Considering Sappho as a creature of translation and interpretation, a figment whose features have changed with social mores and aesthetics, Joan DeJean constructs a fascinating history of the sexual politics of literary reception. The association of Sappho with female homosexuality has made her a particularly compelling and yet problematic subject of literary speculation; and in the responses of different cultures to the challenge the poet presents, DeJean finds evidence of the standards imposed on female sexuality through the ages. She focuses largely though not exclusively on the French tradition, where the Sapphic presence is especially pervasive. Tracing re-creations of Sappho through translation and fiction from the mid-sixteenth century to the period just prior to World War II, DeJean shows how these renderings reflect the fantasies and anxieties of each writer as well as the "mentalite" of his or her day.

The concept of obscenity is an ancient one. But as Joan DeJean suggests, its modern form, the same version that today's politicians decry and savvy artists exploit, was invented in seventeenth-century France.
"The Reinvention of Obscenity" casts a fresh light on the mythical link between sexual impropriety and things French. Exploring the complicity between censorship, print culture, and obscenity, DeJean argues that mass market printing and the first modern censorial machinery came into being at the very moment that obscenity was being reinvented--that is, transformed from a minor literary phenomenon into a threat to society. DeJean's principal case in this study is the career of Moliere, who cannily exploited the new link between indecency and female genitalia to found his career as a print author; the enormous scandal which followed his play "L'ecole des femmes" made him the first modern writer to have his sex life dissected in the press.
Keenly alert to parallels with the currency of obscenity in contemporary America, "The Reinvention of Obscenity" will concern not only scholars of French history, but anyone interested in the intertwined histories of sex, publishing, and censorship.

As the end of the century approaches, many predict our fin de siecle will mirror the nineteenth-century decline into decadence. But a better model for the 1990s is to be found, according to Joan DeJean, in the culture wars of France in the 1690s--the time of a battle of the books known as the Quarrel between the Ancients and the Moderns.
DeJean brilliantly reassesses our current culture wars from the perspective of that earlier fin de siecle (the first to think of itself as such), and rereads the seventeenth-century Quarrel from the vantage of our own warring "ancients" and "moderns." In so doing, DeJean shows that a fin de siecle taking place in the shadow of culture wars can be more a source of constructive cultural revolution than of apocalyptic gloom and doom. Just as the first fin de siecle's battle of the books served as the spark that set off the Enlightenment, introducing radically new sexual and social politics that laid the groundwork for modernity, so can our current culture wars result in radical, liberating changes--if we take an active stand against our own "ancients" who seek to stifle such reforms.

In this book, the author argues that women writers were the originators of the modern novel in France. This book gives readers of those novels an understanding of the subversive tradition in which they were created. The author portrays the involvement of women writers in the body politic and in the politics of the body as their struggle for increased control over the plots of their lives and fictions.

Tender Geographies offers a new version of literary history by arguing that French women writers were the originators of the modern novel. Joan DeJean exposes the gender politics of canon formation in France.During what is considered the Great Century of French Letters (1630-1715), women writers were active in numbers unheard of before or since. Featuring the best known early women novelists--ScudA(c)ry and Lafayette-- Tender Geographies repositions literary women in their contemporary context. DeJean demonstrates that women's writing was widely thought to convey a politically and socially subversive vision. Originally considered a threat to Church and State, women's novels were deliberately represented as innocent love stories by the first official literary historians and subsequently consigned to oblivion. DeJean demonstrates that the novel owes its origins to a thoroughly political act; the decision by women to make the genre a revolutionary force.

What makes fashionistas willing to pay a small fortune for a particular designer accessory? Why does a special occasion only become really special when a champagne cork pops? Why are diamonds the status symbol gemstone, instantly signifying wealth, power, and even emotional commitment? Writing with great elan, one of the foremost authorities on seventeenth-century French culture provides the answer to these and other fascinating questions in her account of how, at one glittering moment in history, the French under Louis XIV set the standards of sophistication, style, and glamour that still rule our lives today. Joan DeJean takes us back to the birth of haute cuisine, the first appearance of celebrity hairdressers, chic cafes, nightlife, and fashion in elegant dress that extended well beyond the limited confines of court circles. And Paris was the magical center -- the destination of travelers all across Europe. Full of wit, dash, and verve, The Essence of Style will delight fans of history and everybody who wonders about the elusive definition of good taste.

One of the most popular works of the eighteenth century, Lettres d'une Peruvienne appeared in more than 130 editions, reprints, and translations during the hundred years following its publi cation in 1747. In the novel the Inca princess Zilia is kidnapped by Spanish conquerors, captured by the French after a battle at sea, and taken to Europe. Graffigny's brilliant novel offered a bold critique of French society, delivered one of the most vehement feminist protests in eighteenth-century literature, and announced--fourteen years before Rousseau's Julie, or the New Eloise--the Romantic tradition in French literature."

As the end of the century approaches, many predict our fin de siecle will mirror the nineteenth-century decline into decadence. But a better model for the 1990s is to be found, according to Joan DeJean, in the culture wars of France in the 1690s--the time of a battle of the books known as the Quarrel between the Ancients and the Moderns.
DeJean brilliantly reassesses our current culture wars from the perspective of that earlier fin de siecle (the first to think of itself as such), and rereads the seventeenth-century Quarrel from the vantage of our own warring "ancients" and "moderns." In so doing, DeJean shows that a fin de siecle taking place in the shadow of culture wars can be more a source of constructive cultural revolution than of apocalyptic gloom and doom. Just as the first fin de siecle's battle of the books served as the spark that set off the Enlightenment, introducing radically new sexual and social politics that laid the groundwork for modernity, so can our current culture wars result in radical, liberating changes--if we take an active stand against our own "ancients" who seek to stifle such reforms.