FRENCH 17

• See also Part IV  : MacDonald, K.

D'AULNOY

BARCHILON, JACQUES. "Adaptations of Folktales and Motifs in Madame d'Aulnoy's Contes: A Brief Survey of Influence and Diffusion". M&T 23 (2009), 353—364.

"Nearly all the stories by Marie-Catherine d'Aulnoy (1650-1705) contain identifiable tale types. This is clear upon examining her tales in conjunction with seminal works of classification such as Stith Thompson's Motif-Index of Folk Literature(1932-1936), Paul Delarue and Marie-Louise Tenèze's Conte populaire français(1957-1985), and Hans-Jörg Uther's Types of International Folk-tales(ATU; 2004). The significant presence of tale types in d'Aulnoy's oeuvre argues well for the universality of her appeal."

RAYNARD, SOPHIE. Le défi des conteuses: faire de la femme scandaleuse une héroïne de fiction. PFSCL 37.72 (2010), 57—70.

Examines ways in which the fairy tales of women-writers, such as d'Aulnoy, Murat, La Force and Bernard, can be read as subversive. Attention is also given to the memoirs of d'Aulnoy and Murat.

TRINQUET, CHARLOTTE. Happily Ever After? Not so Easily! Seventeenth-Century Fairy Tales and their Unconventional Endings. PFSCL 37.72 (2010), 45—54.

Analyzes how the endings of fairy tales by women (d'Aulnoy, La Force, Bernard) tend to question traditional values and social norms, and are best understood in terms of préciosité.

BALZAC

JEHASSE, JEAN, ed. Jean-Louis Guez de Balzac. Socrate chrestien. Paris: Champion, 2008

Review:V. Kapp in RF 121 (2009): 535—537. This critical edition serves to underscore the importance of G de B.'s place in the 17th c. and provides a better understanding of the complexity of the Grand Siècle. The review indicates numerous points of interest, for example, J.'s translation from Latin into French of Descartes's praise. Numerous citations are given in this review such as those illuminating G de B.'s rhetorical ideal of mediocritas.

BAYLE

BOST, J. and BOST, H., eds. Pierre Bayle: Pensées diverses sur la comète. Paris: Garnier-Flammarion, 2007

Review:Whelan, R. in FS 62.4 (2008), 473—474. Reproduces the text that appeared in the first edition of Oeuvres diverses(1727)rather than the 1699 or 1704 editions which Bayle had revised for publication. The editors have kept Bayle's own footnotes and added notes of their own, making for "cumbersome reading." The lack of an index and pages numbers to accompany a biographical listing further undercuts this text's utility. "Aficionados will undoubtedly welcome this compact, intelligently presented text, which may provide a point of entry into the perplexing maze of Bayle's thoughts for a whole new generation of readers."

HICKSON, MICHAEL W. "The Message of Bayle's Last Title: Providence and Toleration in the Entretiens de Maxime et de Thémiste" JHI 71 (2010), 547—567.

"In this paper I uncover the identities of the interlocutors of Pierre Bayle's Entretiens de Maxime et de Thémiste, and I show the significance of these identities for a proper understanding of the Entretiens and of Bayle's thought more generally. Maxime and Thémiste represent the philosophers of late antiquity, Maximus of Tyre and Themistius. Bayle brought these philosophers into dialogue in order to suggest that the problem of evil, though insoluble by means of speculative reason, could be dissolved and thus avoided through mutual toleration. I conclude by comparing Bayle's "theodicy of toleration" with Kant's notion of authentic theodicy."

RYAN, TODD. Pierre Bayle's Cartesian Metaphysics: Rediscovering Early Modern Philosophy. Routledge, 2009

Review:S. Young in CHOICE 47 (2010), 1081. "demonstrate[s] how careful reading of Bayle's work in the philosophical context of his time should precede attempts to divine just where Bayle really stood on issues of later concern, such as his alleged skepticism, fideism, or closet atheism." Also presents where Bayle does stand with respect to a number of key concepts in Descartes, Malebranche, Locke, Leibniz, and Spinoza. Strongly recommended by the reviewer.

• See also Part IV  : Lerner, R.

DU BELLOCQ, PIERRE

BERGER, ROBERT W. Pierre Du Bellocq's Poem on the Dôme des Invalides. SCFS, 32.2 (2010), 137—151.

Analysis of Pierre du Bellocq's 747-line poem L'Eglise des Invalides. Poëme(1702). Argues that 'the poem, to be sure, is a typical unrestrained panegyric to the Sun King, but it is also, and more importantly, a legendary account of the genesis, construction, and completion of the Dôme told in the form of a narrative with a strong religious and supernatural content, appropriate for a church building'. Particular attention is given to the representation(and allegorical significance) of a miracle that allowed the baldachin over the high altar to be completed.

BERNARD, CATHERINE

RAYNARD, SOPHIE. Le défi des conteuses: faire de la femme scandaleuse une héroïne de fiction. PFSCL 37.72 (2010), 57—70.

Examines ways in which the fairy tales of women-writers, such as d'Aulnoy, Murat, La Force and Bernard, can be read as subversive. Attention is also given to the memoirs of d'Aulnoy and Murat.

TRINQUET, CHARLOTTE. Happily Ever After? Not so Easily! Seventeenth-Century Fairy Tales and their Unconventional Endings. PFSCL 37.72 (2010), 45—54.

Analyzes how the endings of fairy tales by women(d'Aulnoy, La Force, Bernard)tend to question traditional values and social norms, and are best understood in terms of préciosité.

BEROALDE DE VERVILLE

WILSON, CORINNE F. and COLETTE H. WINN, eds. La Pucelle d'Orléans restituée par Béroalde de Verville: Sous le sujet de cette magnanime Pucelle est représenté une fille vaillante, chaste, sçavante et belle. Textes de la Renaissance 143. Paris: Champion, 2008

Review:M. J. Giordano in Ren Q 62.3 (2009), 891—893. Highly praiseworthy edition with "a treasure store of notes" and based on the text conserved at Harvard, originally published in 1599(892). Successfully elucidates, in contrast to B de V.'s often characterized misogyny in Le Moyen de Parvenir(1616), La Pucelle d'Orléans which is at once a rich novel for both themes and style and an apologia of the "sexe féminin"(W. and W. 7).

Review:D. Cecchetti in S Fr 158 (2009): 383. Welcome modern edition of this first French romanzo on Jeanne d'Arc. Richly annotated reassessment with helpful glossary, erudite introduction and bibliography.

• See also: Part IV  : Butterworth, E.

BOISROBERT

• See also: Part IV  : Seifert, L. C.

BOSSUET

FERREYROLLES, GERARD et BEATRICE GUION et JEAN-LOUIS QUANTIN et EMMANUEL BURY. Bossuet. Paris: Presses de l'Université Paris-Sorbonne, 2008

Review:A. Régent-Susini in DSS 247 (2010), 376—378. Part of a public course offered by the « Société d'étude du XVIIe siècle », "l'ouvrage collectif [. . .] apparaît à bien des égards. D'une part, il s'agit de la première synthèse consacréeà l'évèque de Meaux depuis le Bossuet de Jean Calvet paru en 1941. [. . .] D'autre part, mobilisant quatre chercheurs – trois littèraires et un historien – cette synthése aussi précieuse qu'ambitieuse s'enrichit ainsi de perspectives et de savoirs divers et complémentaires, tout en évitant les redites en en conservant une profonde cohérence."

• See also: Part II  : Cottegnies, L. et al

BOURDALOUE

• See also: Part II  : Cottegnies, L. et al

BOYER

ROY, ROXANNE. "De surprise en étonnement. La théâtralité dans les Mémoires de la vie de Henriette-Sylvie de Molière". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 227—239.

Analyzes scenes from the Mémoires de la vie de Henriette-Sylvie de Molière as scenes from the theater: comedies of cross-dressing and of love, and tragedy, highlighting those elements that contribute to the theatricality of the Mémoires.

BRUMOY, LE PÈRE

FASSINA, FILIPPO. "Il Père Brumoy e il teatro greco. Una riflessione critica sulla tragedia classica tra la Querelle des Anciens et des Modernes e l'Illuminismo". S Fr 158 (2009): 325—333.

Succinct yet impressive reassessment of le Père B.'s body of criticism and its place in the Querelle. As F. analyzes B.'s erudite examination of parallels between the Greek theatre and that of the French 17th century, the question of goût is discussed. Particular points of consideration include vraisemblance, galanterie and amour. F. demonstrates B.'s theorizing of the concept of universality of literature and art(332-333).

BUSSY-RABUTIN

• See also: Part IV  : Chatelain, M.-C.

CAMUS, JEAN-PIERRE

ZUFFEREY, JOEL. Le discours fictionnel. Autour des nouvelles de Jean-Pierre Camus. Louvain/Paris/Dudley, MA: Editions Peeters, 2006

Review:Fauskevag, S-E. in OL 62.5 (2007) 434—436. Zufferey analyzes the nouvelles in the light of theories of fiction, drawing on sociological perspectives as well as communication and linguistic theory.

• See also: Part I  :Cummings, R.
• Part IV  : Butterworth, E.
• Wygant, A.

CHAPELAIN, JEAN

CHAPELAIN, JEAN. Opuscules critiques. Ed. Alfred C. Hunter. Intro, révision des textes et notes par Anne Duprat. Genève: Droz, 2007

Review: A. Génetiot in DSS 248 (2010),563—565. In a very useful updated edition of that published by Alfred C. Hunter in 1936, the reviewer underlines the importance of Duprat's lengthy(150 pages)introductory essay.

HUNTER, A. and DUPRAT, A., eds. Jean Chapelain: Opuscules Critiques. Geneva: Droz(Textes littéraires français), 2007

Review:Hawcroft, M. in FS 63.1(2009), 83—84. This updated edition of Hunter's text from 1936 removes some excerpts that have been published in their entirety in recent modern editions and adds new texts: Discours contre l'amour(1635)and Dialogue de la gloire(circa 1662). The new scholarly introduction is noteworthy but marred by its use of broad terms such as classicisme and baroque "as if in some explanatory way." "This valuable edition is sure to serve the scholarly community as well, and as long, as Hunter's own edition did."

LASSERRE, FRANÇOIS. Le canevas de la Diane de Rotrou, retrouvé. PFSCL 37.72(2010), 147—172.

Analysis of the plan for Rotrou's Diane as discovered(and reproduced here)by the article's author in a volume of the Recueil Conrart(manuscript no. 5414 of the Bibliothèque de l'Arsenal). Author attributes this plan to Chapelain and examines what light it throws on the latter's conception of theatre.

• See also: Part IV  :Montoya, A.

CHOISY

• See also: Part IV  :Seifert, L. C.

CINQ AUTEURS

LASSERRE, FRANÇOIS, ed. Les cinq auteurs. La Comédie des Tuileries et l'Aveugle de Smyrne. Paris: Champion, 2008

Review:Desnain, V. in FS 63.2 (2009), 209—210. The editor's valuable analysis, notes, and appendices focus on the genesis of the project, the nature of collaboration, and Richelieu's assertion of power in the realm of literature and the arts. The editor devotes special attention to Pierre Corneille's participation in the project which highlighted his differences with Chapelain and allowed him to better define his own thought on dramatic theory. An "interesting, but speculative analysis" of the rapport between Corneille and Rotrou questions Henri Chardon's work in an interesting way.

CORNEILLE, PIERRE

AKIYAMA, NOBUKO. "Corneille et ses pièces à machines". DSS 248 (2010), 403—417.

In looking at Andromède, La Toison d'or and Psyché,the author traces the importance of music in these three "pièces à machines" the influence of which ultimately led to the creation of French opera. At the same time, the author views in these same plays, "la permanence du thème cornélien et même la dégradation de l'image du héros qui caractérise ses dernières tragedies."

