This 1992 book studies the importance of typographic shapes in
French Renaissance literature in the context of psychoanalysis and
of the history of printed writing. Focusing on the poetry of
Clement Marot, Rabelais's Gargantua, Ronsard's sonnets and the
Essais of Montaigne, it argues that printed characters can either
supplement or betray what they appear to articulate, revealing
compositional patterns that do not appear to be under authorial
control. Professor Conley shows that graphic forms are crucial for
the development of complex interactions of verbal and visual
materials in the early years of print culture. Marot and Rabelais
articulate a religious programme through the letter; Ronsard
conflates the arts in poetry of the French court in the middle
years of the sixteenth century; Montaigne stages the birth of the
self in print and inscribes political dimensions in the
relationship between the letter and meaning. This unconscious,
proto-Freudian writing has complex historical relations with verbal
and visual practices in the media of the twentieth century.
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