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Provide feedback about this page. There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Get to Know Us. University of Pennsylvania Press, Melzer furnishes an interesting study of the apparent promotion of French-Amerindian marriages, 91— La Nuova Italia Editrice, ; trans.

All references are to the French translation. Reprinted in facsimile in Robert Bernasconi, ed. See also Bernasconi, ed. Blackwell, , 13, Pierre Guillimin, , entry race , Punctuation and spelling has not been modernized in French texts consulted in their seventeenth-century editions. Larousse, , See also section Races ,— On the heritage of the reference to semences , see Bernasconi, ed. Antoine Chuppin, , — and footnotes. Aux Amateurs de Livres, , 50, — For an example in Madagascar, see Cauche, ; in Pondicherry, see Challe, , PUPS, , —, Linguistique et Anthropologie , vol.

Sonnius, , On this extract, see Albertan-Coppola, This would imply that the Indien father here is of Amerindian origin.


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Clarendon Press, , 62— Cambridge University Press, , 15; Subrahmanyam gives a seventeenth-century estimate of approximately ten slaves per casado household. Wiley-Blackwell, , On the colonial project in Madagascar, seeM. Rodopi, , —; Linon-Chipon, passim. Chandeigne, , See Pyrard, , vol. See Boxer, 60—62 on the situation in the sixteenth-century Portuguese possessions. Cambridge University Press, , —, Isaac Beauregard, , On La Boullaye and links between climate, vigour and valeur ,see my Veiled Encounters , — Kraus Reprint, , Staging Relations in French since A Festschrift in Honour of C.

University College Dublin Press, , — Footnote in edition: Henry Laurent, , Seuil, , Joseph Cottereau, ; repr. Jean de la Mare, ; repr.

Solal et les Solal

Humeur amoureuse des femmes indiennes. For this and other examples of amour exotique dangereux , see also Linon-Chipon, —; Mocquet, , Routledge, , Van der Cruysse in Chambelle, As early as the Renaissance, the dialogue served as an important forum for debating questions related to the female condition: The dramatic dialogue was particularly successful in the seventeenth-century salons. Since the salonniers did not always have access to a private stage or costumes in order to put on a full-fledged professional production, the dramatic dialogue proved to be an enjoyable source of entertainment for both male and female participants.

Their writing followed two strategies: They both seek to make women more aware of the importance of safeguarding their reputations in a society that privileges men. The language used in their dialogues reflects their divergent interests: The worsening economic conditions were forcing young women to reconsider their priorities, and thus gallantry as a way of life became less of an option for women.

In the end, the interlocutors either maintain their initial positions or one interlocutor succeeds in convincing the other to change her viewpoint. Yet, gallantry, loosely defined as the art of courtship, [14] is permitted within the context of polite society. Throughout her dialogues, Durand maintains that women may engage in gallantry as long as they do not risk their reputations.

Her foil, on the other hand, is foolishly willing to ruin her reputation for an amorous conquest or an undeserving lover. These women not only jeopardize their reputations, but also their self-respect. Her foil, on the other hand, who makes poor choices, instructs as well as amuses the reader. In the first dialogue, Amarante, the voice of reason, attempts to correct her foil, Julie, a married woman who risks her reputation by indulging in innocent flirtations with men other than her husband.

Julie complains to Amarante that she cannot escape her doting husband whom she married solely for financial security:. Un mari qui vous aime! Je ne puis faire un pas sans lui! Amarante depicts the worst case scenario in which Julie may find herself if she continues down her treacherous path. Through Amarante, Durand transmits a serious warning to married women who compromise their reputations by indulging in love affairs. While Araminte spends her time gallivanting, her friend Clarice compares her own life of solitude to that of an Anchorite.

Clarice bemoans her overprotective husband who confines her to the home. Note that, once again, the privacy of their exchange allows Araminte to comment negatively about tyrannical husbands—observations that she would less likely voice around male interlocutors. The openness of their discussion leads Araminte to ask her friend more intimate questions.

