Theory In France Research Articles

“The very palpitation of life!”: “The Leaves Are Stirring” in Context

Abstract This paper describes the history of the writing and the intellectual context for Nicole Vedrès's essay “The Leaves Are Stirring.” It places Vedrès's claims about cinematic realism and montage in dialogue with canonical theorizations of film theory in France at this pivotal postwar moment, including the writing of André Bazin, André Malraux, Roger Leenhardt, and Alexandre Astruc. It draws out the points of contact between Vedrès's text and these better-known studies of film aesthetics, placing the piece in the context of contemporary aesthetic discourse and arguing for its singularity in the landscape of postwar French film writing. Opening out from this historical context, it closes by gesturing toward the modernity of Vedrès's essay in terms of more contemporary archival filmmaking, as well as thinking on the relationship between cinema and history.

Robert Frost's dramatic monologue : the two sides of the narrative in "A Servant to Servants"

The structuralist-inspired development of narrative theories in France from the late 1960s onward has spawned a whole host of opportunities to explore the way narratives function. This is precisely what Gerald Prince undertakes in his Narratology: The Form and Functioning of Narrative, in which he delineates the mutual relationship between the narrator and the narratee as two of the most important constituents in any narrative. This framework is useful for the study of Robert Frost's narrative poetry, which comprised a large part of his oeuvre at a time when the form had become marginalized due to conforming to the poetic conventions that modernism tended to undermine. This research explores Frost's modernist take on this conventional genre through a narratological study of his poem “A Servant to Servants.”

The Game Is Afoot

In this article, we are interested in exploring the history of game theory in France, and particularly the way it was received and was diffused in the 1950s. It will be shown that France was the most fertile soil in continental Europe for a multidisciplinary welcoming to game theory. Reviewing certain aspects of the intellectual trajectory of the mathematician Guilbaud, the ethnologist Lévi-Strauss and the psychanalyst Lacan, we show how each of them, in his own way, played a key role in advancing game theory: (1) Guilbaud for his constancy in disseminating game theory (and mathematics in general), (2) Lévi-Strauss for his original interpretation of game theory that had some impact on social sciences, and (3) Lacan for using the contributions of game theory. Lacan and Lévi-Strauss were particularly convincing since they were instructed on request about the principles of game theory by Guilbaud.

The Left and Henri Bergson

This article studies the polarizing role Henri Bergson played in twentieth-century political theory in France and beyond. A controversial and charismatic philosopher, Bergson’s thought traveled a notoriously convoluted itinerary. Though his critiques of scientific positivism before the First World War endeared him to Catholic intellectuals, sectors of the French left were his most committed interpreters, a fact that mystified and enraged his contemporaries. Tracing the assorted ways the left took up Bergson—from syndicalism to negritude—brings into focus the left’s historically bipolar relationship to scientific progress and its promise of emancipation. It also underscores something fundamental about the history of the twentieth-century left: It maintained an ideologically unpredictable yet indispensable concern for “lived experience.”

Jean Dubois, un passeur ?

Dans le contexte intellectuel français du début des années 1960, où la linguistique américaine, en particulier sa mathématisation, est encore largement méconnue, Jean Dubois a largement contribué à l’introduction en France de l’analyse distributionnelle et de l’analyse de discours harrissiennes, de la théorie de l’information, enfin de la grammaire générative. Dans cet article, nous retracerons les premiers travaux de Jean Dubois des années 1960-70 ayant contribué à cette diffusion, en tentant d’évaluer son rôle en tant que passeur ou bien plus simplement de facilitateur. Dans cette perspective, nous examinerons sa thèse sur le lexique où l’analyse distributionnelle est appliquée pour la première fois en France, ses travaux inspirés des travaux de la conception de Roman Jakobson de la théorie de l’information, enfin ses travaux sur l’analyse de discours largement inspirés par ceux de Zellig S. Harris ; travaux alimentés et complétés par son important travail d’édition des traductions des travaux américains. Afin d’évaluer son rôle de passeur, nous étudierons la façon dont ses disciples immédiats ont repris ou poursuivi ses travaux dans le domaine de l’analyse de discours.

