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mass media. The first part of the book focuses on the modernist writers’ exploration of the depths of the soul or the unconscious in their representations of intra- and inter-personal dialogue. The dialogues of the inner world, streams of consciousness, reverie and hypnagogia, or simply rapt listening reveal hidden aspects of the psyche and the way the social penetrates and forms consciousness. The second part widens the scope to examine the way both authors incorporate the clamoring voices of the broader social fabric into their novels. Advertising slogans, popular music, political discourse, salon discussions, and gossip become both the substance of and a threat to their creative processes. This section of the argument makes a significant contribution to the debate about whether postmodernism is a reaction against or a continuation of modernism. Bits and pieces of popular culture, often in the form of undigested citations, play an important role in the work of Proust and even more so in Joyce. Tribout-Joseph makes the fascinating argument that they are exemplary modernists in this use of dialogue that blends high and low culture, although it would have been more convincing if the study had provided a broader ranging discussion of how other modernists had similar aesthetics. Another element of the argument that requires further elaboration is Proust’s use of pastiche. This textual practice is a significant aspect of Proust’s dialogue with other writers, whether it is a satirical aggression seeking to overcome influence or a stylistic exercise and homage as James Austin’s recent work suggests. In a certain sense, Tribout-Joseph’s reading finally brings modernism’s two great novelists together after the failed meeting at the dinner where Proust and Joyce spent only a few meaningless moments together. A deft reader of both writers with a gift for close, rhetorical readings, she convincingly shows that dialogue is a domain where both authors share some common and complimentary concerns central to their artistic projects. Yet to a certain degree, the encounter was missed again. While the argument brings out some fascinating parallels and connections in their works, Proust and Joyce are not as much in dialogue as the title might lead the reader to expect. Connections between the two authors are at times more suggested than explained due to creaky transitions and sometimes awkward prose. But these weaknesses do not undermine the original, compelling reading of dialogue in these novels that highlights the richness and complexity of both modernism and its two paragons. Fort Lewis College (CO) Nathan Guss Film edited by Michèle Bissière BERG, ROBERT J. À la rencontre du cinéma français: analyse, genre, histoire. New Haven: Yale UP, 2010. ISBN 978-0-300-15871-7. Pp. xviii + 317. $80. Longtemps ont fait défaut les ouvrages en langue française sur le cinéma hexagonal s’adressant aux étudiants anglophones. À la rencontre du cinéma français vient combler ce manque et devrait s’affirmer comme un outil de référence, tant il regorge de vertus pédagogiques. Si Berg ne cherche pas à égaler l’exhaustivité Reviews 369 historique de Republic of Images d’Alan Williams, son livre en est en quelque sorte le complément linguistique, méthodologique et pratique. En apportant aux étudiants vocabulaire et instruments analytiques, il permet l’articulation d’une pensée précise et intelligente sur le cinéma. Profondément influencé par la narratologie , l’ouvrage invite d’abord les étudiants à réfléchir aux spécificités formelles du cinéma en présentant les techniques qu’il mobilise. Celles-ci sont présentées à travers l’analyse de séquences du Fabuleux destin d’Amélie Poulain et illustrées de schémas et photographies (hélas un peu austères). L’un des principaux atouts de cette première partie (sans doute la meilleure) tient dans le soin dédié à la présentation du lexique: chaque terme est historicisé, ses emplois expliqués. On ne saurait assez souligner les bienfaits de cette approche de la langue, qui se refuse à arracher les mots aux phrases qu’ils composent (vertus également évidentes dans l’Appendice A consacrée aux métiers du cin...

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