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• Enfermement
• Tommaso Campanella, ou l'écriture comme action à l'intérieur et à l'extérieur de la prison
• Mlle Bonafon : subir et aménager le système de domination
• Charles Dassoucy: exploiter les traces des épreuves passées
• Mettre en action l'enfermement. La Solitaire des rochers
• Épilogue en guise de conclusion
• Dans l'événement
• Des écrits à la place de l'événement : l'interdit de Venise (1606-1607)
• L'écriture dans l'événement: la marche sur Madrid de don Juan d'Autriche (1668-1669)
• Quand commence l'interprétation de l'événement ?
• La journée des Dupes (1630-1631)
• Être dans l'événement
• Le journalisme politique à la fin du XVIIe siècle
• Quand l'écrit s'interpose: l'événement escamoté (1649)
• Retz. Théorie de l'action et action de l'écriture
• Les Mémoires de Retz à l'épreuve de La conjuration du comte Jean-Louis de Fiesque de Paul de Gondi
• Les lettres épiscopales
• Le conclave de 1655. Écritures de Retz, écritures sur Retz
• Scène(s). Écriture, paroles et action
• L'écrit n'agit pas comme la parole : le cas du Sermon sur l'unité de l'Église de Bossuet
• Action orale, action écrite : le sermon comme "agent double"
• La lettre sur scène au XVIIe siècle : écriture dramatique et action épistolaire
• Au XIXe siècle, l'engagement ?
• L'écrit girouette : Étienne de Jouy et la série des Hermites
• Les ouvriers de l'engagement
• Écrits d'Icarie
• 1848 et le monde des théâtres
• Écrits de Versailles
• Versailles, 1664 : les Plaisirs de l'Île enchantée
• Les Versailles des Perrault
• Pasteurs et brebis de cour
• Obéissances
• Relations sociales de dépendance
• Protestations d'obéissance
• Affaires d'obéissance
• Pour finir.

"Les écrits agissent. Ils prescrivent, ils commentent, ils émeuvent, bref ils transmettent. Regarder cette transmission non sous l'angle des effets qu'elle postule mais de l'action qu'elle accomplit déplace l'histoire des écrits comme celle des actions. Entre Renaissance et XIXe siècle, ce livre s'emploie à réaliser un tel déplacement du regard. Observer, dans des situations banales ou non, ce qui peut être fait par des écrits insère le geste d'écriture dans un tissu d'autres actions qu'il modifie et qui l'infléchissent. Ces contextualisations permettent de sortir du face à face réducteur entre réceptions du lecteur et intentions d'auteur. L'introduction, en forme de manifeste, situe la démarche par rapport aux savoirs et aux méthodes des études littéraires et des sciences sociales. L'analyse se déploie ensuite à partir de nombreux cas rassemblés autour de problèmes centraux pour la compréhension de l'écriture comme action. Issu d'une enquête collective du Groupe de recherches interdisciplinaires sur l'histoire du littéraire (Grihl), ce travail collectif, tissé à vingt-huit, ne propose pas une improbable histoire des actions d'écriture, mais esquisse un modèle de compréhension de l'action de l'écrit et par l'écrit : une réflexion, donc, sur l'action des écrits dans l'histoire. Le livre est introduit par Alain Cantillon, Laurence Giavarini, Dinah Ribard et Nicolas Schapira."--Page 4 of cover.

• Part 1. Cosmic imagination. Kepler sets the Earth in motion ; Genealogy of the dream: from ludus philosophicus to the game of fiction ; The dynamics of the voyage: a thought-experiment ; Vision in the voyage ; The place of fiction ; Godwin, Wilkins, Cyrano: from the optical voyage to the mechanical voyage ; The Man in the Moone ; A World in the Moon ; From heavens to the sky: Cyrano's other world ; Conclusions: dreams and fictions
• part 2. Conjectural machines. Fontenelle: unveiling the spectacle of the world ; Machine and spectacle ; Order of the narrative, harmony of the world ; Fontenelle's visions ; Huygens: the theoretical voyage of The Cosmotheoros ; Hypotheses, conjectures, fictions ; Architectonics of the narrative ; Conclusions: hypotheses and narratives
• part 3. Observing monsters. Robert Hooke: "the armed eye" ; Micrographia ; From enargeia to evidence ; Hooke the astronomer ; Poetics of proof ; Instruments and images ; Margaret Cavendish: the battle of instruments ; "A high heel to a short leg" ; A teratology of knowledge ; The empire of fiction.