On The Nineteenth-century Origins Of Significance Testing And P-hacking

This paper examines the development of Laplacean practical certainty from 1810, when Laplace proved his central limit theorem, to 1925, when Ronald A. Fisher published his Statistical Methods for Research Workers. Although Laplace's explanations of the applications of his theorem were accessible to only a few mathematicians, expositions published by Joseph Fourier in 1826 and 1829 made the simplest applications accessible to many statisticians. Fourier suggested an error probability of 1 in 20,000, but statisticians soon used less exigent standards. Abuses, including p-hacking, helped discredit Laplace's theory in France to the extent that it was practically forgotten there by the end of the 19th century, yet it survived elsewhere and served as the starting point for Karl Pearson's biometry. The probability that a normally distributed random variable is more than three probable errors from its mean is approximately 5%. When Fisher published his Statistical Methods, three probable errors was a common standard for likely significance. Because he wanted to enable research workers to use distributions other than the normal – the t distributions, for example – Fisher replaced three probable errors with 5%. The use of after Fisher differs from its use by Pearson before 1920. In Pearson's Biometrik}, a significant difference was an observed difference that signified a real difference. Biometrika's authors sometimes said that an observed difference is likely or very likely to be significant, but they never said that it is very significant, and they did not have levels of significance. Significance itself was not a matter of degree. What might this history teach us about proposals to curtail abuses of statistical testing by changing its current vocabulary (p-value, significance, etc.)? The fact that similar abuses arose before this vocabulary was introduced suggests that more substantive changes are needed.

Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples by Peter van Tour

Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. By Peter van Tour. (Acta Universitatis Upsaliensis; Studia Musicologica Upsaliensia, no. 25.) Uppsala: Uppsala Universitet, 2015. [318 p. ISBN 9789155491970. $82.50.] Music examples, companion Web sites, tables, appendices, bibliography, index.The compositional, cognitive, and pedagogical history of eighteenth-century music and musicians has experienced a groundswell in contemporary scholarship. Still in its nascence a few short decades ago, several important studies have propelled these challenging topics to a position of prominence in the field (Robert O. Gjerdingen, Music in the Galant Style [New York: Oxford University Press, 2007]; Rosa Cafiero, Early Reception of Neapolitan Partimento Theory in France: A Survey, Journal of Music Theory 51, no. 1 [2007]: 137-59; and Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice [New York: Oxford University Press, 2012]; to name but a few). As the de facto nucleus of eighteenth-century musical training, Naples and its population of teachers and composers have garnered particular attention. Unlike their French and German contemporaries, who penned lengthy treatises, Neapolitan musicians left precious little prose or explication con- cerning their work for posterity; an eighteenth-century Neapolitan treatise often contains little more than opaque examples and exercises in composition or improvisation, rendering a rich historiography exceedingly difficult.A portion of this historiography is precisely what Peter van Tour constructs in his 2015 dissertation, Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples, published by Acta Universitatis Upsalienis as number 25 of the series Studia Musicologica Upsaliensia. This important volume elucidates complex relationships among a web of eighteenth-century primary sources and historical accounts, many of which have been previously misunderstood, misattributed, or given little attention. The clarification and nuance that Counterpoint and Partimento provides is essential to a deep understanding of the methods and materials of Neapolitan musical training.As Giorgio Sanguinetti admits in The Art of Partimento, the very act of defining is a tricky endeavor, given that Italian treatises rarely provide satisfactory definitions themselves. The effective working definition that he proposes is potential musical works; that is, while a partimento is most often a bass line, it also contains complex implications for voice leading, melody, and even imitation (Sanguinetti, pp. 167, 11). Van Tour defines his primary terms (counterpoint and partimento) as follows:By 'counterpoint' I mean the process of conceiving independent melodic progressions according to principles fixed beforehand, both written and improvised, in two or more parts, freely or against pre-existing material, such as a cantus firmus, or a soggetto cavato, a partimento bass, a melody, the hexachordal scale, etc. 'Partimento' is understood as a notational device, commonly written on a single staff in the F clef, either figured or unfigured, applied both in playing and in writing activities, and used for developing skills in the art of accompaniment, improvisation, diminution and counterpoint. (p. 19)In light of its various purposes and deployments, van Tour traces the essential paths toward partimento, including practical exercises at the keyboard, diminution, and acquiring contrapuntal skills such as invertible counterpoint, imitation, and fugue (p. 20).As he situates his research in the context of existing scholarship, van Tour argues that previous studies of various methods and materials utilized at Neapolitan conservatories have, in some cases, reached insufficient depth. In particular, he addresses Jesse Rosenberg's 1995 dissertation, in which Rosenberg tackles the specific characteristics of the two rival Neapolitan schools: one following the teachings of Francesco Durante (1684-1755) and the other following the teachings of Leonardo Leo (1694-1744) (Jesse Rosenberg, Experimental Music of Pietro Raimondi [Ph. …

