reste passionnante à condition que le lecteur fasse preuve de détermination. L’épilogue, bref et peu concluant, risque pourtant de le laisser perplexe. Bard College (NY) Éric Trudel Perrin, Jean-François, et Yves Citton, éd. Jean-Jacques Rousseau et l’exigence d’authenticité: une question pour notre temps. Paris: Garnier, 2014. ISBN 978-28124 -3080-0. Pp. 474. 49 a. Perrin and Citton have compiled twenty-two papers presented at a 2012 conference at Université Stendhal, Grenoble commemorating the tricentennial of Rousseau’s birth. This book’s theme treats the notion of authenticité as presented in the writings of Rousseau, of his contemporaries, and of those he influenced. It also attempts to show how Rousseau’s concept of authenticity continues to provoke thought and discussion. The selections are organized under four headings. The first section, “Confrontations,” places Rousseau’s definition of the term on a historical continuum of philosophical debate, which encompasses the ideas of both ancient and modern thinkers. Under “Tensions,” the title of the second grouping, contributors examine reactions to the theoretical, ethical, and existential contradictions prompted by authenticité and revealed in Rousseau’s works, thinking, and life. The third section focuses on the writings themselves. It is appropriately entitled “Compositions” and again targets Rousseau’s contradictions, this time, however, those penned by the author himself in various works.In the introduction,Perrin notes that if there is an authenticité in Rousseau, it can be read in the thinker’s own inconsistencies. The concluding portion “Évolutions” speaks to early influences on Rousseau’s ethic of truth and sincerity as well as his impact on literary works of the eighteenth century and beyond. Many of the most engaging essays are found in the second and third sections. For example, Antoine Lilti and John C. O’Neal tie in their reflections on authenticité to the current concepts of celebrity and media, making Rousseau and his idea of authenticity relevant to our era. Lilti underscores the obstacles that Rousseau faced as a public figure. In modern terminology, he was a star. As a victim of his own fame, he had to contend with critics who exposed contradictions between his words and actions. Consequently, he was forced to reaffirm his own sincerity in light of the public’s perception.As is the case with many of today’s public figures, Rousseau’s moral integrity, his“authenticité morale”(201) was threatened. The editors fittingly selected a related article on media and public opinion to follow. In his study, O’Neal hypothesizes Rousseau’s reaction to Facebook. Given his belief that happiness can be found only in our true or authentic selves, not in the opinion of others, Rousseau would be skeptical of the good of this cultural phenomenon. To him, it would signify an instrument of dehumanization and alienation. To Facebook’s millions of adherents, 276 FRENCH REVIEW 90.2 Reviews 277 loss of liberty matters little compared to the allure of unlimited friends and exposure that it offers. Independent Scholar Ivy Dyckman Romestaing, Alain, et Alain Schaffner, éd. Animaux d’écritures: le lien et l’abîme. Paris: Garnier, 2014. ISBN 978-2-81243-364-1. Pp. 198. 46 a. D’une grande diversité d’approches et d’objets, les contributions à ce volume ont pour préoccupation commune ce qui dans la question animale peut intensifier ou mener à ses limites la raison romanesque. Si l’enquête de ce numéro hors-série de la revue Romanesques ne se limite pas au roman (voir les belles pages d’Élisabeth Plas consacrées à Michelet naturaliste), elle envisage bien l’animal, par une attention soutenue à des questions de forme et aux possibles narratifs, en tant que problème d’écriture, et inquiétude du savoir littéraire. Les tropes, écrit Lucile Desblache au détour d’une discussion ambitieuse de l’allégorie chez Chamoiseau, sont des “instruments de prise de conscience du monde vivant”(109).Aussi certains essais du recueil, consacrés aux œuvres de Zola (Jean-Louis Cabanès), Louis Pergaud (Alain Schaffner), Maurice Genevoix (Nicolas Picard), dégagent dans les textes les voies précises d’une empathie possible, et qui incombe, face à la souffrance animale. Zola devance l...