ALBANESE, RALPH. Corneille à l'Ecole rápublicaine: Du mythe héroïque à l'imiginaire politique en France 1800-1950. Paris: Harmattan, 2008

Review:Ousselin, E. in FS 63.4(2009), 456—457. This "travail de bénédictin" traces the history of the reception of Corneille's work in textbooks and literary criticism. Corneille will offer Napoleon "un ideal d'action prêt à être exploité," while the Third Republic will turn to his work to repair national pride after the defeat of the Franco-Prussian War. In our own time, a waning interest in Corneille is presented as indicative of a shift away from the values of honor, elitism, and patriotism typical of his work.

ECKSTEIN, NINA. Corneille's Irony. Charlottesville: Rookwood Press, 2007

Review:J. Harris in FS 62.4(2008), 471—472. "A welcome, timely and nuanced corrective to[a]critical blind-spot" that sees Corneille as "more ironized against than ironizing." This study "amply demonstrates the range of ironic modes and devices that surface in[Corneille's]theatre" while offering a sophisticated, general critical reflection on the nature of irony in theatre, literature, and rhetoric. Eckstein, a sensitive reader who "conscientiously resists the temptation to see irony where it is not present," also shines a light on the more traditional themes of Corneille's dramaturgy: "surprise, heroism, comedy" and "other forms of double discourse(sarcasm, lies, role play)."

Review:Anon in FMLS 45.2(2009), 221. E.'s study includes sections on "Evident Irony," "Dramatic, Verbal and Situational Ironies," and "Signals of Possible Irony." The anonymous reviewer finds E.'s work speculative and would have appreciated more contextualization.

EKSTEIN, NINA. "The Conversion of Polyeucte's Félix: The Problem of Religion and Theater". Fr F 34.1 (2009), 1—17.

E.'s close treatment of C.'s play alongside R.'s Le Véritable Saint Genest reexamines the quarrel between religion and theatre. After a brief review of the ancients, notably Plato, on the subject, E. refers to certain 17th c. moderating views (Richelieu, François de Sales), but reminds us that "the voices and arguments rallied against the stage in France were strident and powerful"(2). Admittedly speaking "from outside a religious perspective," E. carefully examines Félix's conversion studying several aspects including the religious, the literary and the political. She finds that the conversion "while arguably vraisemblable from a religious perspective, is completely invraisemblable logically, psychologically, and dramatically" and that although Félix has political power, "political considerations do not provide a useful context" for the conversion(7). E. demonstrates instead the considerable "recourse to the theatrical"(8)which is a shared feature with the Rotrou play where it is central. E. convincingly engages critics of both plays before she concludes that the two share an "undecidable" conversion, which is also a function of the "profound friction between theater and religion in 17th c. France" (12).

GOSSIP, CHRISTOPHER. Héros trop magnanime: le crime d'Horace et son châtiment. PFSCL 36.71 (2009), 543—555.

Examines the diverse critical reactions to Horace's murder of Camille in Corneille's play.

LASSERRE, FRANÇOIS, ed. Les cinq auteurs. La Comédie des Tuileries et l'Aveugle de Smyrne. Paris: Champion, 2008

Review:Desnain, V. in FS 63.2 (2009), 209—210. The editor's valuable analysis, notes, and appendices focus on the genesis of the project, the nature of collaboration, and Richelieu's assertion of power in the realm of literature and the arts. The editor devotes special attention to Pierre Corneille's participation in the project which highlighted his differences with Chapelain and allowed him to better define his own thought on dramatic theory. An "interesting, but speculative analysis" of the rapport between Corneille and Rotrou questions Henri Chardon's work in an interesting way.

MELI, CINTHIA. "L'audace pour mot d'ordre: l'invention de l'intrigue et des caractères dans le Manlius de Marie-Catherine Desjardins". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 107—117.

Situates Manlius in the context of Corneille's and d'Aubignac's theoretical treatises on theater. Argues that Manlius reveals Villedieu to have followed Aristotle better than Corneille did, and that the play is a master stroke, misunderstood by navel-gazing critics such as Donneau de Visé.

MCCLURE, ELLEN. "Neo-Stoicism and the Spectator in Corneille's Horace". EMF 13(2010): 144—158.

The article examines Horace as a continuation of the querelle du Cid in which Corneille reacts to Scudéry's criticism and establishes his theatrical aesthetics, which rest on a critique of neo-stoicism's dispassionate stance. Instead, his artistic philosophy is based on the "lifelike qualities of theater"(156)and on the intensification of the emotional experience on stage, rather than control of the emotions.

NIDERST, ALAIN. Pierre Corneille. Paris: Fayard, 2006

Review: Hawcroft, M. in FS 63.4(2009), 456. A specialist presents a literary biography for the general reader, focusing on Corneille the playwright, poet, courtier, and family man. Of special interest to literary scholars is a chronological treatment of Corneille's life-long contact with the Jesuits, his involvement with school drama, and his interest in neo-latin poetry. Niderst paints a picture of Corneille who is "loyal to his family, always trying to increase his income [. . .], loyal to the Church and his Jesuit instructors, and above all loyal to the succession of political patrons whom he served." At times, this biography focuses too narrowly on Corneille as a political propagandist. Well-suited for general readers and students, less useful for specialists.

NIDERST, ALAIN. ed. Colloque Pierre Corneille et l'Europe. Tübingen:G. Narr, 2008

Review: J.-M. Civardi in DSS 247 (2010), 369—372: An excellent collection of essays drawn from the colloquium held on the occasion of the 400th anniversary of Corneille's birth. "Il s'agissait moins pour son organisateur de réfléchir aux influences d'auteurs européens sur Corneille que d'étudier la fortune de celui-ci à l'étranger."

ROSNER, ANNA. Médée, monstruosité, maternité: symbolismes sanguins dans la Médée de Corneille. SCFS, 32.1 (2010), 19—30.

'Axé sur le symbolisme du sang que verse Médée et du sang bouillant qu'elle incarne, ce travail étudie la matérialisation 'liquide' de la fureur d'une femme monstrueuse'. Examines the origins of the topos of the 'fluid' and explosive body, analyzing how it is rooted in medical, demonological and teratological discourses.

SCOTT, PAUL. "'Ma force est trop petite': Authority and Kingship in Le Cid", FMLS 45.3 (2009), 292—304.

Careful and convincing analysis of Don Fernand elucidates his "enfeebled" role, which is, however, multifaceted, demonstrating tenacity. He is "more appealing than some of C.'s other paternal creations such as the cynical, self-serving Félix in Polyeucte"(299-300). S. successfully engages relevant critical literature and theatrical conventions and props(a sword and a glove in their significant symbolism), assessing the contribution of the political situation to the play's success. Exceptionally well-documented with numerous important notes.

VALENTIN, J. M. and L. GAUTHIER, eds. Pierre Corneille et l'Allemagne. L'oeuvre dramatique de Pierre Corneille dans le monde germanique(XVIIe-XIXe siècles). Paris: Desjonquères, 2007

Review:M. Pavesio in S Fr 157 (2009): 166 and S Fr 158 (2009): 391. Welcome edition of the Acts of a seminar and convention in Paris in 2006 with the patronage of the Institut national d'histoire de l'art. Parallels of French and German dramatic aesthetics are drawn and the following essays discuss reception, translations and affiliations with 17th, 18th and 19th c. German works. Indices of names, works and plays of C. that are cited.

ZAISER, RAINER, ed. PSCFL vol. 35, n. 68. Tübingen: G. Narr, 2008

Review:C. Rolla in S Fr 157 (2009): 164—166 and S Fr 158 (2009): 390—391. Welcome publication of the Acts of the 2006 conference "Pierre Corneille et l'Europe" held in Paris and commemorating the 4th centenary of C.'s birth. After Alain Niderst's preface focusing on the circulation of books and spectacles in Europe, two sections are devoted to "L'Europe vers Corneille(Italie)." The third and fourth sections focus respectively on Spain and England. Other sections treat antiquity and modern theatre in relation to C. as well as his own reception and parallels with the opera. The last section gives evidence of "C. en notre siècle." Jean Mesnard's conclusion, "C. l'Européen," reviews the multifaceted analyses presented and affirms the contemporary public's fascination with C.

• See also: Part I:  Cummings, R.
• Part IV:  Civardi, J.-M.
• Dejardin, I.
• Donatien, G.
• Gilby, E.
• Ibbett, K.
• Malachy, T.
• Papasogli, B.
• Scott, V.

CORNEILLE, THOMAS

PREST, JULIA. Etat Présent: Thomas Corneille(1625-1709): Beyond the Triumvirate. FS 63.3 (2009), 323—329.

A survey of current critical questions surrounding the work of Thomas Corneille and their development in recent scholarship. A well-written and accessible introduction to the scholarly discourse on a playwright dubbed "the best of the rest."

CYRANO DE BERGERAC

LEVESQUE, MATHILDE. Du manuscrit à l'édition: Formes linguistiques de l'autocorrection dans les Lettres de Cyrano de Bergerac. PFSCL 36.71 (2009), 475—491.

Examines the modifications made by Cyrano to his Lettres(first published in 1654), and the context for those modifications.

PREDA, ALESSANDRA. Ilarità e tristezza. Percorsi francesi del «Candelaio» di Giordano Bruno(1582-1665). Milano, LED, «Il Filarete», CCL, 2007

Review:D. Cecchetti in S Fr 157 (2009): 159—160. P. reconstructs B.'s French editions and translations, reflecting on linguistic, intellectual and philosophical interests. P.'s itinerary takes us from Théophile de Viau to Cyrano, from Molière to La Fontaine.

PUTMAN, EMILY MILLER. "Illusion, Violence and Certainty in Rotrou's 'Le Véritable Saint Genest' and Cyrano de Bergerac's 'La mort d'Agrippine". DAI 48/06(2010).

This dissertation focuses on the "récits sanglants" and "histoires tragiques" to reveal how the threat of violence is supposed to show the validity and truth of the declarations of the martyrs and the executed. The aim of the depiction of violence is to provide a feeling of certainty in the audience, as well as the characters of the plays. Links are established to other plays.

DESAGULIERS, JOHN THEOPHILUS

• See also: Part III  :Ducheyne, S.

DESCARTES

CLARKE, DESMOND M. Descartes's Theory of Mind. Oxford: Clarendon P, 2005

Review:Secada, J. in PhQ 59.235 (2009), 359—362. "Perhaps Clarke's Descartes's Theory of Mind should be charitably placed under a Hegelian light, as finding in Descartes' writings the seeds of later developments, and as reading them so as to bring those aspects into clear focus, even if in doing so it loses sight of much of their actual contents and their historical integrity. [. . .] Still, his books contain much important material. His account of Descartes on the workings of the human body and brain is intelligent and informative. His discussion of dualism is philosophically informed and suggestive. His biography is massively knowledgeable and erudite, bringing together recent discoveries and revealing many facts about Descartes' life.

HOEFER, BERNADETTE. Cartographier l'esprit: Le débat autour du mystère de la conscience. PFSCL 36.71 (2009), 515—527.

In the context of current neuroscientific debate, this article examines Descartes' and Spinoza's respective understanding of 'l'interrelation entre le corps et l'esprit pour la connaissance du moi et l'entendement de la conscience'.

KAMBOUCHNER, DENIS. "Descartes: un monde sans fous? Des Méditations Métaphysiques au Traité de l'Homme". DSS 247 (2010), 213—222.

A detailed look at the origins of Derrida's and Foucault's critical exchange on "la folie" to be found in Descartes' Première Meditation.

MACHAMER, PETER and MCGUIRE, J. E. Descartes's Changing Mind. Princeton: Princeton UP, 2009

Review:Cottingham, J. in Isis 101.3 (2010), 649—650. The authors trace the "epistemic turn" of Descartes's work, when the philosopher shifts from "develop[ing] a method for revealing how things really are" to "perspectivalism" which examines the limits of human knowledge. "This is pure, heavy-duty Cartesian scholarship for its own sake, built around frequent lengthy quotation from the texts and detailed discussion of their possible interpretation." "An interesting attempt to promote the image of a much more tentative and pragmatic Descartes."

Review:R. Bonzon in CHOICE 47 (2010), 1934. Attempts to chart changes in Descartes' epistemological method and metaphysical foundations over the course of his life. Machamer and McGuire argue that Descartes "radically changes his mind about the powers and scope of the mind, arriving finally at a conception that relies heavily upon innate ideas and a limitation of humans' cognitive reach"(1934).

