304 EIGHTEENTH-CENTURY FICTION15:2 narratif (p. 255). Orientée vers la contestation de la forme, la veine antiromanesque trouve son apogée chez Bordeion où le lecteur est confronté à un kaléidoscope de textes (p. 286) et de fragments discursifs tels ceux de La Fausse Clélie ou du Comte de Gabalis qui interfèrent avec le récit premier. Lorsque l'auteur de Gongam évoque dans son Avertissement la liste des possibles narratifs ou des "topoï" qui sont à la disposition de l'écrivain (p. 289), on a là, dès 171 1, une étonnante préfiguration deJacques leFataliste. Dernier aspect de la métafiction envisagée par le chercheur, lesromans au second degré et les contes de fées réfléchissent sur la manière de narrer. Si, dans les premiers, l'accent se polarise sur l'activité littéraire ou scripturale pratiquée par les personnages, les conteurs s'appuyant sur des sources orales déplacent leur attention vers la réception de l'auditoire.JeanPaul Sermain nous invite à considérer le conte, par la relation qu'il entretient avec l'anecdote relatée et le merveilleux, comme une matrice du roman du XVI?G siècle (p. 429). L'enseignement moral qui en découle confirme bien son caractère métafictionnel. En resituant ainsi dans les grands lignes le parcours analytique de cette contribution, on comprend aisément son ampleur. Elle permet de mieux cerner les enjeux de la fiction narrative de cette période charnière de l'histoire littéraire. Grand oublié de la poétique, le genre romanesque hybride et proteiforme n'en finit pas de s'autocritiquer et de s'autodefinir. Saisir toutes les ramifications de cette réflexivité qui déborde le roman et essaime sous diverses configurations discursives, le défi était de taille pour Jean-Paul Sermain. Et malgré un préambule un peu hésitant et abstrait sur les niveaux de la métafiction, l'auteur a dans l'ensemble bien tenu son pari! Marie-Christine Pioffet Université York Scott Paul Gordon. The Power ofthe Passive Selfin English Literature, 1640-1770. Cambridge and New York: Cambridge University Press, 2002. xi + 279pp. US$60. ISBN 0-521-91005-1. By the time Adam Smith wrote his Wealth ofNations (1776), the autonomous self-interested individual seemed a fact of nature, and universal self-interest a logical starting point for a study of political economy. As Scott Paul Gordon points out, however, the only reason Smith could take self-interest as a given was that in the course of the previous century it had been "naturalized," replacing prior assumptions of a stable hierarchical world where everyone knew his or her place. The emergence of the rational, autonomous Enlightenment selfhas been central to teleological narratives ofhistory written from die perspective ofmodern individualist cultures. Posmiodem critiques ofindividualism have subsequendy taught us to be sceptical ofhegemonic views ofearly REVIEWS305 modern selfhood. Neither traditional nor posmiodem histories have acknowledged the strands of belief in the disinterested self that persisted alongside Enlightenment theories of universal self-interest. In this informative and illuminating study, Gordon recovers a counter-tradition of Enlightenment thought that articulated an idea of selfhood that was not self-interested and whose agency was not self-generated. Gordon locates a "discourse of passivity," which affirms "the loss rather than the assertion of agency" (p. 17), in certain strands of seventeenthcentury Protestant thought. As he explains, "the belief that one is 'acted by another' ... frees subjects from doubt over the worthiness of their actions ... and in so doing licenses, rather than precludes, acting in the world" (p. 53). In chapter 1, Gordon identifies this "passivity trope" in Cromwell's references to "a superior force that prompts his actions" and in the tradition of radical Dissenters who drew authority from a higher power when they challenged religious and political authorities. This ideal ofa radically active "passive self did not survive intact into the eighteenth century, but was transformed and reappeared in a range ofsecular writings, including moral philosophy, theatre criticism, and the sentimental novel. In chapters 2 and 3, Gordon examines the challenges to traditional discourses ofdisinterestedness in Hobbes's Leviathanand Addison and...
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