Inventing the Spectator: Subjectivity and the Theatrical Experience in Early Modern France

Joseph Harris. Inventing the Spectator: Subjectivity and the Theatrical Experience in Early Modern France. Oxford University Press, 2014. 304 pp. $85.00 USD, £55 (hardback). ISBN 9780198701613.Inventing the Spectator by Joseph Harris a lucid study of how early modern theorists conceptualized the spectator's experience with performances and literature. The author covers a wide range of drama theory in France from the first decades of the 1600s to the pre-Revolutionary period. By focusing on the relationships between subjectivity and theatre, Harris demonstrates that dramatic theory can offer privileged insight into the supposedly universal nature of human psychology (7). The author provides new insights into famous French theorists and dramatists (D'Aubignac, Corneille, Diderot, and Rousseau, for example) and brings to light the innovations of overlooked writers, such as Jean-Baptiste Dubos, Jean Chapelain, and Rene Rapin. Harris' writing clear and refreshing; he helpfully guides the reader through complex arguments without jargon or repetition.Harris' book perhaps the past decade's most exhaustive study of French theory for two reasons: first, he investigates theories from both classical and Enlightenment traditions, whereas most scholars separate the two (e.g., Georges Forestiers and John Lyons' recent work on the seventeenth century, or Pierre Frantz' and Scott Bryson's work on the eighteenth century); second, Harris examines both pro-theatrical (Corneille, Dubos, Diderot) and anti-theatrical (Pierre Nicole, Jacques-Benigne Bossuet, Bernard Lamy) conceptions of the spectating experience; most accounts of drama focus only on the former.Inventing the Spectator unfolds in eight chapters, several of which investigate the theories of specific writers, like D'Aubignac, Corneille, Dubos, Rousseau, and Diderot; other chapters discuss key emotional states of spectating, such as enthrallment, intellect, and identification. Despite the neat separation of ideas and authors in the table of contents, a few theoretical currents cut across most chapters. For example, Harris provides a particularly strong analysis of identification-a psycho-dramaturgical concept about which he has already published several articles. The author proves that identification far more complex than mere shared feelings between the members of the audience and the characters on stage. Several authors indeed present identification in this basic schema (D'Aubignac, for example), however, as Harris proves, identification far more variegated and complex in most theories at the time. Corneille, for example, undergirds his theory of identification in a set of a priori expectations by the spectator that are then met (or not) by the dramatist (96); while for Rousseau, identification less a function of illusion on stage than of an ideology inherent to theatre and theatrical life (207).In his chapter on Diderot, Harris proves that the model of identification proposed by the philosophe not in fact like the individualized, psychological connection between character and spectator that critics, both past and present, commonly associate with the drame. Instead, Diderot's identificatory scheme is metonymic rather than metaphorical; the spectator recognizes a broadly cognate self or neighbour in the character rather than wholly replacing one identity with another; and this operation succeeds, according to Harris, owing to the drame 's projection of a shared social context (243). …