ONISHI, YOSHITOMO. "Du deliberatur à la cognitio(Med. 4a, AT. VII, 59.15-27) Remarques sur la genèse du doute cartésien". DSS 248 (2010), 457—466.

"Nous nous attacherons ici à dégager ce sur quoi repose le doute cartésien en analysant minutieusement un passage de la Quatrième Méditation." The author chooses the 4th rather than the 1st because "c'est le point de vue rétrospectif qu'adopte ce passage qui, dans sa compacité, permet de saisir la complexité inhérente à la genèse du doute méthodique."

• See also: Part III  : Cottingham, J.
• Fabbri, N.
• Wilkin, R.

DESJARDINS

KILLEY, JULIAN HAMILTON. "Desjardins' Le Favori and Molière's Tartuffe: Dissimulators and Dupes. DAI 48/05: (2010).

Focuses on the importance the question of morality adopts in the seventeenth century and the concern about dissimulation within that context. Desjardin shows how dissimulation is a necessary means to ends at court while Molière warns his public to be wary of malign dissimulation.

DESMARETS DE SAINT-SORLIN

TAUSSIG, SYLVIE. ed. Europe, comédie héroïque attribuíe à Arnaud de Plessis, cardinal de Richelieu et Jean Desmarets, sieur de Saint-Sorlin. Turnhout: Brépols, 2006

Review:F. Hildesheimer in DSS 247 (2010), 372—373. An important edition of this obscure play, the reviewer is particularly complimentary of the lengthy introduction that "se veut à l'écart de toute critique littéraire stérile; elle passe en revue et met en relation les aspects littéraires et politiques et fourmille de notations justes et fines [. . .] mettant à contribution l'ensemble de l'historiographie pour contribuer à une èvaluation du rôle et de la signification de la pièce."

DONNEAU DE VISE

• See also: Part IV  : Vincent, M.

DUPLESSIS-MORNAY

ANGEBAULT, CHRISTOPHE. « Que cest exés mesme de parole à peine nous peut exprimer »: Censure et anathème dans la controverse autour de l'Institution de l'Eucharistie de Philippe Du Plessis-Mornay(1598). PFSCL 36.71 (2009), 347—362.

Analyzes the controversy around Du Plessis-Mornay's l'Institution de l'Eucharistie, demonstrating how it resulted from 'l'affrontement de deux paradigmes contradictoires de la censure', namely 'le caractère absolu de l'anathème calviniste' and 'la censure de l'Église'.

DURAND

KENNEDY, THERESA VARNEY. Tragic Irony in Catherine Durand's Comédies en proverbes. PFSCL 37.72 (2010), 117—128.

Examines the extent to which, underneath their humorous and entertaining exterior, Durand's ten comedy proverbs are underpinned by a sharp awareness of the constraints imposed upon women in the patriarchal society of the time, and highlight the double standards in gender relations at play in that society.

FARET

• See also Part IV  : Seifert, L. C.

FELIBIEN

DEMORIS, RENE, ed. Félibien: Entretiens sur les vies et les ouvrages des plus excellents peintres anciens et modernes. Livres I et 2. Paris: Les Belles Lettres, 2007

Review:J. Morgan Zarucchi in Ren Q 62.1 (2009), 231—233. Welcome re-publication of parts I and 2 of F.'s Entretiens with "lengthy and informative" introduction, useful to the understanding of the artistic and political 17th c. M. Z. would have appreciated a more even scholarly apparatus with updated bibliography, index and better reproduction of illustrations. Calls for an edition of the remaining volumes which include F.'s discussion of artists such as Poussin and Mignard.

FENELON

• See also:Part IV  : Papasogli, B.

FONTENELLE

NIDERST, ALAIN. À propos de la vieillesse de Fontenelle. PFSCL 37.72 (2010), 227—236.

A biographical account of the last years of Fontenelle's life, and particularly of his association with his second cousin, François Richer d'Aube.

FURETIÈRE

ASSAF, FRANCIS. Lexicologie de la nourriture au XVIIe siècle. PFSCL 37.72 (2010),205—226.

Analyzes diverse entries concerning food in the dictionaries of Richelet(1680), Rochefort(1685), Furetière(1690) and the Académie française(1694), using the dictionaires as a possible "miroir sociolinguistique, même átho-linguistique."

GASSENDI

TAUSSIG, SYLVIE and TURNER, ANTHONY, eds. Mémoire de Gassendi: Vies et celebrations écrites avant 1700. Turnhout, Belgium: Brepols, 2008

Review:Osler, M. J. in Isis 100.4 (2009), 913—914. A collection of materials published in the forty-five years after Gassendi's death "that could serve as the starting point for a proper biography." The editors also focus on the documents' literary qualities, showing how some of the biographical writings adopt conventional literary forms."Taussig and Turner have done a great service in making these texts—problematic as they are–available."

GAY, GEOFFROY

GAY, GEOFFROY. La Simonie Tragi-comédie. Ed. Giovanna Devincenzo. Fasano: Schena Ed., 2007

Review:J.-M. Civardi in DSS 247 (2010), 367—369. Though Gay is little known and an elusive source, this is an important critical edition of the title play and the introduction proves an important font of information on this obscure priest. The reviewer, however, questions some of the editorial choices made in presenting the play itself and faults a number of errors and inaccuracies that may be due to the fact French is not the editor's first language.

GOMBERVILLE

TEYSSANDIER, BERNARD. La Morale par l'image. "La Doctrine des moeurs" dans la vie et l'oeuvre de Gomberville. Paris: Champion, 2008

Review:D. Dalla Valle in S Fr 159 (2009): 617. Welcome and interesting volume fills a lacune in baroque studies as it analyzes a book dedicated to the young Louis XIV. T.'s study is organized into sections on "La Carrière d'un bel esprit," "Genèse d'un projet insolite," and "La galerie morale." Useful not only for the contribution on G. but for that on the baroque era in its connection between text and image. Annexes and rich bibliography.

GOULAS, NICOLAS

• See also: Part I  : Bandry-Scubbi, A., ed.

GOURNAY, MARIE DE

PATTERSON, JONATHAN. Marie de Gournay, Poetry and Gender: In Search of 'La vraye douceur'. SCFS 32.2 (2010), 206—220.

Analyzes how, 'contrary to contemporary opinion, Gournay considered douceur a matter of cultivating esprit and vigueur rather than gentleness, euphony and naïveté in French verse'; and how in turn these constituent elements of vraye douceur 'cannot be aligned a priori with 'masculinity' or 'femininity'. Instead they are equally idealized—and are equally prestigious—in either gender.'

• See also:Part IV  : Butterworth, E.
• Schachter, M.

GUILLERAGUES

PADDEN, SUSAN A. "Conceptions of the Function of Author in Seventeenth-Century French Epistolary Literature: The Cases of the Comte de Guilleragues and Mme de Villedieu." DAI 48/06 (2010)

This dissertation shows the author function in seventeenth-century French epistolary literature. Anonymity and pseudonymity are tools through which the authors remove themselves as individuals from their texts. Both empower the reader through re-appropriation of authorship. Yet their motivations are different.

GUYART

GREGOIRE, VINCENT. Devoir d'obéissance, obligation de résistance: lorsqu'une ursuline s'oppose à l'autorité masculine au dix-septième siècle. SCFS 32.1 (2010), 102—117.

Analyzes the opposition of Marie Guyart dite de l'Incarnation to male religious authority, asking: 'En quoi consiste cette obligation de résister et, une fois mise en pratique, à quels résultats va-t-elle aboutir? Cet esprit d'opposition ne trouve-t-il pas en partie son origine dans le fait que la sœur soit une ursuline, dont la vocation est de prier et aussi d'enseigner, mais encore dans le fait qu'elle ait été veuve et indépendante très jeune, et qu'elle ait assumé des responsabilités importantes dans l'entreprise de son beau-frère avant d'entrer en religion?'

GUYON, JEANNE MARIE BOUVIER DE LA MOTTE(MADAME)

TRONC, DOMINIQUE ed. Madame Guyon. Oeuvres mystiques. With study by le P. MAX HUOT DE LONGCHAMP. Paris: Champion, 2008

Review:V. Kapp in RF 121 (2009): 408—410. Praiseworthy edition by the editor of G.'s autobiography and her three-volume set of letters. Although the reviewer would have appreciated more attention to C.'s poems, he offers praise for sections on commentary of the Song of Songs and on the substantial introduction. Huot de Longchamp situates G. in the Christian tradition. K. reminds us that in 1978 Olms had brought out a facsimile edition of Poiret's 1720 edition of G.'s Les opuscules spirituels with a foreword by Jean Orcibal. It remains useful since it contains some texts that are missing in the new edition. The usefulness of T.'s colume is that it offers a representative overview of G.'s spiritual writings and a better understanding of this important woman and her influence well beyond France.

• See also:Part IV  :Papasogli, B.

HENRI IV

PITT, VINCENT J. Henri IV of France. Baltimore: Johns Hopkins UP, 2008

Review:L. R. N. Ashley in BHR 72.2 (2010), 414 Biography in English is "rich in detail and judicious in conclusions."

Review:J. Black inJES 39 (2009): 513—514. "An interesting text ably supported by extensive footnotes . . . Pitts essentially offers a conventional account, one that is especially strong and interesting on Henry's career up to the late 1590s." Reviewer finds that Pitts overrates Henri's international achievements and "does not devote sufficient attention to the extent to which chaos after Henry's death throws doubt on his achievements."

Review:J. Harrie inCHOICE 47 (2009), 759 Emphasizing political and military events, Pitts argues that Henri IV contributed significantly to the restoration of the monarchy and helped transform it into "the core institution of the state"(xii). A comprehensive, if not especially innovate biography.

Review:C. Weiss inRen Q 62.3 (2009), 971—972. Judged highly successful, P.'s comprehensive examination features chapters focusing on Henri's early life as well as others on his diplomatic and domestic programs. P. masterfully sets the personal aspects in the context, often complex, of French history, accurately and engagingly "describ[ing] Henri's political, social, military, and religious motives"(972). Index, appendices(including genealogical tables), illustrations and bibliography.

LABAT, JEAN-BAPTISTE

TOCZYSKI, SUZANNE. "Jean-Baptiste Labat and the Buccaneer Barbecue in Seventeenth-Century Martinique". Gastronomica 10.1 (2010), 61—69.

This study of a Dominican missionary's focus on the culinary cuisine of Martinique shows how his "openness to the Caribbean's remarkably diverse food cultures eventually allows him to construct new social, cultural, and symbolic meanings that inform both his personal and spiritual identity." Over the course of much culinary experimentation, Labat becomes less of a "culinary tourist" and more engaged with indigenous culture. Ultimately, "Labat does not 'eat the Other,' he strives to become Other, a polysemic richness that reflects the ample diversity of Caribbean culinary culture to the present day."

LA BRUYERE

BRILLAUD, JEROME. La Remarque ou l'art de la dissimilation chez La Bruyère et Richelet. SCFS 32.2 (2010), 179—190.

Examines the structural and formal similarities discernible between Richelet's Dictionnaire françois and La Bruyère's Caractères.

• See also: Part IV  :Papasogli, B.

LA CHAPELLE

BANDERIER, GILLES, ed. La Chapelle, Mémoires pour servir à l'histoire de la vie d'Agrippa d'Aubigné. Paris: Champion, 2008. Textes de la Renaissance, 128

Review:M. Mastroianni in S Fr 157 (2009): 158. Welcome annotated edition of La C.'s biography of d'A., commissioned by Madame de Maintenon. Catholic perspective. B.'s edition reproduces faithfully ms. Paris, Bibliothèque de la Direction de l'Enseignement Militaire Supérieur de l'Armée de la Terre, K. II. 77. Variants are indicated in the appendix.

