980 Reviews of 1602 ([Geneva]: heirs of Eustace Vignon), an index of Biblical quotations and allusions, an index of proper names, and finally a copious bibliography. The volume bodes well for this new critical edition of Marguerite's complete works. University of Wales, Lampeter T. Peach Noel Du Fail: conteur. By Marie-Claire Bichard-Thomine. Paris: Champion. 2001. 627 pp. ?89.95. ISBN 2-7453-05271-1. Hitherto, Du Fail has received rather limited scholarly attention. Lack of modern editions may have deterred interest; equally discouraging, perhaps, has been the view that he was a slavish imitator of Rabelais (a 'singe', according to Etienne Pasquier). This book, which is based on a doctoral thesis, is therefore particularly welcome. The firstpart, on 'Noel Du Fail, son texte et son lecteur', places the writer's works in relation to various genres or traditions, particularly the facetie and the dialogue. The second part, on the 'Architecture de l'ceuvre', gives detailed structural analyses. The third part, 'Des recits de paroles: les langages de Noel Du Fail', examines the author's various styles. Extensive appendices catalogue themes, crucial literary terms such as conte, proverbial sayings, figurative expressions, and jests in Du Fail's fiction There are also two helpful indices. As his works appeared over a long period (the Propos rustiques in 1547, the Baliverneries d'Eutrapel in 1548, the Contes et discours d'Eutrapel in 1585), the book emphasizes the writer's development. Thus, it highlights changes in the balance and relationship between the narrative and discursive components: the Propos are largely descriptive, and pure narration is relatively scarce (p. 150); the Contes et Discours, on the other hand, are dominated by storytelling and dialogue (p. 185). Similarly, the language of the works changes: the Propos have an oral, popular character; the Contes et Discours are less oral and reveal a culture which is more, though not exclusively , 'savante et livresque' (p. 288). The most informative part of the study is no doubt this examination of Du Fail's language and style, notably his use of imagery and proverbial expressions: as the critic says, 'ce foisonnement de metaphores et de comparaisons empruntees a l'univers du quotidien' creates 'toute la saveur' of his manner (p. 303). Obviously, some findings are less novel than others: it is, for ex? ample, quite interesting but hardly surprising to see confirmation of the influence of Rabelais on Du Fail. Inevitably, too, in such a substantial work, peripheral queries arise: is it, for instance, reasonable to classify among 'recueils exclusivement narratifs ' the Heptameron, which contains extensive discussions (p. 139)? These, however, are small matters. Marie-Claire Bichard-Thomine's work is clear, unpretentious, and undoubtedly a major contribution to the appreciation of DuFail. The material production of the book is good. The few misprints that catch the eye include: 'tachees' fortachees(p. 25); 'esquisses' foresquissees(p. 71); 'al'avis' foral'envi (p. 72); 'aparti' fora partie(p. 267); 'quelques 140' (p. 310); 'jeunes' forjeunes(p. 325). University of Newcastle upon Tyne Ian R. Morrison Excentricite et humanisme: parodie, derision et detournement des codes a la Renais? sance. By Patricia Eichel-Lojkine. (Cahiers d'Humanisme et Renaissance, 63) Geneva: Droz. 2002. 352 pp. SwF 69.90; ?47.16. ISBN 2-600-00642-7. Excentricite et humanisme begins by suggesting that Renaissance conceptions of the cosmos influence the way in which the Renaissance subject distances himself from MLR, 98.4, 2003 981 dominant discourses: in the hierarchical world of the Greeks, deviance 'ne peut s'exprimer qu'au moyen d'un depassement par le haut [. . .] ou par le bas'; in the Renaissance, by contrast, deviance is modelled upon the elliptical, or excentrique, movement of the sun and planets in relation to a central point. The idea that a cul? ture's model of cosmic space could affect the way it structures its discursive world is a fascinating one. However, after the opening section, excentriciteand other spatial figures?renversement, deportement,superposition, decalage, and decentrement?serve as heuristic models forPatricia Eichel-Lojkine's reader. The spatial analogy inherent in excentricite is sidelined: excentricite and excentrique are apparently used to denote any representation which adopts a critical stance vis-d-vis a dominant...