Tel Quel 1967: Theory as Excess

Tel Quel 1967Theory as Excess Patrick Ffrench One of the nodal moments of the “time of theory” as it has been problematically baptized came with the publication of the suitably titled “Programme” by Philippe Sollers in his book L’Écriture et l’expérience des limites and in the quarterly review Tel Quel, issue thirty-one, in Autumn 1967. The text began with a capitalized demand which articulated the agenda announced by its title: “UNE THÉORIE D’ENSEMBLE DEMANDE À ÊTRE ÉLABORÉE, PENSÉE À PARTIR DE LA PRATIQUE DE L’ÉCRITURE” (“Programme” 8) [“A COMPREHENSIVE THEORY DERIVED FROM THE PRACTICE OF WRITING DEMANDS TO BE ELABORATED” (“Program” 5)]. I take this statement to be symptomatic of a certain dimension of what is meant by “theory.” Evidently, the term has a wider semantic range and pertains to a deeper historical periodization than can be comprised within the scope of this article, but I would contend that this statement and this moment are crucial in the delineation and the fortunes of what we now think of and practice or fail to practice as theory. What I mean is that Tel Quel defined a certain notion of theory, that this definition had its part to play in what has become of theory, and that revisiting it can suggest what we might now do and make of theory. In the genealogy of theory in France in the 1960s in and around the review Tel Quel one sees a consistent configuration of the theory and practice of writing as an element of excess in relation to established bodies of knowledge. This excess is variously figured as “literature,” practice, supplement or truth. Here I will excavate a number of the contexts which form this genealogy, focused around Tel Quel at the critical moment of 1967/1968. At stake here is the sense of the excess of a community over and above individual authorship, as voiced in the notion of a “théorie d’ensemble”; the excess of the practice of writing which critically supersedes the “ideology” of “literature,” Tel Quel drawing here on the Althusserian account of ideology and the “theory of theoretical practice”; an epistemological shift away from the psychological and metaphysical attributes of “author” and “work” and towards the concepts of scriptural practice and of the text, but also a consistent emphasis on the excessive character of the “truth” that the practice of writing articulates over and above the knowledge of science of criticism. Through attention to the ways in which Tel Quel’s theoretical practice is articulated with Lacanian psychoanalytic [End Page 97] theory I will situate its affirmation of excess in relation to what Lacan calls “truth” in a key essay of 1966, “La Science et la vérité,” and in relation to what will emerge slightly later as the theory of the four discourses. I thus hope to argue that “theory,” as it is constituted and named at this critical juncture is both a theory of excess, and that it functions as excess. Tel Quel had previously apposed its name to Tzvetan Todorov’s collection of articles by the Russian Formalists published under the title Théorie de la littérature, which was published in the series named as the “Collection Tel Quel” in 1965. Philippe Forest, in his Histoire de Tel Quel notes that on being consulted about the collection by the then relatively eminent and avuncular Roland Barthes, the latter had advised Philippe Sollers, principal animator of the review, that Todorov’s collection and summary of the work of the Russian Formalists was disappointingly behind the more exciting theoretical advances of the moment. We can note that 1965 was the year of the publication of elements of Derrida’s “De la grammatologie” in the review Critique, which would appear in book form in 1967; 1965 was also the year of the arrival in France of Todorov’s fellow Bulgarian Julia Kristeva and the year in which Lacan’s seminar started to attract a wide non-psychoanalytic public. Sollers’s “Programme,” published in 1967, and the collective publication also titled Théorie d’ensemble of 1968 (the title signifying at once a “general theory” a “theory of the...