In today's academe, the fields of science and literature are considered unconnected, one relying on raw data and fact, the other focusing on fiction. During the period between the Renaissance and the Enlightenment, however, the two fields were not so distinct. Just as the natural philosophers of the era were discovering in and adopting from literature new strategies and techniques for their discourse, so too were poets and storytellers finding inspiration in natural philosophy, particularly in astronomy. A work that speaks to the history of science and literary studies, "Fictions of the Cosmos" explores the evolving relationship that ensued between fiction and astronomical authority. By examining writings of Kepler, Godwin, Hooke, Cyrano, Cavendish, Fontenelle, and others, Frederique Ait-Touati shows that it was through the telling of stories - such as accounts of celestial journeys - that the Copernican hypothesis, for example, found an ontological weight that its geometric models did not provide. Ait-Touati draws from both cosmological treatises and fictions of travel and knowledge, as well as personal correspondences, drawings, and instruments, to emphasize the multiple borrowings between scientific and literary discourses. This volume sheds new light on the practices of scientific invention, experimentation, and hypothesis formation by situating them according to their fictional or factual tendencies.
(source: Nielsen Book Data)

• Contents: Introduction-- Tullia d'Aragona, Sperone Speroni, and the inscription of Salon Personae-- The Querelle over Silvia: La Mirtilla and Aminta in dialogue-- Pastoral defenses and the nymphs of the Salon Vert-- Louise Labe, l'Imparfaicte Amye-- The Amyes of the English court-- Querelle resonance and literary circle ritual in English romances-- Conclusion-- Bibliography-- Index.
• (source: Nielsen Book Data)

A comparative analysis, this study examines the interactions of early modern male and female writers within the context of literary circles. In particular, Campbell examines how the querelle des femmes as a discursive rhetorical tradition of praise and blame influenced perceptions of well-educated women who were part of literary circles in Italy, France, and England from approximately 1530 to 1650. To gain a better sense of how querelle language and issues were used for or against learned women writers, Campbell aligns selected works by female and male writers, pairing them to analyze how the woman writer responds, deflects, or rewrites the male writer's ideological script on women. She focuses first on the courtesan Tullia d'Aragona's response in her Dialogo della infinita di amore to Sperone Speroni's Dialogo di amore, and contrasts the actress/writer Isabella Andreini's pastoral La Mirtilla with Torquato Tasso's Aminta. She then discusses the influence of Italian actresses upon the manners and mores of French women of the Valois court, especially focusing on performative aspects of French women's participation in court and salon rituals. To that end, she examines the influential salon of the aristocratic, learned Claude-Catherine de Clermont, duchesse de Retz, who encouraged the writing of positive querelle rhetoric in the form of Petrarchan, Neoplatonic encomiastic poetry to buttress her reputation and that of her female friends. Next, Campbell reads Louise Labe's Debat de Folie et d'Amour against Pontus de Tyard's Solitaire premier to illustrate the tensions between a traditional and nontraditional querelle stance. She then discusses Continental influence upon English writers in the context of the Sidney circle in England. Moving to the closet dramas of the Sidney circle, Campbell examines the solidarity these writers demonstrated with nontraditional stances on querelle issues, and, finally, she explores how three generations of English literary circles contested querelle issues in her discussion of Philip Sidney's Arcadia, Mary Wroth's Urania, and Anna Weamys's Continuation of the Arcadia. Campbell's analysis of how the confrontation between querelle issues and the new figure of the learned woman engendered friction across national, cultural and gender boundaries enables us to understand more fully the intertextual connections between differing national literatures of the period. Ultimately, this study provides new perspectives on the production of the texts under consideration, as well as paradigms for approaching other texts from the period.
(source: Nielsen Book Data)

• The battle of the books ou la conquête de nouveaux espaces / Peter-Eckhard Knabe
• Aspects, politiques, économiques et sociaux / Georges-Henri Dumont
• La traduction dans l'Europe française / Jürgen von Stackelberg
• La genèse de l'esthétique moderne / Peter-Eckhard Knabe
• Les genres littéraires.