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When Araminte asks what Clarice would do if she discovered that her husband was unfaithful to her, Clarice shockingly replies that she would take a lover herself. Araminte is surprised that her friend would abandon her reputation in order to seek vengeance. She reminds Clarice that society is quick to judge a woman who is unfaithful to her spouse, even if he is unfaithful himself:.

Note that, although Araminte is truthful, she sympathizes with Clarice. In fact, Amarinte is happy to realize that her friend is of a similar mindset and has not withdrawn from la vie mondaine because of a desire to live a life of inimitable virtue, but because she has been made a prisoner in her own household. Unmarried women are less restricted in their movements, but they are likewise advised to be selective in their interactions with men. While Dorimene never pursues men, Cephise, her foil, consistently pines away after a cruel lover who leaves her void of any pleasure in life:.

In the end, Dorimene cannot convince Cephise that throwing herself at the feet of her lover is a wise choice. Dorimene leaves her in mid-sentence:. Similarly, in Dialogue VIII, Celinde, a dame galante , criticizes Doris, who pursues an indifferent lover rather than allow herself to be wooed by as many suitors as possible. Celinde believes Doris would be more in control of her situation if she took a less aggressive stance:. Yet Doris insists upon chasing the object of her affections, stating: Once again, the voice of reason fails to convince her friend that she is running towards destruction.

In addition to resisting men who do not return their sentiment, other dames galantes discourage their female friends from pursuing men who do not appreciate them for their wit and intelligence. Orphise, however, believes that women can only gain the affections of men through beauty:. Mais telle est notre condition. Constance condemns this attitude, affirming that women should be judged by their minds: Through Constance, Durand encourages women to reject unworthy suitors who do not admire them for their intelligence and wit.

Womenwho value themselves as intelligent, independent beings, live more satisfactory lives. Dialogue III portrays the financial problems that plague single women of aristocratic families and the ruses to which they resort in order to maintain their lifestyle. It features a young woman, Mariane, who brags to her friend Hortense about how she exploited an older gentleman who was in love with her, just to have money to buy the latest styles in clothing.

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Hortense, unable to convince her friend of her wrongdoing, has the last word:. Instead, Hortense accuses Mariane of abandoning her self-respect. At the same time, she seems rather unsurprised, as if this was a kind of repeat performance that she had observed often among women of her station. Through her female interlocutors, Durand encourages both unmarried and married women who have active social lives to make wise choices if they engage in gallantry.

The female interlocutors who act as a foil to the voice of reason serve as a warning to other women who neglect their reputations. They emphasize that, even in polite society, women are judged more harshly than men, and that women should take care not to compromise their reputations for a romantic fling.

This contrasts the lessons found in the writings of Maintenon, who sought to keep young aristocratic women born into poor aristocratic families from making similar choices. Her own life served as a model for the young Saint-Cyriennes in whom she attempted to instill such values as hard work and modesty. Because of their extreme poverty, Maintenon was raised by relatives and educated in an Ursuline convent in Paris. As the relationship with his mistress deteriorated, the king grew fond of Mme Scarron, and he gave her an aristocratic title, after which she became known as Mme de Maintenon.

He and Maintenon built Saint-Cyr, a boarding school for daughters of poor aristocratic families, which she directed until her death there in They were never intended to be performed in public, but on some occasions the King and members of the court were present for private performances.

Maintenon further develops the dramatic dialogue genre by assigning it a pedagogical purpose. Yet, let us not forget that the dramatic dialogue first developed in the salon. Like Durand, Maintenon notes the double standards that place women at a disadvantage. Yet Maintenon encourages women to embrace the private sphere and find satisfaction in the home rather than in society. At the same time, she emphasizes the satisfaction that may be found in domestic work:.

Hortense indirectly criticizes the mondaines who damage their reputations by participating in inappropriate activities. In the end, Mlle Hortense is unsuccessful in converting Mlle Odile, who is more interested in imitating the mondaines. This dialogue illustrates the difficulty that Maintenon had in convincing the Saint-Cyriennes to accept work values that they must have more or less associated with the bourgeoisie, and even with their servants.