Resource Dependency, Institutional, and Stakeholder Organizational Theories in France, Nigeria, and India

This paper describes resource dependency, institutional and stakeholder organizational theories and how each theory might or might not work in the France, Nigeria, and India. Application of the three organizational theories demonstrates several features, including an emphasis on inter-organizational dependence for organizational survival and resolution of issues of conflicts between competing stakeholders as critical to the sustenance of organizations in all three national cultures. In relation to the institutional theory, while France is required to implement all European Union Directives and constantly put organizations under pressure to conform to these expectations, issues of poverty, nepotism, political god-fatherism, and corruption prevalent in India and Nigeria mean that organizations are not always put under as much pressure to conform to expectations.

The Reception of Peter Singer’s Theories in France

AbstractPeter Singer’s views on the status of nonhuman animals have attracted both attention and intense controversy in many Western countries, including the United States, Canada, and Germany. The reactions to his theories in France are less well known. The purpose of this paper is to present an overview of critical responses to Singer by French academics and thinkers. How have they received Singer’s contention that we must bring nonhuman animals within the sphere of moral concern? Do French scholars agree with his utilitarian argument on marginal cases, his definition of the term “person,” his defense of the Great Ape Project? Finally, is he considered in France a brilliant and groundbreaking ethicist, a dangerous extremist, or somewhere in between?

Institutional integration, health and social care policy and social welfare: an application of the ‘path dependence’ theory in France

Introduction: The PRISMA integration model is a promising method to implement integration in health and social services for elderly people. The PRISMA France study aims to investigate the implementation of this model, which relies on the establishment of advisory boards at institutional, organisational and professional levels of decision-making, in France. These boards are guided by whole systems thinking and function in a joined-up, co-ordinated manner. Method: A qualitative approach was adopted to study the model’s implementation. Analyses were based on semi-structured interviews with actors of all levels of decision-making, observations of advisory board meetings and administrative documentations. Validity was insured by triangulation methods and content saturation. Results: Our analyses revealed the complexity, instability and fragmentation of the institutional governance of publics policies for elderly people. The ‘path dependence’ to the Bismarckian system and the incomplete reforms of gerontological policies generate a cohabitation of three concurrent policies (national, regional and local) and a juxtaposition of two institutional systems (health and social care policy and social welfare). In such a context, no institution possesses sufficient authority to determine gerontological policy. Conclusion: In the light of these analyse, the particularly complex and time-consuming implementation of the PRISMA model in France can be better understood.

The recepetion of Peter singer´s theories in France

Peter Singer’s views on the status of animals, the sanctity of human life, and world poverty have attracted both attention and intense controversy in many Western countries, including the United States, Canada, and Germany. The reactions in France to his theories are less well-known. The purpose of this paper is to present an overview of critical responses to Singer by French academics and thinkers. How have they received Singer’s contention that we must bring nonhuman animals within the sphere of moral concern? How has his claim been received according to which we must recognize that the worth of human life varies? Do French scholars agree with his utilitarian views on abortion, euthanasia, infanticide, his defi nition of the term “person”? Finally, is he considered in France as a brilliant and groundbreaking ethicist, as a dangerous extremist, or somewhere in between

Bloco de constitucionalidade e princípios constitucionais: desafios do poder judiciário

The Parliament sovereignty, in its 18th and 19th century model, has been substituted by the constitution supremacy. The dogma of separation of powers and the blind submission of judges to the written law has been replaced by the prevalence of fundamental rights, the expansive strength of which has been recognized by the Federal Constitution of 1988, by incorporating the constitutional block theory in its text (art. 5o, §2o). That innovation has intensified the discussion about Judiciary legitimacy to concretize constitutional principles. In that context, this paper aims to discuss how judges are facing the challenge of applying constitutional principles, which are out of the constitution, but that have constitutional hierarchy, because of the constitutional block theory. With that purpose, initially, it will be presented the constitutional block theory in France and Spain, looking to demonstrate the existence of a constitutional block in Brazilian law system. After that, it will be discussed the role of the judges to concretize constitutional principles. Finally, it will be analyzed some important jurisprudence of the Federal Supreme Court about those subjects had been analyzed.