• Introduction: Ovid and the Renaissance body / Goran V. Stanivukovic
• Ovidian subjectivities in early modern lyric / Carla Freccero
• Imagining heterosexuality in the Epyllia / Jim Ellis
• Inversion, metamophosis, and sexual difference / Mark Dooley
• A garden of her own / Morgan Holmes
• Male deformities / Mario Digangi
• Arms and the women / Ian Frederick Moulton
• Localizing disembodied voice in Sandy's Englished 'Narcissus and Echo' / Gina Bloom
• The Ovidian hermaphrodite / Michael Pincombe
• Ovid and the dilemma of the cuckold in English Renaissance drama / Bruce Boehrer
• Lyrical wax in Ovid, Marlowe, and Donne / Raphael Lyne
• Engendering metamorphoses / Elizabeth Sauer
• The girl he left behind / Judith Deitch
• If that which is lost be not found / Lori Humphrey Newcomb
• Afterword / Valerie Traub.

Body has been one of the main preoccupations of current Renaissance historiography and current critical theory. Both the literary representation of the body and the construction of the material body in Renaissance anatomical and medical discourses have been used to explore the dynamics of early modern sexuality, gender, and society. Yet the influence of Ovid's texts on the construction of the Renaissance discourses of gender, sexuality, and subjectivity has not been fully explored. This collection of original essays uses contemporary theory to examine Renaissance writers' reworking of Ovid's texts in order to analyze the strategies in the construction of the early modern discourses of gender, sexuality, and writing. The volume is divided into three parts. Part I explores literary and dramatic allusions to Ovid in relation to early modern ideologies of subjectivity and anxieties about identification and desire. Part II illustrates the appropriation of Ovidian myths by poets and dramatists interested in the articulation of agency. Part III demonstrates how various points of intertextuality between Ovid and English Renaissance writers ranging from Marlowe to Milton contributed to early modern epistemologies and discourse of embodiment, spectatorship, and print culture.
(source: Nielsen Book Data)

• The Rhetoric of Ronsard's 'Hymne de I'Or'
• From Disputation to Argumentation: the French Morality Play in the Sixteenth Century
• Between Epic and Lyric: the Genres in J.C. Scaliger's Poetices Libri Septem
• Scaliger in Holland
• Developments in Sixteenth-Century Dutch Poetics: from 'Rhetoric' to 'Renaissance'
• The Amsterdam Chamber De Eglentier and the Ideals of Erasmian Humanism
• Rhetoric and Civic Harmony in the Dutch Republic of the Late Sixteenth and Early Seventeenth Century.

The Netherlandish rhetoricians of the sixteenth century have, in the course of the last decades, shed their image of third-rate poets who, lacking all sense of true beauty, were capable only of pompous verbosity and a shallow manipulation of form. The new scholarly assessment has also shed light on the role they played in the cultural and literary life of their time, and it now appears that many of their dramas are well worth staging. Once the sixteenth century was freed from the stigma of being the "preparatory phase" for the Golden Age, the way was clear for thorough studies of the literature produced during the most turbulent period in the history of the Low Countries. This volume contains essays which deal with works written not only in Dutch, but also in French and in New Latin, with topics ranging from the effects of poetic principles on literary practice to the use of poetry as a means for improving society and developing the individual. The unifying thread in these studies is the pivotal importance of rhetoric in all forms of literary expression. This title is available in the OAPEN Library - http://www.oapen.org.
(source: Nielsen Book Data)

• ""CONTENTS""; ""PREFACE TO THE SECOND EDITION""; ""PREFACE TO THE FIRST EDITION""; ""ABBREVIATIONS""; ""1 The Emblem ""; ""Definitions and Descriptions of Emblem-Books""; ""Forerunners of the Emblem""; ""Emblem Theory in German Studies during the 1970s""; ""The Relation of the Emblem to Fact and Truth""; ""Recent Developments in Emblem Studies""; ""2 The Word-Emblem""; ""The Emblem-Book as a Source of Poetic Imagery""; ""The Emblem-Book as a Parallel for the Word-Emblem""; ""Towards a Phenomenology and Typology of the Word-Emblem""; ""The Forms of the Word-Emblem""; ""3 Emblematic Poetry""