Unlike her contemporary Durand, Maintenon does not advise women to engage in gallantry or to find pleasure in the company of men. She does however encourage young women to speak wisely and with confidence in their presence. At the same time, it is clear that gallantry is strictly forbidden. Addressing these young women of impoverished noble families, Maintenon sets out to remind them that they must hold fast to the only thing that remains—their honor. Ils le sont en effet…. While Durand depicts a successful society woman as one who engages in gallantry, here Maintenon proposes that women will always fall prey to ill-intentioned men.

She discourages those Saint-Cyriennes who wrongly associate marriage with freedom:. Et qui est-ce qui est libre? While Durand depicted marriage as a stumbling block for mondaines , Maintenon believed that women would find a sense of peace and a sense of self-worth only in their domestic lives. Their dialogic format allowed women to discuss and rehearse the codes of conduct. These women writers also merit our attention since they participate in the development of new genres.

As Delphine Denis states, there is a need in the university and academic settings today to understand the culture mondaine and acknowledge its collaborative contribution to the belles-lettres University of Chicago Press, Clarendon Press; New York: Oxford University Press, La Haye et Rotterdam; A. Words to live by. Presses Universitaires de France, The University of Chicago Press, Les Loisirs de Madame de Maintenon. Dialogues by Renaissance Women. The University of Michigan Press, Rococo Fiction in France, — Bucknell University Press, In fact, the dames present are not considered worthy participants of their exchange.

It is suggested that the women would have little to contribute to their exchange. Conversations sur divers sujets ; Conversations nouvelles sur divers sujets ; Conversations morales ou La Morale du monde ; Nouvelles conversations de morale and Entretiens de morale Perry Gethner and Allison Stedman Detroit: Wayne State University Press, The agonal model is initially associated with the writings of Aristotle, but would be imitated by authors in other centuries. See also Smarr For instance, see This kind of philosophy was much appreciated by many of the mondaines.

Maintenon would posit the idea that these two lives were not compatible, and thus stopped frequenting the salon altogether. Gender Performance in Seventeenth-century Dramatic Dialogue: From the Salon to the Classroom Karen Santos Da Silva.

Mademoiselle de Forcheville

The Difficult Case of Female Salvation La Motte, Antoine Houdar de. Literary Knowing in Neoclassical France: From Poetics to Aesthetics. Pennsylvania State UP, Lecture sartrienne de Racine: Visions existentielles de l'homme tragique. Ashgate Publishing Limited, Review of Siefert, Lewis C. Stanton Eds and Transl. The Toronto Series, vol. From Ancient Myth to Tragic Modernity.


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University of Minnesota Press, In the second chapter, on Andromaque, Greenberg argues for the central importance of visual metaphors in the tragedy. Through distorted and non-reciprocal gazes, Racine's characters struggle with their desire for identitary unity, a desire constantly frustrated by their fractured subjectivities. An interesting feature of this section is Greenberg's focus on the interrogative mode as expressive of the connections between desire and power: With Bajazet, "more self-consciously than in his other plays, Racine makes voyeurs of his audience" as they contemplate "the other" in the form of the phallic Oriental woman, Roxane Greenberg incisively revisits the openness of the ending of Mithridate, where the rebel king reappears only in order to disappear, thus suggesting, exceptionally for the Racinian tragic universe, the promise of a future.

The altar, absent from the stage but ever-present in the spectator's imagination, marks the ambivalent point where an emerging nation contemplates both its troubled origins and its proleptic fate. The characters dramatize the internal, and thus modern, struggles of the subject under seventeenth-century absolutism, a system based on the desire for unity but fractured from within by subjective multiplicity.

In the final chapter on the sacred tragedies, Greenberg contends that the elements of psycho-sexual disorder that seem to come under the tighter control of Biblical cosmology still threaten to re-emerge to disrupt absolutist order. While the theoretical developments and textual analyses are presented in a convincing and engaging way, multiple errors in transcription of passages from Racine's plays produce at times a jarring effect for the reader. More than a fourth of offset quotations from primary sources contain errors, some of them affecting versification.