LAFAYETTE

BRINK, MARGOT. "Interprétations cinématographiques de la Princesse de Clèves: du 'cadavre exquis' á l'héroïne d'une nouvelle éthique" In Böhm, Roswitha, Andrea Grewe, and Margarete Zimmermann, eds. Siècle classique et cinéma contemporain. Actes de la section 5 du Ve congrès de l'Association des Francoromanistes allemands. Martin-Luther-Universität Halle/Wittenberg, 26 au 29 septembre 2006. Biblio 17, Volume 179. Tübingen: Gunter Narr Verlag, 2009. 113—125.

Analyzes two different cinematic representations of Mme de Clèves' renunciation of the world, that were found in Delannoy's 1961 film La Princesse de Clèves and that found in Manoel de Oliveira's 1999 film La Lettre. Finds that the former rewrites the novel's ending because it is, paradoxically, too modern in its conception of an independent space for a woman alone. De Oliveira's film, although a modernization, contains echoes of 17th-century morality in its exploration of Mme de Clèves' decision to pursue humanitarian work.

OSTER, PATRICIA. "La sémiotique du moi caché dans les transpositions filmiques de La Princesse de Clèves." In Böhm, Roswitha, Andrea Grewe, and Margarete Zimmermann, eds. Siècle classique et cinéma contemporain. Actes de la section 5 du Ve congrès de l'Association des Francoromanistes allemands. Martin-Luther-Universität Halle/Wittenberg, 26 au 29 septembre 2006. Biblio 17, Volume 179.

The author discusses the theme of the moi caché first in the novel La Princesse de Clèves, then in three cinematic interpretations of the novel: Delannoy's 1961 film adaptation, De Oliveira's 1999 film La Lettre, and in Zulawski's 2000 film La Fidélité. Zulawski's film is analyzed at length for its modernization of the novel and how it portrays modern media's semioticization of the moi caché.

THEOBALD, CATHERINE J. LEWIS. The Princess and the Paradox: Irreconcilable Images in La Princesse de Clèves. PFSCL 37.72 (2010), 33—44.

Analyzes Lafayette's novel, and particularly the dénouement, in terms of portraiture, 'a fundamental element of the text's language and structure', which allows the novelist to probe the relationship between representation and reality.

• See also: Part IV  :Lowrie, J..
• Papasogli, B.

LA FONTAINE

COLLINET, JEAN-PIERRE. "La Fontaine et ses deux faces". DSS 246 (2010), 177—185.

A marvelous look at the two faces of La Fontaine through his work and private life. "Une de ses deux différentes faces n'est en réalité qu'une façade, derrière laquelle se devine le vrai visage du poète. Vu de l'extérieur, il est pris pour un joyeux original. On se moque de sa distraction et l'on rit de son insouciance. Ce qu'il ne dit pas, c'est qu'il est un éternel malchanceux, peut-être, pour une part, de sa faute."

PENSOM, ROGER. "Sense and Rhythm in La Fontaine's Fables". FS 64.4 (2010), 395—409.

"La Fontaine's free alternation of the canonical alexandrine and decasyllable with lines of seven or eight syllables violates the principle of isosyllabic recurrence fundamental to the isosyllabist thesis. It is, however, possible to 'save the phenomenon': evidence is presented here that intraphrasal accent occurs in this verse in rule-governed form, which in turn suggests that it has a 'metrical'('measuring')role, compensating for the absence of isosyllabic equivalence. The resulting accent distribution, moreover, serves as a raw material for the creation of La Fontaine's highly personal poetic meaning. A close analysis of three texts shows how La Fontaine's 'free verse' organizes the accentual resources of his language to create his characteristic effects, exciting our awareness of the physical nature of our response to his poetry."

PREDA, ALESSANDRA. Ilarità e tristezza. Percorsi francesi del «Candelaio» di Giordano Bruno(1582-1665). Milano, LED, «Il Filarete», CCL, 2007.

Review: D. Cecchetti in S Fr 157 (2009): 159—160. P. reconstructs B.'s French editions and translations, reflecting on linguistic, intellectual and philosophical interests. P.'s itinerary takes us from Théophile de Viau to Cyrano, from Molière to La Fontaine.

• See also: Part III  :Stiker-Métral, C.-O..
• See also: Part IV  Chatelain, M.-C.
• Papasogli, B.

LA FORCE

RAYNARD, SOPHIE. Le défi des conteuses: faire de la femme scandaleuse une héroïne de fiction. PFSCL 37.72 (2010), 57—70.

Examines ways in which the fairy tales of women-writers, such as d'Aulnoy, Murat, La Force and Bernard, can be read as subversive. Attention is also given to the memoirs of d'Aulnoy and Murat.

TRINQUET, CHARLOTTE. Happily Ever After? Not so Easily! Seventeenth-Century Fairy Tales and their Unconventional Endings. PFSCL 37.72 (2010), 45—54.

Analyzes how the endings of fairy tales by women(d'Aulnoy, La Force, Bernard)tend to question traditional values and social norms, and are best understood in terms of préciosité.

LAMY, FRANÇOIS

• See also: Part IV  :Papasogli, B.

LA ROCHEFOUCAULD

WEISER, JUTTA. Littérature moraliste et psychanalyse: la poétique du désir chez Lacan et La Rochefoucauld" OeC 24.2 (2009), 69—95.

"Lacan s'est rendu compte du rôle central et prépondérant qu'a joué la pensée moraliste pour la psychanalyse. Après avoir regardé de plus près les premiers pas allant vers une théorie de l'inconscient au XVIIe siècle, on comprendra peut-être mieux sa proposition d'une généalogie qui commence chez les moralistes classiques et parvient à son plein épanouissement dans la théorie de Freud. Avec la 'lecture lacanienne' des Maximes de La Rochefoucauld, on n'a donc pas choisi un texte littéraire quelconque pour y appliquer la théorie psychosémiologique, mais un recueil de maximes qui marque le point de départ d'un chemin qui a préparé non seulement la psychanalyse freudienne mais aussi et surtout la sémiologie lacanienne."

LA SERRE, PUGET DE

DERVAL CONROY. "Des livres d'entrées? Vers une poétique de récit de voyage dans les relations d'entrées de Puget de la Serre" S Fr 157 (2009): 19—33.

Fills a lacune as it furnishes a very well-documented study on the account of Marie de Médicis's entrées and illustrates "la nature polymorphe des récits de voyage à l'époque et . . . la façon dont La S. s'approprie divers discours pour glorifier la reine"(19). C.'s approach is literary as she examines how different elements common to La S.'s three texts can be understood as "les traits d'une poétique du récit de voyage"(19). C.'s rich treatment is organized into sections as follows: "La S. voyageur," "La mise en scène de l'altérité: modalités et sujets de description," and "Le lecteur-spectateur-voyageur." C. uncovers differences between the accounts of La S. and offers certain possible explanations based to some degree on style. She ably demonstrates how the roles of traveler and "reporter" cross and how, naturally, the récits are themselves "à la croisée des genres." C. smartly concludes that the pérégrinations of Marie de Médicis "constituent donc un péri-spectacle, et sont représentées dans ce que nous pouvons nommer une péri-littérature"(33).

LEFÈVRE DE LEZEAU

BAILEY, DONALD A. ed. Nicolas Lefèvre de Lezeau. La Vie de Michel de Marillac(1560-1632),Garde des sceaux de France sous Louis XIII. Laval: P U Laval, 2007

Review:M. Vester in Ren Q 62.1 (2009), 217—218. Valuable, welcome edition of L de L.'s biography is based not only on Ms. Fr. 14.027 of the Bnf but also on 6 other extant copies. Although "hagiographic," the biography is highly informative for scholars of politics, religion and the law. B.'s critical apparatus "constitute(s) a research tool of major importance, providing encyclopedic knowledge of the vast array of persons, places, events, and concepts that are tied, directly or obliquely, to L.'s account"(218).

LORET

LOSKOUTOFF, YVAN. Du burlesque satirique à l'éloge plaisant: le président de Maisons et les siens vus par La Muze historique de Loret. PFSCL 37.72 (2010), 173—204.

Lengthy article analyzing how the evolution in the tone and approach of Loret's Muze historique, from one of satirical burlesque to glorification of the status quo, is reflected in its treatment of René de Longueil, Président de Maisons- an erstwhile Frondeur turned monarchist- and his family.

LOUIS XIV

NELSON, SARAH M., ed. and trans. Hortense Mancini and Marie Mancini. Memoirs. The Other Voice in Early Modern Europe. Chicago: The U of Chicago P, 2008

Review:J. Couchman in Ren Q 62.2 (2009), 503—504. This edition and translation of the memoirs of the nieces of Mazarin provides additionally legal documents and letters as well as a bibliography and index. N.'s introduction is useful and her translation from the best recent editions ably done as it "echoes well the style of the originals, creating lively, dramatic tales"(503). C. recommends the text for teaching as well as for scholarly research.

• See also: Part II  :Grewe, A.
• See also: Part II  :Hasquin, H..
• See also: Part II  :Hyde, E..
• See also: Part II  :Kettering S.

LULLY

BARBAFIERI, CARINE. "Ah! Madame de Villedieu, vous savez faire l'amour, mais vous ne saviez pas faire une tragédie. Vraisemblance et moralité dans le théâtre sérieux de Mademoiselle Desjardins". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 75—87.

A re-evaluation of Villedieu's tragedies, based on a new understanding of their choice of subject matter and their non-Aristotelian dramaturgy. Argues that the choices Villedieu makes as a playwright stem not so much from her status as a woman but from a certain aesthetic viewpoint similar to that of Quinault and Lully. Villedieu's tragedies can also be seen as issuing from the tragi-comedy and of the novel.

CORNIC, SYLVAIN. "Madame de Villedieu librettiste?" In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 61—71.

Taking into account that material was often falsely attributed to Villedieu, the author explains his hypothesis that two librettos, Céphale et Procris and Ulysse, were likely written by her and would thus expand the corpus of her dramatic work. Because of Lully's preference for working with Quinault, Villedieu's foray into opera would have thus come to naught.

LUYNES, DUC DE

• See also: Part II  :Kettering S.

MAIRET

FORESTIER, GEORGES., PERRY GETHNER, JEAN-PIERRE VAN ELSLANDE and FRANÇOISE LAVOCAT, eds. Jean Mairet, Théâtre complet. Paris: Champion, 2008

Review:D. Dalla Valle in S Fr 157 (2009): 164—165 and S Fr 158 (2009): 389. Welcome and praiseworthy edition in which the three texts are modernized, annotated and analyzed. Rich and well-documented introduction with bibliography, glossary and index. The stimulating edition also offers suggestions for future research on Mairet and theatre.

LOUVAT-MOLOZAY, BENEDICTE, ed. Le Théâtre de Jean Mairet. Littératures classiques, 65, été 2008

Review:M. Pavesio in S Fr 159 (2009): 616—617. This monographic issue of LC provides several articles on the subject, the result of a journée d'études at Montpellier in 2004 and examines M.'s writing as social practice. The volume is organized into sections on 1)M.'s literary career including his role in the history of the theatre and the multiplicity of editions of his work, 2)M.'s sources, ancient and modern, 3)the practice of the theatrical genre, and 4)possible future avenues of research.

MALEBRANCHE

BUZON, FREDERIC DE. "Aspects de la folie chez Malebranche". DSS 247 (2010), 247—256.

The point of this article "n'est pas de savoir si, selon nos critères d'appréciation, Malebranche est fou, visionnaire ou extravagant ou rien de cela, mais ce trait ne doit pas totalement rester dans l'ombre, puisqu'il est intégré à l'apparence que Malebranche donne à son œuvre, dont on sait qu'il ne cesse de la polir et de la réviser au fil des éditions."

KAMBOUCHNER, DENIS. "La lumière sur la balance: Malebranche et la «physique» de la volonté". RPL 107 (2009), 583—605.

