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This book offers, in each case, intimate critical readings which
spin out into broad interrogations about knowledge and experience
in early modern French literature. It considers the ineffability of
some kinds of experience alongside everyday human communication and
encounters.
French philosophical and scientific writers of the early modern
period made various use of forms of narrative language that aims to
tell a story in their texts. Equally, authors of fiction often
sought to appropriate the language and tools of philosophical and
scientific investigation. The contributions in this collection,
from some of the most distinguished and exciting scholars working
in French Studies today, aim to bring into question oppositional
relationships between terms such as 'philosophy' and 'fiction' when
these are applied to early modern texts. They consider authors as
diverse as Montaigne, Descartes, La Rochefoucauld, Mme de Villedieu
and Mme de Lafayette. If we are to be true to the early modern
period, they argue, we have to acknowledge it as a time when the
figurative, anecdotal and fictive on the one hand, and the
truth-seeking on the other, influence each other mutually. Emma
Gilby is University Lecturer in French, University of Cambridge.
Paul White is Research Associate in French, University of
Cambridge.
What is criticism? And where is it to be found? Thinking about
literature and the visual arts is found in many places - in
treatises, apologies, and paragoni; in prefaces, letters, and
essays; in commentaries, editions, reading notes, and commonplace
books; in images, sculptures, and built spaces; within or on the
thresholds of works of poetry and visual art. It is situated
between different disciplines and methods. Critical ideas and
methods come into England from other countries, and take root in
particular locations - the court, the Inns of Court, the theatre,
the great house, the printer's shop, the university. The practice
of criticism is transplanted to the Americas and attempts to
articulate the place of poetry in a new world. And commonplaces of
classical poetics and rhetoric serve both to connect and to measure
the space between different critical discourses. Tracing the
history of the development of early modern thinking about
literature and the visual arts requires consideration of various
kinds of place - material, textual, geographical - and the
practices particular to those places; it also requires that those
different places be brought into dialogue with each other. This
book brings together scholars working in departments of English,
modern languages, and art history to look at the many different
places of early modern criticism. It argues polemically for the
necessity of looking afresh at the scope of criticism, and at what
happens on its margins; and for interrogating our own critical
practices and disciplinary methods by investigating their history.
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