The late-nineteenth century in Europe was a period of profound political, social, and technological change. One result of these changes was the rise in France of an upper-bourgeois bohemian class. Many of its members stimulated interest in unique forms of artistic expression such as illustrated books. On account of their influence, an atmosphere of intense bibliophilic activity came to define French culture at the turn of the century. The New Bibliopolis explores the role of amateurs in promoting the book arts in France during this period. Drawing on extensive original research, Willa Z. Silverman looks at the ways in which book collectors supported print culture. She shows how, through the admiration demonstrated by collectors for this medium, print came to be a crucial part of popular conceptions of aesthetics. As collectors, publishers, authors, designers, and directors of bibliophile societies, reviews, and small presses, these book lovers became passionate and prolific interlocutors of the printed word in a uniquely artistic epoch. Silverman analyzes subjects as diverse as the relationship between book collecting and aesthetic and cultural currents such as Symbolism; the gendered nature of book collecting; the increased collaboration between authors and illustrators; and the marketing of fine books at international exhibits. The New Bibliopolis is an important contribution to the study of book history, French sociocultural history, and fine and decorative arts.

René Théophile Hyacinthe Laennec (1781-1826) is best known for his invention of the stethoscope, one of medicine's most powerful symbols. Histories, novels, and films have cloaked his life in hagiography and legend. Jacalyn Duffin's fascinating new biography relies on a vastly expanded foundation of primary source material, including thousands of pages of handwritten patient records, lecture notes, unpublished essays, and letters. She situates Laennec, the scientist and teacher, within the broader social and intellectual currents of post-Revolutionary France. Her work uncovers a complex character who participated actively in the dramatic changes of his time. Laennec's famous Treatise on Mediate Auscultation was his only published book, but two lesser known works were left in manuscript: an early treatise on pathological anatomy and a later set of lectures on disease. The three parts of Duffin's biography correspond to these books. First, she examines Laennec's student research on the emerging science of pathological anatomy, the background for his major achievement. Second, she uses his clinical records to trace the discovery and development of "mediate auscultation" (listening through an instrument, or mediator, to sounds within the human body). The stethoscope allowed clinicians to "see" the organic alterations inside their living patients' bodies. Finally, she explores the impact of auscultation on diagnostic practice and on concepts of disease. Analyzed here for the first time in their entirety, Laennec's Collége de France lectures reveal his criticism of over-enthusiastic extrapolations of his own method at the expense of the patient's story. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This 1976 book provides both a historical survey and a critical analysis of the literature in French from West and Equatorial Africa. Professor Blair begins by discussing the social, educational and political influences which led to the formation of the Negritude movement and to a flowering of French-African creative writing. This historical approach is then complemented by a study of the different literary genres. She traces the evolution of the first manifestations of literary activity in French by African writers, the written folk-tale, fable and short story, from the oral tradition of the indigenous culture, and the eventual appearance of the novel with a legendary or historical theme. The origins of French-African drama are considered for the first time, and the work of the minor poets analysed. Finally, Professor Blair attempts a definition of the French-African novel, and studies examples from three major periods from the 1930s onwards.