"L'idée d'une «physique» malebranchiste de l'âme, avancée par M. Gueroult dans son Malebranche(1955-1959), a été globalement abandonnée par la critique sans que le principe en soit suffisamment discuté. On s'attache ici à reprendre cette discussion en revenant sur le langage de Malebranche s'agissant de la volontá et de la libertá humaine. Une fois ácartáe l'hypothèse d'un indéterminisme métaphysique des actes de la volonté, il reste à statuer sur le principe d'un déterminisme psychologique, et pour cela à réexaminer la comparaison de la «balance» des plaisirs et le rôle de la «lumière» dans la détermination de la volonté. On s'oriente ainsi vers la complexification d'un modèle mécanique à la valeur objective certes limitée, mais qui contribuera àrestaurer la «physique de l'âme» dans un statut qui s'apparente à celui d'une idée régulatrice."

SCHULTHESS, DANIEL. "«S'oublier soi-même»?: Malebranche et la question de l'amour pur". RPL 107 (2009), 637—646.

"À la fin du XVIIe siècle, Nicolas Malebranche a pris position dans la «querelle du quiétisme» par son Traité de l'amour de Dieu(1697). Ce court traité présente une position anti-quiétiste appuyée sur les analyses systématiques du philosophe en matière de théologie et de psychologie des sentiments et de la volonté. On montre comment Malebranche relève le défi du quiétisme dont le noyau logique, ici restitué de façon rigoureuse, se retrouve dans d'autres philosophies morales. L'exigence d'impartialité produit un paradoxe lorsque l'agent doit à la fois définir et assumer sa propre conduite, et potentiellement s'oublier lui-même dans son exigence d'impartialité. Malebranche écarte ce paradoxe en donnant finalement une place trés importance à la notion d'ordre, par quoi il rejoint ses propres analyses sur le thème de la Providence."

SCHWARTZ, CLAIRE. "L'activité sans causalité du sujet malebranchiste". RPL 107 (2009), 607—635.

"La question de la causalité malebranchiste a largement été analysée, ainsi que la difficulté de la rendre compatible avec l'affirmation de la liberté humaine. On présuppose alors, au fondement de l'acte libre, l'existence d'une certaine activité de l'esprit. Or celle-ci mérite d'être thématisée et interrogée. Il nous apparaît tout d'abord que Malebranche la concentre dans l'acte de la volonté libre. Nous prenons alors au sérieux le modéle physique de la matière en repos ou en mouvement par lequel il pense explicitement la liberté ou parfois la volonté elle-même comme force de l'esprit. Nous examinons cette analogie jusqu'au bout pour en déterminer toutes les implications, et les limites."

MANCINI(HORTENSE et MARIE)

NELSON, SARAH M., ed. and trans. Hortense Mancini and Marie Mancini. Memoirs. The Other Voice in Early Modern Europe. Chicago: The U of Chicago P, 2008

Review:J. Couchman in Ren Q 62.2 (2009), 503—504. This edition and translation of the memoirs of the nieces of Mazarin provides additionally legal documents and letters as well as a bibliography and index. N.'s introduction is useful and her translation from the best recent editions ably done as it "echoes well the style of the originals, creating lively, dramatic tales"(503). C. recommends the text for teaching as well as for scholarly research.

MAZARIN

BERTIERE, SIMONE. Mazarin, le maître du jeu. Paris: Editions de Fallois, 2007

Review:A. Blum in DSS 248 (2010), 565—566.Despite numerous previous biographies of Mazarin, the reviewer finds this to be a great success and a pleasure to read. He declares it, "vraiment un livre à mettre entre toutes les mains, du spécialiste à "l'honnête homme" désireux d'apprendre davantage de l'histoire si passionnante d'un modeste Romain devenu principal ministre du roi Louis XIV."

LOSKOUTOFF, YVAN. Rome des Césars, Rome des Papes. La propagande du cardinal Mazarin. Paris: Honoré Champion, 2007

Review:S. De Franceschi in DSS 247 (2010), 375—376. Aligned with a movement to unify history and literary studies, the present book is a great success. "Le récent et imposant travail d'Yvan Loskoutoff est largement tributaire d'un renouvellement aux acquis duquel il apporte une illustration décisive. Essentiellement fondées sur l'exploitation d'une littérature encomiastique trop longtemps méprisée par les historiens, et significativement les historiens de la littérature, qui lui reprochaient son insincérité, les analyses développées dans [ce livre] se placent explicitement dans la lignée des travaux de Jacques Truchet, de Françoise Bardon, de Jacques Hennequin, ou encore de Nicole Ferrier-Caverivière[. . .]"

MÉNAGE

MABER, RICHARD. Re-Gendering Intellectual Life: Gilles Ménage and his Histoire des femmes philosophes. SCFS, 32.1 (2010), 45—60.

Examines Ménage's Historia mulierum philosopharum(1690)in the context of its inclusion with his monumental edition of Diogenes Laertius's Lives of the Philosophers(1692).Focuses on the Historia's role as a 'supplement and corrective' to Diogenes Laertius, by which 'women were integrated into the mainstream of the history of philosophy'.

MÉNESTRIER

BLANCHARD, JEAN-VINCENT. Claude-François Ménestrier and the "Querelle des Monuments". PFSCL 36.71 (2009),507—514..

Examines the controversy surrounding the Parisian monuments erected in honour of Louis XIV in the last two decades of the seventeenth century in the light of the wider context of the querelle des Anciens et des Modernes.

MERSENNE, MARIN

• See also: Part III  :Forshaw, P.

MÉZERAY

ZONZA, CHRISTIAN. "L'Histoire de France de Mézeray: des plaisirs du texte aux nécessités de l'histoire". DSS 246 (2010), 97—118..

In writing a history of France in the middle of the 17th century, Mézeray inspires the author of this article to demonstrate how his brand of history "fait cohabiter un souci de la vérité sans pour autant nier la nécessité d'introduire des procédés qui visent à faciliter la lecture pour les non-spécialistes et à donner le « plaisir du texte ». Comment Mézeray organise-t-il la lecture de son histoire pour guider le lecteur?"

MOLIÈRE

BÖHM, ROSWITHA. "Entre théâtre et film: Molière(1978) d'Ariane Mnouchkine". In Böhm, Roswitha, Andrea Grewe, and Margarete Zimmermann, eds. Siècle classique et cinéma contemporain. Actes de la section 5 du Ve congrès de l'Association des Francoromanistes allemands. Martin-Luther-Universität Halle/Wittenberg, 26 au 29 septembre 2006. Biblio 17, Volume 179. Tübingen: Gunter Narr Verlag, 2009. 83—101.

The author provides some background on Mnouchkine, the Théâtre du Soleil, before summarizing the varied critical reactions to the film Molière. She then turns to recurring "scènes-miroir" within the film, such as the fête populaire and the fête royale before focusing on a close reading of the theatricality of the first part of the film, especially chapter 9.

DE GUARDIA, JEAN. Poétique de Molière: comédie et répétition. Histoire des idées et critique littéraire 431. Genève: Droz, 2007

Review:D. Harrison in FR 83 (2010), 652—53. Suggests that "Molière selects material for his plays according to its ability to furnish a serial structure—a sequence of repeated tricks, comic mistakes, or recurrent character traits"(653). De Guardia then considers the difficulties this poses in terms of vraisemblance and endings, and situates Molière's penchant for repetition in opposition to Aristotle's ideas on dramatic transformation. An "exhaustive study" with a dual formalist-historicist approach; recommended for graduate students and scholars familiar with Molière's entire career.

EDMUNDS, BRUCE. Molière's Dialogism? The Curious Case of Dom Garcie. PFSCL 37.72 (2010), 85—92.

Article analyzes the 'fundamental ambiguity regarding the issue of Molière's putative commitment to dialogism, with all that[that]commitment entails' and highlights how Dom Garcie 'both supports and undermines the monologic impulse'. Focuses on Molière's 'treatment of the social order, of sickness and of signs'.

EDNEY, DAVID, ed. Molière. The Lavish Lovers. A Comedy Interspersed with Music and Ballet. Toronto: Centre for Reformation and Renaissance Studies, 2009.

Review:L Rescia in S Fr 159 (2009): 617. Welcome and highly interdisciplinary translation of M.'s Les Amants magnifiques. Impressive introduction will be of special interest to students and scholars of the history of spectacle and performance. Highly selective and specialized bibliography.

HAWCROFT, M. Molière: Reasoning with Fools. Oxford: Oxford UP, 2007

Review:N. Peacock in FS 62.4 (2008), 472—473. Hawcroft focuses on close textual readings of scenes featuring the figure of the raisonneur in L'école des maris, L'école des femmes, Tartuffe, and Le Misanthrope. "In the generously formulated challenge to prevailing scholarship and analysis of the distinctive contribution of each raisonneur to some of the dramatist's most complex plays, this book is an invaluable addition to Molière's bibliography."

Review:H. Visentin in Ren Q 62.1 (2009), 227—229.Focusing on the raisonneur, this volume will benefit not only scholars but also actors and directors. Includes a chapter on the various understandings of the raisonneur as a word and as a concept. Judged as "rich and persuasive" as it is "jargon-free," H.'s volume provides numerous close readings which lead to a demonstration of the development of this character type. Although this review does not mention Francis L. Lawrence's ground-breaking interpretations orof the raisonneur in the 1960s and 1970s, the approach and interpretation by H. is reminiscent of L.

HODSON, DAREN. A Would-Be Turk: Louis XIV in Le Bourgeois gentilhomme. SCFS, 32.1 (2010), 90—101.

Argues that 'Molière's comedy-ballet can be read as a pointed satire of how Hugues de Lionne, the foreign minister, and the king received the Ottoman envoy in their official audiences, and of French foreign policy with the Ottoman state itself. .... The oriental trappings of the work, especially of the Turkish ceremony, might thus be considered as a means to mirror and criticize French governmental policies and behaviour rather than as a proto-colonialist attempt imaginatively to represent the Ottoman Turk.'

KILLEY, JULIAN HAMILTON. "Desjardins' Le Favori and Molière's Tartuffe: Dissimulators and Dupes. DAI 48/05: (2010).

Focuses on the importance the question of morality adopts in the seventeenth century and the concern about dissimulation within that context. Desjardin shows how dissimulation is a necessary means to ends at court while Molière warns his public to be wary of malign dissimulation.

KOPP, ROBERT. "Molière, l'Eglise et le roi". RDM (septembre 2010) 166—169.

"Cette édifiante histoire d'un Molière victime de la'cabale des dévots' et soutenu secrètement par un roi cédant néanmoins à certaines pressions [vis-à-vis 'l'affaire Tartuffe'], que répètent à l'envi tous les manuels et toutes les éditions scolaires depuis plus d'un siècle, n'est en réalité rien d'autre qu'une légende pieuse, construite par une historiographie républicaine et anticléricale à la fin du XIXe siècle. Elle propageait ainsi l'image d'une Eglise sournoise et d'un roi sous l'influence. La situation se présente d'une façon différente, comme on le sait désormais par les travaux de François Rey(1)[Molière et le roi: l'affaire 'Tartuffe'(Seuil, 2007) et la nouvelle édition des oeuvres de Molière dans la 'Pléiade'(2)[Oeuvres complètes(Gallimard, 2010)." Selon Kopp, il faut voir l'interdiction de Tartuffe dans le contexte de la crise du jansénisme qui préoccupait Louis XIV.

LEON, MECHELE. Molière, the French Revolution, and the Theatrical Afterlife. Iowa City: U of Iowa P, 2009

Review:J. Prest in TLS 5595 (June 25 2010):30—31. Book examines the dilemma faced by Revolutionary France in appropriating Molière. Possible solutions included rewrites, notably of the ending of Tartuffe, and the production of pseudo-biographical plays that strove to "nuance the life of this revered but problematic playwright in keeping with republican convictions"(Prest). Attempts at addressing dilemma dilemmas of Molière were "paradoxical, contradictory and inconsistent"(Prest). A "thoughtful and interesting book."

Review:D. Smith in ThR 35 (2010): 307—308. An "engaging, well-structured study" that "merits a long scholarly life and afterlife of its own." Text draws on a wide-range of documents and shows how the removal of royal patronage opened Molière's plays for adaptation and appropriation. Smith says Leon "intervenes in debates on "authorship, reception theory, adaptation and cultural memory." "Crucially, Leon situates Molière in competing elite and popular discourses, a strategy that might provide a model for other studies of theatrical figures in national theatre studies."