For example, line 1. Nonetheless, the reconsideration of Racine's tragedies in the light of Freudian analysis that this study proposes makes a strong and provocative contribution to the field of early modern theater studies. The book will appeal to students and scholars interested not only in early modern theater but also in the political culture of absolutism. In a series of parallels, we see, in every case, the original idea at Vaux and its replication at Versailles.

The work of decoding and interpreting such expertly reconstructed scenes is equally lucid and cogent. The melding of the natural and the artificial in garden theory is similarly well explained. Many of these ideas seem extravagant, Goldstein explains, when applied to the individual man who was king; however, when related to the infinite, meta-subject created by the fiction of the king, such extravagant ideas produced powerful emotions and deep identifications.

The only argument I found myself resisting in this work is its insistence on the originality and ideality of Vaux, at the expense of a totally derivative and dystopic Versailles. The disappearance of the individual courtier into the royal essence at Versailles had its progressive and historically inevitable aspects. Such collective fusion inspired emotional and aesthetic responses that were as intense and authentic as the experiences Fouquet created at Vaux. Where Goldstein sees erasure, theft, and destruction of an artistic heritage, one could also see continuation and reabsorption, as the Bourbon kings, through their appropriation of Vaux, continued to forge an alliance with the noblesse de robe and the rising middle class.

University of Michigan Press, Such is the condition of masculinity in seventeenth-century France, according to Lewis C. Written with precision, clarity, and humility before a surprisingly complex subject, Manning the Margins has much to recommend it, equally for specialists as for scholars of sexuality studies or those interested more generally in the way texts mediate the cultural field.

Through this multi-faceted approach, Seifert's is part of a current strain of research striving to destabilize the view of seventeenth-century France as a homogeneous culture defined by a rigid hierarchy. France, both before and during the reign of Louis XIV, emerges as a site of ambiguities, tensions, and evolving cultural figures. Seifert's contribution to this body of work is unique, however, since he is offering a work of what might be called literary historical sociology. In turn, masculinity studies has much to learn from this study.

Scholars outside our field might benefit most from this first section, with its critique of the question of "civility," a topic well-known to scholars in our field but less studied outside of it. Seifert starts with a simple enough observation: Recently, scholarship on civility has emphasized how, as a uniquely French phenomenon it ensured increased liberty and pleasure for both women and men Habib, Viala.

In contrast, Seifert shows how the specter of effeminacy created constraints for both men and women. In doing so, he both offers a subtle critique of recent European trends that seek to rehabilitate the habits of elite social practices as a model for respectful and meaningful heterosociability today. The second section, with chapters focusing on marginal sexuality practices, also places the seventeenth century's own contestation of marginal sexualities in conversation with our own.

This is the kind of book where a specialist reader will be engrossed by even the footnotes. In the spirit of other recent works on masculinity and literature LaGuardia, Reeser in which poetry or prose is less a medium for contestation or refusal than for an exploration of the limits of one's gendered positions, Seifert's presentation of the sodomite and the cross-dresser's literary imaginings suggests a desire to write instability and dynamism.

Instead of seeing these ambivalent, nameless positions as failures or insufficiencies, Seifert makes the case for their very searching fluidity as one of the key early modern "sources of the self" Taylor. Manning the Margins offers a measured and thorough critique of some long-standing concepts informing our view of the Classical Age, from civility to salon culture to the role of the marginal writer, and does so by opening up the historical and literary archive for our renewed attention.

But—perhaps equally significantly—it is also a model of literary history, where the historical archive and the search for a definitive answer about what might have been are treated as precisely, but as ambivalently, as the construction of masculinity. In this regard, the chapter on Voiture is a model of a new kind of reception history that respects literary aesthetics as well as the shifting ground of the archive itself: The University of Michigan Press should also be commended for producing such a beautifully edited book, with an excellent index and clear footnotes—a paratextual apparatus that, while marginal, affords a dynamic and fluid reading of Seifert's scholarship.

Intertextual Masculinity in French Renaissance Literature.

Bienvenue sur le site de l'atelier Albert Cohen

Moderating Masculinity in Early Modern Culture. Sources of the Self: The Making of the Modern Identity. Harvard University Press, Aldershot, Hampshire and Burlington, VT: Ashgate Publishing Company, The organization of the book is original. She does not deny—indeed, it would be impossible to do so—that misogyny was a dominant discourse in early modern society. However, she asserts it was not the monolith it is sometimes imagined to be.

