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• W3136759515 abstract "he spent his last years in a German prison. By this loss of his personal freedom, he made the ultimate sacrifice in the cause of intellectual freedom. He was looked upon by his contemporaries as a marginal writer, a “philosophe gueux,” and he made of this position as a social and intellectual outcast the central facet of his selfimage , portraying himself as an outsider, not only to the religious and political establishment but even to the philosophes. As such, he came to criticize any form of authoritarianism imposed on the human spirit, any pretense to the attainment of absolute truth. He satirized the arrogance of Rousseau and other philosophes as much as the tyranny of the monarchy and the obscurantism of the church. He was also self-critical, using devices in his writings to undercut his own authorial stature and the validity of the ideas he was presenting. He created a carnivalesque atmosphere like that in Rabelais, as described by Bakhtin, where the world is turned upside down and the reader is continually made aware of the complexities and ambiguities of human life. Henri-Joseph Dulaurens (1719–93) was the author of narrative poems and prose fiction. His most famous work is a philosophical novel, Le compère Mathieu (1766). The predominant themes are his violent anticlericalism and his espousal of progressive and libertarian ideals. While sincerely defending his ideological goals, he also does all he can, as previously indicated, to prevent the reader from taking any of these things too seriously. Bokobza-Kahan examines the devices Dulaurens employs to introduce confusion and chaos into his works, including his extensive use of paratextual additions. By means of dedicatory epistles, prefaces, and footnotes, he creates reader expectations that are belied by the diegesis itself. Footnotes, for example, take on a life of their own, sometimes going on for pages and losing contact with the storyline. There are also multiple voices addressing the reader: one of the characters, or an implied author, or the real-life author speaking from outside the work. A similar multiplicity of narrative voices occurs within the diegesis. The reader is left wondering what to think, which appears to be Dulaurens’s intention. According to Bokobza-Kahan, the reader’s estimate of the characters is based on the capacity of each to comprehend the expressed thoughts of other characters. At the same time, we are directed to admire those who are able to think for themselves and arrive at their own syntheses. Negative role models are those characters who are either so blinded by their arrogance that they refuse to listen to anyone else’s point of view or so incapable of thinking for themselves that they repeat like parrots whatever they have been taught by religious or philosophical authority figures. Bokobza-Kahan’s analysis is based on close readings of Dulaurens’s texts in the light of recent theoretical writings about the literary techniques they exemplify. Occasionally one gets the feeling that, as with Dulaurens’s diversionary footnotes, the focus is placed more on the critical underpinning than on the texts being studied. University of Denver James P. Gilroy DEL LUNGO, ANDREA, et BRIGITTE LOUICHON, éd. La littérature en bas-bleus: romancières sous la Restauration et la monarchie de Juillet (1815–1848). Paris: Garnier, 2010. ISBN 978-2-8124-0153-4. Pp. 448. 59 a. The early nineteenth-century term bas-bleu designated a woman who rejected traditional domestic activities for the public sphere of writing and publication. 176 FRENCH REVIEW 86.1 The contributors to this collection of essays provocatively take this derogatory stereotype as their subject of inquiry in order to defy such reductive categorizations of women writers in the years 1815–1848. In the foreword, “La littérature en bas-bleus: une question de genre et de nombre,” Louichon attributes the absence of women writers from French literary history not to the scarcity of texts but to willful exclusion. That bringing these forgotten novelists to the fore is the volume ’s primary goal is evident in that its core consists of twenty essays devoted to individual women authors. In the conclusion, the theoretical background undergirding these studies is set forth in an..." @default.
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• W3136759515 date "2012-01-01" @default.
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• W3136759515 title "La littérature en bas-bleus: romancières sous la Restauration et la monarchie de Juillet (1815–1848) éd. par Andrea Del Lungo, Brigitte Louichon" @default.
• W3136759515 doi "https://doi.org/10.1353/tfr.2012.0022" @default.
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