Review:C. Campbell in CHOICE 47 (2010), 1072. Examines how Molière's comedies were rewritten and stripped of their royalist concepts. Substantively researched and intended for specialists, but also valuable to a more general audience.

MAZOUER, CHARLES. "Madame de Villedieu et Molière". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon (11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 43—54.

Taking into account the limited sources available, making hypotheses based on what we know about the literary field in 17th-century France and working from their published works, the author seeks to understand what might have been the relationship between Molière and Villedieu. Concludes that what is clear is that each had something to gain from their collaborations and that ultimately, the relationship was not a deep or significant one.

PEACOCK, NOEL. Etat Présent: Molière. FS 64.1 (2010), 64—72.

A survey of current critical questions and their development in scholarship since 1990. The author looks at bibliography(and the development of electronic resources), biography, editions, critical studies. A wide-ranging and useful taxonomy of major trends in Molière studies.

POMMIER, RENE. Etudes sur 'Dom Juan' de Molière. Paris: Euroédit, 2008

Review:Wolfe, K. W. in FS 63.2 (2009), 208—209."Pommier uses simple, elegant prose [. . .] to cut through the undergrowth of divergent interpretations that has attached itself most recently to the most studied and ambiguous of Molière's plays." Pommier refutes the notion that the play is a critique of comic reason(Dandrey), discounts the claim that Dom Juan is a "libertine worthy of a seventeenth-century Christian apologist's description"(McKenna), and rejects parallels drawn between Dom Juan's actions and "typically molièresque comic behaviour"(Forrestier). Pommier's argument rests on his reading of Dom Juan as a rationalist: "He recognizes that the Don Juan legend was not an ideal vehicle for giving theatrical voice to Molière's grievances, however powerfully subversive many scenes may be, since there was no way of avoiding the anti-rationalist encounter with the statue, which he views as carrying the final act into the realms of the 'parfaitement invraisemblable.'"

Review: R. Racevskis in FR 83 (2010), 861—62. An aggressive and overblown attack on recent readings of Dom Juan by Georges Forestier, Patrick Dandrey, and Antony McKenna. Also offers a useful new analysis of the encounter between Molière's title character and the beggar. Suggesting that Dom Juan here appears less mean-spirited than as a Socratic pedagogue, Pommier offers "a useful alternative to received ideas about the character"(862). The reviewer also praises his attention to the haste in which the play was probably composed, but generally laments his repetitive, angry style and the volume's lack of editorial vigilance.

PREDA, ALESSANDRA. Ilarità e tristezza. Percorsi francesi del «Candelaio» di Giordano Bruno(1582-1665). Milano, LED, «Il Filarete», CCL, 2007

Review: D. Cecchetti in S Fr 157 (2009): 159—160. P. reconstructs B.'s French editions and translations, reflecting on linguistic, intellectual and philosophical interests. P.'s itinerary takes us from Théophile de Viau to Cyrano, from Molière to La Fontaine.

SCHERER, LUDGER. "Dom Juan au cinéma: L'adaptation de Jacques Weber(1998)". In Böhm, Roswitha, Andrea Grewe, and Margarete Zimmermann, eds. Siècle classique et cinéma contemporain. Actes de la section 5 du Ve congrès de l'Association des Francoromanistes allemands. Martin-Luther-Universität Halle/Wittenberg, 26 au 29 septembre 2006. Biblio 17, Volume 179. Tübingen: Gunter Narr Verlag, 2009. 103—111.

Discusses Jacques Weber's film adaptation of Dom Juan. Like Molière, Weber is also an actor, director, and theater director. Analyzes Weber's re-ordering of scenes and dialogue; judges Weber's rendering of the statue scene to be convincing; finds that Weber's rational and playful use of modern cinematic techniques reinforces certain aspects of 17th-century comedy.

SCOTT, PAUL. Comic and Marital Frustration in Molière's George Dandin. PFSCL 37.72 (2010), 13—24.

Examines how Molière's play flouts comic norms in the repeated frustration of both characters and audience expectations. Attention is given to the 'intricate meta-joke' whereby the play's dénouement is in fact substituted by the dénouement of the protagonists' marriage.

WELCH, ELLEN. National Characters: Playing Against Type in the Ballet des Muses(1666-67), SCFS 32.2 (2010), 191—205.

Argues 'that the ballets' seemingly grotesque citations of preconceptions about other countries were often informed by a subtle understanding of the discursive force of national tropes. .... By enacting well-known stereotypes in ways that divorce them from any notion of original identity, the ballet's performers made space for a critique of more essentialist interpretations of nationality, including those used to underpin French claims to superiority.' Focuses on Benserade, Lully, and Molière's Ballet des Muses(1666-67).

WOLFE, KATHYRN WILLS. The CarivalCarnival Logic of Molière's Amphitryon. PFSCL 37.72 (2010), 93—115.

In the light of received interpretations of Amphitryon as atypical, examines how it can be read as a Carnival masquerade, 'complete with a King of Carnival who reigns over a world of alternative views'.

WOSHINSKY, BARBARA R. Is the Ending to your Taste? Dissonant Dénouements and Audience Reception in Molière's Tartuffe. PFSCL 37.72 (2010), 25—32.

Examines how Tartuffe's ending, frequently viewed as problematic today, was less problematic for seventeenth-century audiences. Tartuffe's dénouement, it is argued, licenses the audience 'not to think—rather, to accept a solution sanctioned by their ideological framework.'

• See also: Part IV  :Malachy, T.
• Mazouer, C.
• Seifert, L. C.

MURAT

RAYNARD, SOPHIE. Le défi des conteuses: faire de la femme scandaleuse une héroïne de fiction. PFSCL 37.72 (2010), 57—70.

Examines ways in which the fairy tales of women-writers, such as d'Aulnoy, Murat, La Force and Bernard, can be read as subversive. Attention is also given to the memoirs of d'Aulnoy and Murat.

NAUDÉ

TEYSAANDIER, BERNARD. Gabriel Naudé: Avis pour dresser une bibliothèque. Paris: Klincksieck, 2008

Review:Fruet, R. in FS 64.3 (2010), 343—344. This volume presents a facsimile of the 1644 edition accompanied by a modern French transcription on the facing page that includes notes on syntax, vocabulary, translations from the Latin, contextual information and bibliographical citations. The introduction is wide-ranging, treating the Advis as well as Naudé's work as Mazarin's librarian. "The concise Introduction and erudite system of notes address a specialist audience."

PASCAL

ENTHOVEN, RAPHAËL, et al. Pascal ou les intermittances de la raison. Paris: Perrin, 2009

Review: E. Ousselin in FR 83 (2010), 1350—51. A transcription of Enthoven's 2008 Radio France interviews with five specialists on Pascal. "La double ambition d'Enthoven et de ses interlocuteurs est donc d'inciter les lecteurs à se plonger dans des textes ardus mais passionnants. . .et de dépasser les images acquises de l'enfant prodigue mathematician et du mystique porté vers une religiosité morbide"(1351). The dialogues address Pascal's paradoxical status as a Christian apologist who is now often read as a precursor of existentialism. It also offers a useful chapter on Pascal's wager, and situates Pascal vis-à-vis(in opposition to)Descartes. An inexpensive and engaging book for the general public.

MCCALL PROBES, CHRISTINE. In Commemoration of the 350th Anniversary of Pascal's Lettres Provinciales: 'L'Amour de Dieu', Rhetorical Strategies of the Controversy. PFSCL 36.71 (2009), 529—540.

'The present study explores rhetorical strategies employed by Pascal and briefly evokes those of Boileau and Bossuet, in defense of the contritionnaires who insisted that love for God and not mere fear was necessary for salvation.'

PEROUSE, MARIE. L'Invention des 'Pensées' de Pascal: les editions de Port-Royal. Paris: Honoré Champion, 2009

Review:Parish, R. in FS 64.4 (2010), 483. In this "detailed and penetrating monograph" Perouse examines the work of the editorial committee(composed of Pascal's friends and family)responsible for the "Edition de Port-Royal." "She begins by charting the earliest stages of the work's evolution[. . .] [later]looking at the governing principles discerned behind the structures adopted, with due attention given to the vexed question as to whether a readership of sceptics or believers was primarily intended.[. . .]The final section shows most clearly the specificity of this version of Pascal's text, foregrounding lexical, syntactic, and theological adaptations, and demonstrating in conclusion the tendency of Pierre Nicole, by virtue of his imposition of homogeneity, to make of the three chapters devoted to human corruption a kind of prolegomenon to his own Essais de morale."

SOLLERS, PHILIPPE. "L'Infini de Pascal". L'Infini 110 (2010), 6—8.

Some short remarks from Sollers suggesting Pascal's relevance for modern readers, particularly as concerns his interest in smallness and the mystery of the "point." Sollers cites the Pensées:"Qui aurait trouvé le secret de se réjouir du bien sans se fâcher du mal contraire aurait trouvé le point. C'est le mouvement perpétuel." Also includes an eerie photo of Pascal's mortuary mask.

SUSINI, LAURENT. L'Écriture de Pascal: la Lumière et le feu; la "vraie eloquence" à l'œuvre dans les Pensées. Lumière Classique 72. Paris: Champion, 2008

Review:S. Natan in FR 83 (2010), 1075—76. An attempt to offer "une lecture stylistique globale et unifiante des Pensées." Susini examines Pascal's use of a rhetoric which is concrete, grounded in reality, and which nonetheless attempts to engage an 'eloquence of the heart' such as one might find in the Bible. The reviewer notes that Susini does not always approach existing Pascal criticism in an ideal manner, subjecting certain works to an inappropriate degree of scrutiny, or presuming that their scope extends beyond what these authors imply. Nonetheless, the reviewer stresses "l'honnêteté du travail de recherché entrepris par Susini," and the "vraies pistes d'analyse" with which he leaves us(1076).

• See also: Part I  :Scholar, R.
• See also: Part III  :Parish, R.
• See also: Part IV  :Gilby, E.
• Papasogli, B.

PASQUIER

• See also: Part IV  :Seifert, L. C.

PAULIN, F.

GROSPERRIN, J-PH., ed. F. Paulin, S .J. Idoménée, tragédie(1700). Toulouse: Société de Littérature Classiques, 2008.

Review: M. Pavesio in S Fr 159 (2009): 618—619. Welcome re-edition of this play by P., professor of Rhetoric. Performed at a Jesuit college and preserved in manuscript at the Bibliothèque municipale de Grenoble, the play is also important for its ceremonial role in the college. Interesting introduction, rich bibliography and appendices

PERRAULT

ROCHERE, MARTINE HENNARD DUTHEIL. "But marriage itself is no party": Angela Carter's Translation of Charles Perrault's "La Belle au bois dormant"; or, Pitting the Politics of Experience against the Sleeping Beauty Myth". M&T 24 (2010), 131—151.

"This article demonstrates the importance of Angela Carter's translations of Charles Perrault's contes into English and argues for their profound influence on her subsequent literary career. Against feminist critics who rejected fairy tales as conservative and informed by patriarchal structures and values, Carter reclaimed Perrault for feminism by recovering the critical edge and emancipating potential of his Histoires ou contes du temps passé, Avec des Moralités. This essay shows, through a comparative reading of "La Belle au bois dormant" and "The Sleeping Beauty in the Wood," that Carter opposed the worldly "politics of experience" that she found in Perrault to the Disneyfied imagery of the Sleeping Beauty myth and modernized the critique of early marriages already contained in Perrault's Moralités. The subversive power of Carter's work,therefore, is not directed against Perrault but rather toward cultural and commercial appropriations of the fairy tale, which promote a naïve view of marriage."

• See also: Part IV  :Rochere, M.

QUINAULT

BARBAFIERI, CARINE. "Ah! Madame de Villedieu, vous savez faire l'amour, mais vous ne saviez pas faire une tragédie. Vraisemblance et moralité dans le théâtre sérieux de Mademoiselle Desjardins". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 75—87.

