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• W4210568877 abstract "MLR, I03.2, 2oo8 539 Russo fillsout this frameworkwith a cultural history of theatre (Chapter 8), a discus sion ofMontesquieu (Chapters 6 and 7), and a particularly suggestive analysis of the continuing importance ofAugustinianism toLes Lumieres. In essence, Russo argues that theHigh Enlightenment was a response toMarivaux, and viaMarivaux, to the Augustinian tradition. This isnotRusso's most conclusive argument, and itremains a sustained but secon dary concern, with the exception ofChapters 2 and 5, ofwhich it is the central focus. Despite the status of this intellectual history as secondary toRusso's more conclusive literaryand cultural analyses, her presentation of theEnlightenment encounter with Augustinianism is themost significant of her contributions to eighteenth-century scholarship. Russo frames her analysis with a characterization of theEnlightenment as a kind of civilwar-which she eventually makes explicit in an unwelcome linking of En lightenment to the idea of 'culturewars': 'The war the lateEnlightenment launched against thegou'tmoderne was in reality awar against itself, that is to say,against the culture of criticism and self-reflexive experimentation with language and form that had produced the Enlightenment' (p. 9). She offers a useful glossary for this con flict,explaining how Marivaux initially contested his status as a bel esprit, and then challenged thephilosophes' denigration of that concept. Russo attempts tomake her technical vocabulary accessible, though her success is uneven and there are (a few) instances where jargon creeps in. She develops the idea of the bel esprit into a pivot forbroader cultural analysis involving gender, thepublic sphere, and republicanism. She very usefully explains how theuse of the term esprit came to be associated with thegou'tmoderne, and thenwith a conception of vanity borrowed from seventeenth centuryAugustinian discourse. Russo on theone hand assimilates Marivaux to this tradition based on his literary resistance to illusion, but on theother hand emphasizes his oft-repeated criticism of typicallyAugustinian moral rigorism. She is correct in the content of both of these assessments, but her characterization of the form ofMarivaux's Augustinianism is paradoxical: 'one could seeMarivaux's morality as a kind ofAugustinianism lite: the acceptance of human dualism opens onto an ironic acceptance ofworldly immanence rather than onto a refuge in transcendence' (p. 84). Iwould quarrel with Russo's presentation ofMarivaux's Augustinianism but not with her presentation of his dis dain formoral rigorism.Given her own conclusions regardingMarivaux's rejection of grace and her characterization of his very terrestrial-ven hedonistic -thics, it is not unfair to ask if Marivaux is any kind ofAugustinian at all. MAGDALEN COLLEGE,OXFORD N. B. LEDDY L'Art de lapreface au siecle des Lumieres. Ed. by IOANA GALLERON. Rennes: Presses Universitaires de Rennes. 2007. 267 pp. Ei8. ISBN 978-2-7535-0383-0. Proceedings from a 2006 colloquium at theUniversite de Bretagne Sud inLorient dedicated to 'pre-texts' in the long eighteenth century, this volume brings together thework of twenty-two scholars working on a variety ofgenres and fromdiverse theo retical and methodological perspectives. Historically, the anthology spans theperiod from i650 to I830, touching on late seventeenth-century writers such as Boileau, Mme de Lafayette, and early translators of Claudian, through the early nineteenth century, towriters such asMme de Genlis and scholarly editors of Racine. The volume contains not only considerations of literary texts-the novels ofMarivaux, Prevost, and Bernardin de Saint Pierre, aswell as prefaces to translations of English novels-but also looks at the emergence and development of the scholarly preface. 540 Reviews Given thebreadth of generic variety in thevolume, approaches to the texts range from narratological readings tohistorically contextualized treatments, including considera tions of the commercial history of thebook, aswell as social and political history. As loana Galleron argues in the introduction to the anthology-and the essays support her contention-the development of the preface over the long eighteenth century demonstrates the emergence of an increasingly erudite orientation, but one that none the less allows at times for the voicing of strong opinions (p. I3). As Galleron asserts, many of the analyses in the volume rely upon the decoding of prefaces, particularly in relation to theworks that they introduce. For example, Marie Emmanuelle Plagnol-Dieval's reading of Mme deGenlis uncovers her rewritingof the textsofRousseau and Voltaire fora post-Revolutionary, Napoleonic..." @default.
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• W4210568877 date "2008-01-01" @default.
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• W4210568877 title "L'Art de la préface au siècle des Lumières by Ioana Galleron" @default.
• W4210568877 doi "https://doi.org/10.1353/mlr.2008.0113" @default.
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