• ""Copies or Imitations of Emblems in Poetry""""The Word-Emblem as the Foundation of a Poem""; ""The Word-Emblem as a Controlling or Unifying Element in Poetry""; ""The Emblematic Poem""; ""The Pattern Poem""; ""4 Emblematic Drama""; ""The Emblematic Word in Drama""; ""The Emblematic Character""; ""The Emblematic Stage""; ""Drama as Extended Emblem""; ""5 Emblematic Narrative Prose""; ""The Emblematic World-View of the Novel""; ""Emblematic Imagery""; ""The Emblematic Episode""; ""Emblematic Narrative Structure""; ""The Emblematic Frontispiece""; ""6 Conclusion""; ""NOTES""

• ""SELECTED BIBLIOGRAPHY""""Bibliographies, Lists, and Catalogues of Emblem-books""; ""Critical Studies""; ""Selection of Works in English on German Baroque Literature""; ""Recent Comparative Studies of European Literature of the Sixteenth and Seventeenth Centuries""; ""Translations of European Poetry of the Sixteenth and Seventeenth Centuries""; ""INDEX OF NAMES""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M""; ""N""; ""O""; ""P""; ""Q""; ""R""; ""S""; ""T""; ""V""; ""W""; ""Y""; ""Z""; ""INDEX OF EMBLEM MOTIFS""; ""A""; ""B""; ""C""; ""D""; ""E""

• ""F""""g""; ""h""; ""i""; ""j""; ""k""; ""l""; ""m""; ""n""; ""o""; ""p""; ""r""; ""s""; ""t""; ""u""; ""v""; ""w""; ""y""

The symbolic mode of thought and expression that produced the mixed art form of the emblem also informs and shapes much of the literature of the sixteenth and seventeenth centuries. This study explores the relationship between the emblem proper and the literature of England and Germany during the period. The book proceeds from a definition of the emblem, based on a critical theory which has received little attention among English and Romance scholars, to a detailed analysis of the form and function of emblematic imagery in a variety of literary forms. The chapters following move into specific discussions of the structural affinities between emblems and poetry, drama, and fiction. The emblem-books are important as a cross-reference for the meaning of motifs in literature. They indicate what educated men knew about nature, history, and mythology and, furthermore, how they interpreted this knowledge. It is not only as a mode of thought but also as an art form that the emblem offers a valuable perspective on the purely verbal art of literature. Emblematic structure and imagery function as a formal, shaping principle in literature in all its genres and forms. Imaginatively conceived, carefully researched, and clearly presented, this book makes connections which will enrich the field of comparative studies.
(source: Nielsen Book Data)

• Baroque surprise : the pleasures of metaphoric form
• "Contre le baroque" : Bouhours and Boileau
• Addison and the "helps and ornaments of art"
• "The irregular fancy of the world"
• "An unaccountable pleasure" : the attractions of tragedy
• Connections and discontinuities : Du Bos, Condillac, and Diderot.

This book takes a new look at the place occupied by medieval Spanish epic within European folk and literary tradition. Thomas Montgomery traces the origins of key parts of most known medieval Spanish epics to an ancient myth. He shows how the myth of the initiation of the young warrior, shown by Georges Dumžil to be fundamental to the belief systems of widely distributed Indo-European peoples, was variously adapted to shape the action of texts including the Siete Infantes de Lara, the Mocedades de Rodrigo, and the Poema de Mio Cid, in which it accounts for the peculiar behavior of the Infantes de Carrin̤. Montgomery also connects the same mythic tradition to works as diverse as Tristan and the Chanson de Roland. In a preliterate society, the oral presentation of this archetypal lore required a special language capable of re-creating the ritualized behavior of the epic characters and maintaining the ceremonial tone of the performance. Focusing on the Poema de Mio Cid, Montgomery examines the ways in which the poetic language worked to evoke a feeling of group unity that absorbed the audience and still works its spell upon today's readers.

• Poema rhetoricum et rhetor poeticus: the forming of a continental humanist poetics
• Sancte Socrates, ora pro nobis: Erasmus, the Encomium moriae, and the poetics of wordplay
• Della mortal oblivione questa chiara memoria: Baldassare Castiglione, Il libro del Cortegiano, and the fiction of L'Inquiétisme
• Abstracteur de quinte essence and Docteur en médecine: Rabelais's fiction of Summa humanistica and the poetics of copia
• Post tenebras spero lucem: Cervantes, El ingenioso hidalgo, and the poetics of imitatio
• La maladie naturelle de leur esprit: contestation, subversion, and the decline of continental humanist poetics.