![]() ![]() The question of how legitimacy is conferred upon the lyric subject has been reformulated according to the prevailing dictates of different literary periods. Le poète innombrable: Cendrars, Apollinaire, Jacob. As editor, De Georges-Métral deserves credit for providing an extensive range of end material-a comprehensive bibliography indices of character names, authors, and works and summaries of contributions in both French and English-that readers should find very helpful. Jacques Neefs brings the collection to a satisfying close with his engaging reading of passages from Madame Bovary, L’éducation sentimentale, and À la recherche du temps perdu alluding to the secondary emphasis of the volume, he observes:“On mesure combien le‘descriptif’transformé en prose-vision, s’ouvre ainsi à un autre type d’expérience, que l’on pourrait dire‘cézanienne’” (286). In a study of Un cœur simple that is both perceptive and gracefully written, Nadia Fartas shows how “une poétique de la simplicité se confond avec la simplicité du personnage” (256) to set the stage for the famously ambiguous ending. Readers who make their way systematically through this volume-which can be challenging at times, given the subject matter and the profusion of critical terminology-will find the last two contributions especially rewarding. In a more anecdotal manner that makes for interesting reading, MarieFran çoise Melmoux-Montaubin retraces the animated, at times heated exchanges between Jules Verne and his editor, Pierre-Jules Hetzel, over the extent and tenor of descriptive passages to be included in Voyages extraordinaires. In lieu of an abstract, here is a brief excerpt of the content: ![]()
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