For example, misogynistic views were employed both to attack and to defend witchcraft trials. Because of their predisposition to melancholia, women are more susceptible to demonic possession than men—a claim that runs counter to other views associating melancholy with male genius Rather than hidden within the female body, truth is in plain sight for those who can see clearly—like physicians. By gendering nature as a female who will not give up her secrets easily, he validates the use of violent means to find what is hidden.

Weyer had portrayed women as weak and susceptible to delusions in order to strengthen his authority as a physician. This theme is recast in chapter 3, which deals with the neo-Stoic response to the intellectual and political crisis of the late Renaissance. Wilkin adds the element of gender to this mix, arguing that masculinity becomes an unstable category in the writings of the neo-Stoics. But unlike Weyer and Bodin, du Vair does not found these gender oppositions solely on anatomical differences; rather, gender roles are grounded in the will.

Hence, exceptional women, by their actions, can choose to demonstrate male virtue. As a result, belonging to a particular gender cannot be guaranteed: Horace tragically fails to sustain his performance of vertu whereas his sister Camille displays male constancy. Thus, men who succumb to tristesse may as well be dressed as eunuchs or castrated. However, they can avoid this fate by eschewing melancholia and embracing vertu. For Du Vair and Du Laurens, then, gender differences are not uniquely grounded in the body.

Yet as Wilkin points out, women do not escape the strictures of gender so easily: Wilkin sandwiches her analysis of Montaigne between two works relating to the contemporaneous querelle des femmes: The set-up discussion of Agrippa allows Wilkin to clarify the opposing uses of skeptical argumentation in this period.

Actualités Albert Cohen

Its purpose is not to uphold Christianity but to attain personal tranquility. Despite his speculations about the flexibility of gender, Montaigne is not interested in changing social practice. In his correspondence with Elizabeth of Bohemia, Descartes shows himself to be more open than in his published works, arguing that qualities of mind are gender free. She also shows a thorough understanding of classical, medieval and Renaissance thought. While not easy to read or summarize, this important book merits study by philosophers and historians of science as well as scholars of literature and gender studies.

Sunspots and the Sun King: Sovereignty and Mediation in Seventeenth-Century France. University of Illinois Press, Expanding her focus on God and the sovereign, McClure explores issues of authority and delegation in a series of power couples that reproduce and complicate the tensions of the original duo: If Louis XIV won at what cost? The conflicts of authorship and influence inherent in theater, which McClureadroitly unravels in warring texts of the querelle du Cid and in seventeenth-century considerations of the role of the actor, magnify the challenges of the king who, like the playwright, seeks to define his own creativity and agency against the forces that would erase or corrupt his action.

A valuable addition to scholarship on absolutism, theater, and authorship, this compelling treatment of mediation shows writers, political thinkers, diplomats, and the king wrestling with the modalities of the delegation of absolute power through its limited instruments. Printable PDF, Gethner, — Even though one of the most common themes in French tragedy and tragicomedy was war, and even though the glorification of heroic conduct was a central feature of dramatic ideology, the treatment of combat raised many types of problems and was far from uniform.

Jean Rotrou, one of the most prolific and most successful playwrights from the second quarter of the seventeenth century, can be seen as a representative example of what was possible and acceptable at that time. Although war-related scenes could be a source of dazzling visual spectacle, the presentation of battle episodes on stage, often done in medieval and Renaissance plays, was abandoned in Rotrou's time. But another reason was more technical in nature: Even later in the century, with the advent of tragic opera and the resources of the royal court, combat was mostly kept hidden from view.

However, during the first half of the century, playwrights found other ways to incorporate elements of war-related spectacle. Ramparts or city walls allowed for one or both of the following: Elaborate tents set up for one or more of the commanders could also convey the atmosphere of battle without having to show actual fighting. In Antigone Rotrou uses all of these. We see Polynice, leader of the besieging army, meeting in his tent with family members, one of whom is another principal commander I.