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Catherine Perry. Paysages du souvenir et du reve dans la chassee au bonheur chez Stendhal. When his autobiography apparently fails to recapture former experiences of bliss linked primarily to natural landscapes, Stendhal turns to fiction to translate these intense emotions. Vie de Henry Brulard (1834-36) and La Chartreuse de Parme (1839) show that Stendhalian memory constitutes itself upon literary reminiscences which mediate human proximity to the natural world while they discourage social action by enhancing contemplation. Like the autobiographical narrator, the novel's characters Fabrice and Gina approach happiness as a perpetually deferred goal of desire, lying in an unrecoverable past or an imagined future, whereas for the writer happiness consists in attaining a effective, though elusive, linguistic formulation. (In French) CP

Pierre de Ronsard's depiction of love in his 'Amours' is in part a harkening to the age of myth typical of the humanists of Renaissance France. But Ronsard's Narcissus goes beyond self-love to love of the Other and Ronsard thereby surpasses his models Petrarch and Ovid to depict love as Plato and the Neo-Platonic thinkers of Ronsard's time did. The older Ronsard developed greater confidence in the ability of creative imagination to surmount the failures in love and no longer had the need to go back to antique models. The text of the article is in French., Lorsque parait en 1553 la reedition des Amours de Ronsard, enrichie du commentaire celebre de lthumaniste Marc-Antoine de Muret, les sonnets vent precedes de plusieurs pieces liminaires, dont une preface [...]