Beowulf and Poststructuralist Theory

AbstractIn this essay, I examine first the emergence of poststructuralist theory in France in the 1960s and discuss the critical and philosophical innovations of the major poststructuralists. Secondly, I investigate the reception of poststructuralist theory by literary critics in general and Anglo‐Saxonists in particular. Thirdly, I review and summarize readings of ‘Beowulf’ informed by poststructuralist theory. Finally, I suggest ways in which poststructuralist thought can continue to inform productively the study of Anglo‐Saxon literary culture.

Postmodernism and Globalization

Interest in postmodernity that has stagnated over the past decade has come to be replaced by a concern with globalization. While the two terms are often considered to be divergent there is a continuity as theoretical discourse transfers from one to the other. In what follows, we first distill the heuristic models employed by various knowledge-geographical traditions of social thought in conceptualizing postmodernism. We then transpose these models into recent debates on globalization. Globalization theory has become the provence of British and American theorists because of a contiguity that extends back to a propitious model employed to understand postmodernism. Globalization theory in France and Germany are largely non-existent or tangential for similar reasons that find opposite tendencies. The spatial and temporal aspect inherent to both the modern and postmodern indicates that both already present a stance on globalization. Among the key factors predicting the fortunes of heuristic models is the continuation of classical theoretical concerns in the present situation of globalization. Post-classical tendencies in heuristic models indicate that more cloistered postmodern concerns do not transfer well to globalization. Those heuristic models that conceive of a postmodernist break are those whose application to present instantiations of globalization is subsequently limited.

Jole Shackelford, A philosophical path for Paracelsian medicine: the ideas, intellectual context, and influence of Petrus Severinus (1540–1602), Acta Historica Scientiarum Naturalium et Medicinalium, vol. 46, Copenhagen, Museum Tusculanum Press, 2004, pp. 519, DKK 500, £45.00, $91.00, €71.00 (hardback 87-7289-817-8).

Jole Shackelford, A philosophical path for Paracelsian medicine: the ideas, intellectual context, and influence of Petrus Severinus (1540–1602), Acta Historica Scientiarum Naturalium et Medicinalium, vol. 46, Copenhagen, Museum Tusculanum Press, 2004, pp. 519, DKK 500, £45.00, $91.00, €71.00 (hardback 87-7289-817-8). - Volume 51 Issue 1

A Comparison of Two Cultural Approaches to Mathematics

Many people would like to know where scientific ideas come from and how they arise. In the case of mathematics, new ideas often come in the form of new “mathematical objects”: groups, vector spaces, sets, etc. Some people think these new objects are invented, others that they are discovered. By exploring the birth of descriptive set theory in France and Russia in the period 1890–1930 we show that the leading French mathematicians worked within a rational, secular worldview that made them doubt the legitimacy of infinite sets, particularly nondenumerable ones; on the other hand, the creators of the famous Moscow school of mathematics, particularly those who subscribed to a religious doctrine known as “name‐worshipping,” believed that humans had absolute freedom to invent mathematical objects. Partly as a result of their different cultural environments, the French and the Russians took different approaches to the same problem. In the end the Russians created a new field, descriptive set theory, at a time when the French remained hesitant.

Horror and the Everyday in Post-Holocaust France

The recent proliferation of studies of French representations of the Holocaust, dominated by trauma studies and postmodern theory, has tended to privilege the survivor testimony of Robert Antelme (author of L'Espèce humaine), the critical work of Maurice Blanchot on the unnameable and a Levinassian ethics of the other. In this article I would like to focus on a different strand in post-Holocaust art and theory in France in which the significant imaginative thinker aiming to shape a new aesthetic vision is not Blanchot but Alain Resnais's collaborator on Nuit et brouillard, Jean Cayrol. Through an analysis of Resnais's film (1955), I will consider ways in which the interplay between everyday life and horror, and especially the role of objects in this process, are central to the emergence of a reshaped artistic vision in post-Holocaust France: in the words of Cayrol, an ‘art concentrationnaire … où l'invraisemblable et le naturel se confondraient’. I will then discuss the importance of an antifascist politics of representation at the heart of this artistic vision which subsequent treatments of the Holocaust have often effaced.

