 66 (2007), 19–21.

Personal recollection and homage to Wolfgang Leiner from a German perspective.

ZONZA, CHRISTIAN. "Invention de la nouvelle classique: des Nouvelles françaises aux nouvelles à la françaises." In Guellouz, Suzanne and Marie-Gabrielle Lallemand, eds. Jean Renault de Segrais. Actes du colloque de Caen. 9 et 10 mars 2006. Biblio 17, Number 173. Tübingen: Gunter Narr Verlag, 2007. 93–115.

The innovative discourse on prose fiction in the frame tale of the Nouvelles is reflected in each of the individual nouvelles which are concise and anchored in a contemporary historical context.

ZONZA, CHRISTIAN. "Les récits de combat dans les nouvelles historiques." In Garapon, Jean, ed. Armées, guerre et société dans la France du XVIIe siècle. Actes du VIIIe colloque du Centre International de Rencontres sur le XVIIe siècle. Université de Nantes, 18–20 mars 2004. Biblio 17, Number 167. Tübingen: Gunter Narr, 2006. 175–191.

The prominence of battle scenes in the nouvelle historique highlight the genre's blurring of the bounds between history and fiction. Moreover, the evolution of their presence in fiction shows the emergence of an aesthetic of brevity, changing conceptions of heroism, and a new outlook on war.