A re-evaluation of Villedieu's tragedies, based on a new understanding of their choice of subject matter and their non-Aristotelian dramaturgy. Argues that the choices Villedieu makes as a playwright stem not so much from her status as a woman but from a certain aesthetic viewpoint similar to that of Quinault and Lully. Villedieu's tragedies can also be seen as issuing from the tragi-comedy and of the novel.

CORNIC, SYLVAIN. "Madame de Villedieu librettiste?" In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 61—71.

Taking into account that material was often falsely attributed to Villedieu, the author explains his hypothesis that two librettos, Céphale et Procris and Ulysse, were likely written by her and would thus expand the corpus of her dramatic work. Because of Lully's preference for working with Quinault, Villedieu's foray into opera would have thus come to naught.

ROY, ROXANNE. "De surprise en étonnement. La théâtralité dans les Mémoires de la vie de Henriette-Sylvie de Molière" In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 227—239.

Analyzes scenes from the Mémoires de la vie de Henriette-Sylvie de Molière as scenes from the theater: comedies of cross-dressing and of love, and tragedy, highlighting those elements that contribute to the theatricality of the Mémoires.

RACINE

NAGAMORI, KATSUYA. "Racine et Sénèque. L'échec d'un idéal stoïcien dans la tragédie racinienne". DSS 248 (2010), 430—441.

"Tout en examinant l'usage critique que fait Racine du théâtre stoïcien, on s'intéressera à la manière dont la tragédie racinienne reflète la dépréciation de la philosophie du Portique[. . .] On examinera ensuite de près les procédés de transposition du texte sénéquien par Racine, transposition motivée par une intention ironique et démystificatrice à l'égard du sage stoïcien."

OGURA, HIROTAKA. "Séjour de Racine à Uzès, naissance de l'auteur dramatique". DSS 248 (2010), 418—429.

Racine spent about a year at Uzès and the author identifies it as a particularly formative one. Concentrating on 24 letters and technical correspondence with his tutors, the author presents a fascinating view of Racine at the dawn of his existence as a poet and playwright, undergoing a transformation from the child of Port Royal as he prepares for a return to Paris and to fulfill his vocation to the theatre.

• See also: Part IV  :Dejardin, I.
• Donatien, G.
• Hammond, P.
• Lowrie, J.
• Malachy, T.
• Papasogli, B.
• Scott, V.

RANCÉ

• See also: Part IV  :Papasogli, B.

CARDINAL DE RETZ

STEFANOVSKA, MALINA. La Politique du cardinal de Retz: Passions et factions. Rennes: Presses Universitaires de Rennes, 2008.

Review: Parish, R. in FS 63.4 (2009), 457—458. An "attractive and timely reappraisal" that views Retz as "un homme d'action et non un théoricien." Stefanovska begins with La Conjuration de Fiesque where she analyzes the concept of faction. In analyzing the Mémoires, she develops Retz's portrayal of others as a strategy for self-reflection and returns to the mechanics of the faction and "l'art du lien," the creation of an intricate network of alliances that made up the Parisian political geography during the Fronde. Her study closes by examining Retz's Church career and the "fronde ecclésiastique" recounted in the closing pages of the Mémoires. The use of certain key terms that are not treated at length("faction," "pacte," "baroque")proves problematic at times.

RICHELIEU

TAUSSIG, SYLVIE, ed. Europe, comédie héroïque attribuíe à Arnaud de Plessis, cardinal de Richelieu et Jean Desmarets, sieur de Saint-Sorlin. Turnhout: Brépols, 2006.

Review: F. Hildesheimer in DSS 247 (2010), 372—373. An important edition of this obscure play, the reviewer is particularly complimentary of the lengthy introduction that "se veut à l'écart de toute critique littéraire stérile; elle passe en revue et met en relation les aspects littéraires et politiques et fourmille de notations justes et fines [. . .] mettant à contribution l'ensemble de l'historiographie pour contribuer à une èvaluation du rôle et de la signification de la pièce."

RICHELET

ASSAF, FRANCIS. Lexicologie de la nourriture au XVIIe siècle. PFSCL 37.72 (2010),205—226.

Analyzes diverse entries concerning food in the dictionaries of Richelet(1680), Rochefort(1685), Furetière(1690)and the Académie française(1694), using the dictionaires as a possible "miroir sociolinguistique, même átho-linguistique."

BRILLAUD, JEROME. La Remarque ou l'art de la dissimilation chez La Bruyère et Richelet. SCFS 32.2 (2010), 179—190.

Examines the structural and formal similarities discernible between Richelet's Dictionnaire françois and La Bruyère's Caractères.

ROCHEFORT

ASSAF, FRANCIS. Lexicologie de la nourriture au XVIIe siècle. PFSCL 37.72 (2010),205—226.

Analyzes diverse entries concerning food in the dictionaries of Richelet(1680), Rochefort(1685), Furetière(1690)and the Académie française(1694), using the dictionaires as a possible "miroir sociolinguistique, même átho-linguistique."

ROSSET, FRANCOIS DE

DELPORTE, MARION. "Des noces de Polybe et de Melpomène: les Histoires tragiques de François de Rosset". DSS 246 (2010), 43—54.

A close reading of this important early seventeenth-century work concentrating on the ancient influence of Polybe.

ROTROU

EKSTEIN, NINA. "The Conversion of Polyeucte's Félix: The Problem of Religion and Theater". Fr F 34.1 (2009), 1—17.

E.'s close treatment of C.'s play alongside R.'s Le Véritable Saint Genest reexamines the quarrel between religion and theatre. After a brief review of the ancients, notably Plato, on the subject, E. refers to certain 17th c. moderating views (Richelieu, François de Sales), but reminds us that "the voices and arguments rallied against the stage in France were strident and powerful"(2). Admittedly speaking "from outside a religious perspective," E. carefully examines Félix's conversion studying several aspects including the religious, the literary and the political. She finds that the conversion "while arguably vraisemblable from a religious perspective, is completely invraisemblable logically, psychologically, and dramatically" and that although Félix has political power, "political considerations do not provide a useful context" for the conversion(7). E. demonstrates instead the considerable "recourse to the theatrical"(8)which is a shared feature with the Rotrou play where it is central. E. convincingly engages critics of both plays before she concludes that the two share an "undecidable" conversion, which is also a function of the "profound friction between theater and religion in 17th c. France"(12).

LASSERRE, FRANÇOIS, ed. Les cinq auteurs. La Comédie des Tuileries et l'Aveugle de Smyrne. Paris: Champion, 2008.

Review: Desnain, V. in FS 63.2 (2009), 209—210. The editor's valuable analysis, notes, and appendices focus on the genesis of the project, the nature of collaboration, and Richelieu's assertion of power in the realm of literature and the arts. The editor devotes special attention to Pierre Corneille's participation in the project which highlighted his differences with Chapelain and allowed him to better define his own thought on dramatic theory. An "interesting, but speculative analysis" of the rapport between Corneille and Rotrou questions Henri Chardon's work in an interesting way.

PUTMAN, EMILY MILLER. "Illusion, Violence and Certainty in Rotrou's 'Le Véritable Saint Genest' and Cyrano de Bergerac's 'La mort d'Agrippine". DAI 48/06 (2010).

This dissertation focuses on the "récits sanglants" and "histoires tragiques" to reveal how the threat of violence is supposed to show the validity and truth of the declarations of the martyrs and the executed. The aim of the depiction of violence is to provide a feeling of certainty in the audience, as well as the characters of the plays. Links are established to other plays.

VIALLETON, J.-Y. and MACE, S. Rotrou, dramaturge de l'ingéniosité. Paris: PUF-CNED, 2007.

Review: Courtes, N. in FS 63.1(2009), 84. This guide for the 2008 agrégation sketches a panorama of Rotrou's work and the theatre of his time before focusing on Antigone, Le Véritable Saint Genest, and Venceslas. Especially useful is the explanation of the plays' relationship with seventeenth-century theoreticians as well as Aristotle. "En dépit de sa visee volontairement limitée, ce livre fait preuve d'une hauteur de vue et d'une érudition remarquables" particularly in its treatment of the notion of the baroque, the conditions of the theatre of the time, and prevailing rhetoric models.

SAINT-AMANT

• See also: Part I  :Cummings, R.

SAINT-EVREMOND

PARKER, THOMAS. "Saint-Évremond and the Case of Champagne d'Ay: Early Modern French Aesthetic Theory Viewed through the Optic of Terroir". PFSCL 37.72 (2010), 129—146.

Analysis of the term terroir in seventeenth-century France. Argues that: "More than just a culinary term, terroir's early modern evolution is emblematic of a philosophical battle and the transformation of aesthetic theory in France. Specifically, Saint-Évremond's commentary on terroir and origins in agriculture, cuisine, and the theater testifies to a monist materialistic vision that persisted in the second half of the seventeenth century despite being partially subverted by Cartesian rationalism and dualist thought."

SAINT-RÉAL

• See also: Part IV  :E. Keller-Rahbe

SCALIGER

VAN MIERT, DIRK. "Language and Communication in the Republic of Letters: The Uses of Latin and French in the Correspondence of Joseph Scaliger". BHR 72.1 (2010), 7—34.

Article reviews "the circumstances and considerations influencing the choice between Latin or French in early modern letter-writing." Taking a sociolinguistic and rhetorical approach, the author breaks down the social status of authors/recipients into

SCARRON, PAUL

SOMMOVIGO, BARBARA, ed. Paul Scarron. Théâtre complet. n.p.: Felici, 2007.

Review: C. Rolla in S Fr 157 (2009): 165 and S Fr 158 (2009): 390. Rich and well-documented edition demonstrates S.'s sources, its predominant characteristics and analyzes the presence of the baroque. Useful introduction, glossary and notes.

Review: J.-M. Civardi in DSS 248(2010), 562—563. The reviewer finds this a welcome and reasonably complete edition of Scarron's work, though he faults the annotation as being somewhat lacking given the rich linguistic creation and variety to be found when reading Scarron.

SCUDÉRY, MADELEINE DE

ESMEIN-SARRAZIN, CAMILLE. "Etat présent des études sur Madeleine de Scudéry(2002-2008)". DSS 248 (2010), 531—546.

As the title suggests, the author provides a comprehensive overview of the state of scholarship on Madeleine de Scudéry during six particularly productive years.

• See also: Part I  :Cummings, R.
• See also: Part II  :Broad, J. and K. Green
• See also: Part IV  :Seifert, L. C.

SÉVIGNÉ

GUTWIRTH, MARCEL. Madame de SÉvignÉ, classique à son insu.. Tübingen: Gunter Narr Verlag, 2004.

Review: Perkins, W. in FS 64.1 (2010), 84—85. Gutwirth seeks to show the affinity between Sévigné's letters and works whose "identité classique" is widely recognized. He examines seven themes (including "Plaire," "Santé," "La Cour," "Naturel") in order to trace the parallels between Sévigné and major classical authors. "The book might most usefully serve as an introduction for those approaching Sévigné for the first time; it causes readers to focus on the significance of the notion of 'classicisme', and why we cannot and indeed need not use it. It is a form of literary history in the Humanist tradition, ranging over many authors, from the seventeenth century looking forward to Romanticism and Proust, including reflections on and examples from Shakespeare and Goethe, among others."

SOREL

DALLA VALLE, DANIELLA, ed. Charles Sorel: Les Nouvelles choisies: Où se trouvent divers incidents d'Amour et de Fortune. Paris: H. Champion, 2005.

Review: D. Denis in FS 62.4 (2008), 470—471. This edition is notable for retaining the second version of Sorel's collection of nouvelles and focusing on its structural and linguistic changes. A detailed study by Laura Rescia on Sorel's style and language accompanies a rich critical apparatus, biographical notice, bibliography, glossary, and eight engravings.

HUBBLE, ELIZABETH. "Language, Sex, and Excrement: Charles Sorel Rewrites the Fabliaux". SCFS 32.1(2010), 31—44.