La Musique au temps des Encyclopédistes by Claude Dauphin (review)

MLR, 99.1, 2004 195 origin by participating willingly in colonial ventures (which included collusion in the slave trade). Overall, the Protestant refugee experience, completed in the course of the nineteenth century, constitutes mutatis mutandis an important model fordiaspora studies and offersone measure of what happens over time to a displaced community which, interestingly,frequently compared itselfas a result of its own biblical culture to the dispersal of the Jewish people. Studies of other diasporas have much to learn from mechanisms of assimilation, issues of identity,relations with indigenous inhabitants, and eventual dissolution and disappearance of communities. The policies adopted towards French Protestant refugees by host communities merit equally close study. Protestants in German lands were offered commercial and administrative privileges, helping too in the repopulation of Lithuania. At the same time, explanations for the decline of Huguenot communities must be placed in other contexts, since, as these books demonstrate, they could not escape wider historical developments, such as the Enlightenment, the more general decline of religious fervour in significant parts of continental Europe and among men. New Protestant arrivals in Germany did not lead to the refilling of the churches, with the result that members of communities looked firstto social rather than religious cohesion. These two books therefore open up a number of interesting new horizons in our consideration of the Protestant diaspora. Despite their wealth of detail and breadth of reference, it is therefore unfortunate that, except in one or two cases, a sense of strong theoretical definition is lacking in the distinctions that need to be drawn between the terms 'Refuge' and 'Diaspora', some contributors using the latter term to referto the wider dispersal of Protestants in the New World. It would also be important to establish the evolution of the terms 'immigre', 'emigre', and a fortiori'refugie'. It is clear, however, that Huguenot studies now look very different,and these two books do a wider service in reminding us of that. University of Manchester Henry Phillips La Musique au temps des Encyclopedistes. By Claude Dauphin. Ferney-Voltaire: Centre international d'etude du xvme siecle. 2001. 148 pp.; 4 b&w ills. ?30. ISBN 2-84559-010-5. Though it is not explicit in the title,this book roughly covers the period 1750 to 1772: 1750 marks the publication ofthe prospectus forthe Encyclopedie, 1772 its completion. On p. 8 Claude Dauphin further notes that the dates 1750 and 1770 correspond to the death of Bach and the birth of Beethoven respectively, between which two musical 'revolutions' took place: classicism and romanticism, not to mention Sturm und Drang. Positing an implicit link between the development of theory in France and musical style elsewhere in Europe, one could expect a book whose outlook would be cosmopolitan. In reality the focus of this work is very largely French, and while a welcome attempt is made at opening the field of enquiry (so that a brief skim through the index will throw up the names Bach, Beethoven, Bemetzrieder, Burney, Calzabigi, Corelli, etc), the six brief chapters of which this book is composed cover familiar ground, particularly since the 'temoin principal de cette periode cruciale' (p. 9) is taken?albeit in my view correctly?to be Rousseau. Furthermore, despite the presence of the Encyclopedists in the work's title, the most serious discussion of the Encyclopedie itself is delayed until Chapter 6, with the result that the study suffers markedly from a lack of clarity and direction throughout, and an uneven treatment of material. Hence Dauphin will give over three pages to a discussion of Paul Claudel, as an example of the destiny of musical drama after Rousseau's criticism, but only one page to the linguistic substratum of this criticism itself. 196 Reviews Towards the end of Chapter 1 Dauphin is at pains to point out that the variety and pluridisciplinarity of the object of study justifies some liberties with chronology, where musical works are concerned, but the works chosen sometimes fitawkwardly with the theoretical works in question. More serious is the anachronistic use of musi? cal and rhetorical terms, and particularly a seeming conflation of dessein with unite de melodie (p. 27). Chapter 2, which considers the place of music in the...