"This article examines three scenes in Charles Sorel's 1623 L'Histoire Comique de Francion as analogues to three medieval fabliaux, 'Le Vilain de Bailleul,' 'De Jouglet,' and 'La Demoiselle qui ne pouvait entendre parler de foutre.' Sorel's .... reworking of fabliaux stories provides insight into the shifting ideologies and rhetorics of the representation of gendered bodies, gendered voices, and sexuality across the pre-modern and early modern periods. Ultimately, however, Sorel gives voice to the complex posterity of folk culture at the same time as he attempts, and perhaps fails to master these fabliaux and their messages."

ROSELLINI, MICHELE. "Ecrire l'histoire de France au service de la patrie: le projet singulier de Charles Sorel". DSS 246 (2010), 69—95.

A detailed look at Sorel's preoccupation with writing history (particularly that of the monarchy), while analyzing his methodology and intention.

• See also: Part I  :Cummings, R.

SURIN, JEAN-JOSEPH

GOUJON, PATRICK. Prendre part à l'intransmissible. La communication spirituelle à travers la correspondance de Jean-Joseph Surin. Grenoble: Editions Jérôme Million, 2008.

Review: S. Houdard in DSS 248 (2010), 558—559. The value of the correspondence of the Jesuit Surin is inestimable to our understanding of spirituality of the seventeenth century. "En ne séparant jamais le triple questionnement théologique, littéraire et historique, ce livre confronte des rationalités différentes qui reconnaissent des sens divers au mot « Dieu » et à sa « communication »: quelle société se met alors en place autour de ce mot? Quels discours se tissent et s'élaborent en référence à « Dieu »? Quelle expérience scripturaire, sociale et spirituelle fait-elle naître au XVIIe siècle?"

DE THOU, JACQUES-AUGUSTE

TEISSIER-ENSMINGER, A., ed. Jacques-Auguste de Thou: La Vie de Jacques-Auguste de Thou. I. Aug. Thuani Vita. Paris: Honoré Champion(Textes de la Renaissance), 2007.

Review: Herdman, E. in FS 63.1 (2009), 80—81. This "highly scholarly and laudable edition" relies on the editio princeps of 1621 in conjuction with the manuscripts, offering "the first authoritative edition(and hence translation)to give a clear indication of all the variants and to reveal the successive states of De Thou's text." The introduction, notes, and commentary make this a very valuable and accessible edition.

D'URFE, HONORE

• See also: Part IV  :Greiner, F.
• Papasogli, B.

THEOPHILE DE VIAU

FOLLIARD, MELAINE. « Plus on presse mon mal, plus il fuit au dedans... »: L'auteur, figure de la censure dans la première réception de l'œuvre imprimée de Théophile de Viau(1619-1626). PFSCL 36.71 (2009),425—443.

Examines the question: 'L'auteur est-il une victime passive de la censure? En quoi est-il au contraire le ferment,l'acteur, voire le bénéficiaire?' Proposes two angles: an analysis of the 'rôle crucial qu'occupe la figure de l'auteur dans l'organisation de l'événement censorial des Œuvres de Théophile', and of the ways in which 'la censure de la figure auctoriale devient un principe d'écriture'.

FOLLIARD, MELAINE. "'Si j'avais la vigueur de ces fameux latins . . .': Idéal et nostalgie du latin chez Théophile de Viau". S Fr 159 (2009): 481—505.

Illuminating and well-documented, F.'s investigation demonstrates le fait latin chez V. in all its dimensions: the diversity of V.'s writing(editorial, reading public, generic variety, esthetics and linguistics),the author's heritage, protestantProtestant ethos, rhetoric postures between imitatio and inventio, among others. Examples of le fait latin such as in Larissa and in Theophilus in carcere contribute to our understanding of T,'s latinité and his imagination itself as they illustrate T.'s "dialogue fructueux entre l'ancien et le moderne"(505).

PREDA, ALESSANDRA. Ilarità e tristezza. Percorsi francesi del «Candelaio» di Giordano Bruno(1582-1665). Milano, LED, «Il Filarete», CCL, 2007.

Review: D. Cecchetti in S Fr 157 (2009): 159—160. P. reconstructs B.'s French editions and translations, reflecting on linguistic, intellectual and philosophical interests. P.'s itinerary takes us from Théophile de Viau to Cyrano, from Molière to La Fontaine.

• See also: Part IV  :Petterson, J.
• Seifert, L.

VILLEDIEU

AKIYAMA, NOBUKO. "Esthétique théâtrale des Annales galantes: le cas de Dom Sébastien." In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 213—225.

A comparative analysis of Boyer's Oropaste and Quinault's Agrippa Roi d'Albe, as representative of a fascination with questions of identity in the 1660s, in order to better understand the theatrical aesthetics of Villedieu's story Dom Sébastien, in which identity is also a key theme.

BARBAFIERI, CARINE. "Ah! Madame de Villedieu, vous savez faire l'amour, mais vous ne saviez pas faire une tragédie. Vraisemblance et moralité dans le théâtre sérieux de Mademoiselle Desjardins". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 75—87.

A re-evaluation of Villedieu's tragedies, based on a new understanding of their choice of subject matter and their non-Aristotelian dramaturgy. Argues that the choices Villedieu makes as a playwright stem not so much from her status as a woman but from a certain aesthetic viewpoint similar to that of Quinault and Lully. Villedieu's tragedies can also be seen as issuing from the tragi-comedy and of the novel.

CORNIC, SYLVAIN. "Madame de Villedieu librettiste?" In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 61—71.

Taking into account that material was often falsely attributed to Villedieu, the author explains his hypothesis that two librettos, Céphale et Procris and Ulysse, were likely written by her and would thus expand the corpus of her dramatic work. Because of Lully's preference for working with Quinault, Villedieu's foray into opera would have thus come to naught.

EVAIN, AURORE. "Performance du Favori de Mme de Villedieu". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 147—159.

Seeks to understand Le Favori as spectacle and not as text, by discussing the actual performance, performance as a theme of the play itself, and Villedieu's theatrical writing as an act of performance.

GENIEYS-KIRK, SÉVERINE. "La théâtralité de l'écriture pastorale et de l'esthétique villedieusiennes: du roman conventionnel au roman subversif". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 201—211.

A study of the dramaturgical aspects of two of Villedieu's more conventional novels, Alcidamie and Carment, compared to the Mémoires de la vie de Henriette-Sylvie de Molière.

GETHNER, PERRY. "L'intériorité dans le théâtre de Villedieu: monologues, réflexions, auto-analyse". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 119—130.

Analyzes how Villedieu deploys the dramatic techniques of the monologue, the aside, the sentence, dialogue with confidantes, and spontaneous gestures, in order to better understand how her plays depict characters'inner life.

GOLDWYN, HENRIETTE. "Les stratégies de pouvoir dans le paratexte de l'écriture théâtrale de Mme de Villedieu". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 29—41.

Observes that Villedieu's dedicatory epistles demonstrate not only the financial relationship linking patron and artist, but also various strategies by which the playwright stakes a claim to an authorial identity and autonomy. Analyzes how Villedieu's paratexts, from Manlius and Nitétis to Le Favori, progressively valorize not only the author's work but also the King as the supreme patron in an increasingly state-controlled patronage system.

HOURCADE, PHILIPPE. "Mme de Villedieu et le ballet." In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 55—60.

Discusses points of contact between Villedieu and the ballet, specifically, a 1665 fête at Versailles and the writer's own Ballet de Monseigneur le Dauphin envoyé à Monseigneur le duc de Montausier.

MAZOUER, CHARLES. "Madame de Villedieu et Molière". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 43—54.

Taking into account the limited sources available, making hypotheses based on what we know about the literary field in 17th-century France and working from their published works, the author seeks to understand what might have been the relationship between Molière and Villedieu. Concludes that what is clear is that each had something to gain from their collaborations and that ultimately, the relationship was not a deep or significant one.

MECKING, VOLKER. "Madame de Villedieu: glanures lexicales (Manlius, 1662)". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 131—144.

Offers an overview of Villedieu's vocabulary in Manlius, deeming it on the whole conventional, refined, and typical of pre-Classical French. Also discusses archaic and rare words and Italian-inspired usage.

MELI, CINTHIA. "L'audace pour mot d'ordre: l'invention de l'intrigue et des caractères dans le Manlius de Marie-Catherine Desjardins". In Grande, Nathalie and Edwige Keller-Rahbé, eds. Madame de Villedieu et le théâtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 107—117.

Situates Manlius in the context of Corneille's and d'Aubignac's theoretical treatises on theater. Argues that Manlius reveals Villedieu to have followed Aristotle better than Corneille did, and that the play is a master stroke, misunderstood by navel-gazing critics such as Donneau de Visé.

PADDEN, SUSAN A. "Conceptions of the Function of Author in Seventeenth-Century French Epistolary Literature: The Cases of the Comte de Guilleragues and Mme de Villedieu." DAI 48/06 (2010)

This dissertation shows the author function in seventeenth-century French epistolary literature. Anonymity and pseudonymity are tools through which the authors remove themselves as individuals from their texts. Both empower the reader through re-appropriation of authorship. Yet their motivations are different.

ROY, ROXANNE. "De surprise en étonnement. La théâtralité dans les Mémoires de la vie de Henriette-Sylvie de Molière". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 227—239.

Analyzes scenes from the Mémoires de la vie de Henriette-Sylvie de Molière as scenes from the theater: comedies of cross-dressing and of love, and tragedy, highlighting those elements that contribute to the theatricality of the Memoires.

ROYÉ, JOCELYN. "Le Favori ou la politique du cour au cœur du politique". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 161—170.

Analyzes the interplay between the personal and the political in Le Favori, arguing that the play is more than a simple warning against ambitious and hypocritical behavior at court; it in fact offers a surprisingly modern understanding of the relationship between love or personal happiness, and politics.

SANZ, AMELIA. "Villedieu, vous avez dit classique?". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 89—105.

Interrogates the terms classic and baroque from a comparatist, pan-European perspective, analyzing the similarities and differences between Villedieu's work and that of Spanish Golden Age writers.

SIMONIN, CHARLOTTE. "Madame de Villedieu dramaturge versus Madame de Villedieu romancière. Enquête sur une dualité". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 13—27.

Shows how Villedieu the dramatist can be understood in the context of Villedieu the novelist, as demonstrated through an analysis of paratextual material, the remarks of 17th and 18th century literary critics, comparison with other early modern women writers, and 18th century theatrical adaptations of Villedieu's novels. Points out that whereas Villedieu's and Graffigny's novels are praised, their dramatic work is consistently overlooked, such that literary criticism tended to see women writers as minor writers, capable of excelling only in minor genres such as the novel.

STEIGERWALD, JÖRN. "Sujets de l'amour: formes de la représentation de soi dans la société de cour d'après Le Favori". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 171—183.

Questions the usefulness of reading Le Favori against Le Misanthrope and instead analyzes how the play stages self-presentation in courtly society against the background of a certain conception of love and of subjects' status relative to the monarch.

STERNBERG-GREINER, VÉRONIQUE. "Si c'est ce qu'on appelle à présent des coquettes,/Il est vrai, je la suis. Elvire et ses modèles dans Le Favori de Madame de Villedieu". In Grande, Nathalie and Edwige Keller-Rahbé,eds. Madame de Villedieu et le théàtre. Actes du colloque de Lyon(11 et 12 septembre 2008). Biblio 17, Volume 184. Tübingen: Gunter Narr Verlag, 2009. 185—197.

Focuses on the complexity of the character of Elvire: philosophical, psychological, satirical, moralistic, comical.

VOITURE, VINCENT

ROLLIN, SOPHIE. "Les Lettres de Vincent Voiture: du discours familier au texte littéraire". S Fr 158 (2009) 251—264.

Important study focuses on the diffusion and reception of V.'s letters, their success, their place in the established epistolary tradition, and consequences of a form which may contain and transform a literary intertext.(251-252) Demonstrates V.'s role as the "modèle exemplaire du galant homme"(257-258). Particular attention is paid to V.'s ample and varied use of pastiche; allusions and analogies between works in vogue in the salons (such as le Roland furieux)and V.'s addressees, thus underscoring "la littérarité du discours"(259).

• See also: Part IV:  Seifert, L. C.