Deborah Steinberger – författare

This critical edition of Françoise Pascal’s epistolary collection Le Commerce du Parnasse (Paris, 1669) highlights a rare, innovative and entertaining work by a woman writer virtually unknown today, but in her time a distinguished playwright, poet and painter.Composed of thirty-seven letters in prose and verse, Le Commerce du Parnasse is part gallant correspondence, part poetry collection, part epistolary novel. Now in its first modern edition, this fascinating text provides new insights into seventeenth-century salon life and the discourses of galanterie and préciosité.This is a volume in the series Textes littéraires/Exeter French Texts. The text, introduction and essential notes are all in French.

What do women want to read? Jean Donneau de Vise, the founder and editor in chief of Le Mercure Galant, one of France's first newspapers, was arguably the first journalist to ask this question and to recognize and capitalize upon the influence of female readers and their social networks. By including "e;custom content"e; and performing the act of listening to women, Le Mercure Galant situates itself as an intermediary, using the nouvelle as a vehicle to amplify women's voices. These fictions, presented as true stories, depict incidents and situations that women often bore silently in real life: domestic violence, romantic betrayal, dishonor, or simply loneliness. By publishing these stories alongside its chronicle of historic events, the Mercure lends credence and prestige to depictions of the private life of anonymous individuals, exploiting the ostensibly anodyne genre of "e;women's fiction"e; to disseminate modern ideas about women's agency.

What do women want to read? Jean Donneau de Vise, the founder and editor in chief of Le Mercure Galant, one of France's first newspapers, was arguably the first journalist to ask this question and to recognize and capitalize upon the influence of female readers and their social networks. By including "e;custom content"e; and performing the act of listening to women, Le Mercure Galant situates itself as an intermediary, using the nouvelle as a vehicle to amplify women's voices. These fictions, presented as true stories, depict incidents and situations that women often bore silently in real life: domestic violence, romantic betrayal, dishonor, or simply loneliness. By publishing these stories alongside its chronicle of historic events, the Mercure lends credence and prestige to depictions of the private life of anonymous individuals, exploiting the ostensibly anodyne genre of "e;women's fiction"e; to disseminate modern ideas about women's agency.

What do women want to read? Jean Donneau de Visé, the founder and editor in chief of Le Mercure Galant, one of France’s first newspapers, was arguably the first journalist to ask this question and to recognize and capitalize upon the influence of female readers and their social networks. By including “custom content” and performing the act of listening to women, Le Mercure Galant situates itself as an intermediary, using the nouvelle as a vehicle to amplify women’s voices. These fictions, presented as true stories, depict incidents and situations that women often bore silently in real life: domestic violence, romantic betrayal, dishonor, or simply loneliness. By publishing these stories alongside its chronicle of historic events, the Mercure lends credence and prestige to depictions of the private life of anonymous individuals, exploiting the ostensibly anodyne genre of “women’s fiction” to disseminate modern ideas about women’s agency.

What do women want to read? Jean Donneau de Visé, the founder and editor in chief of Le Mercure Galant, one of France’s first newspapers, was arguably the first journalist to ask this question and to recognize and capitalize upon the influence of female readers and their social networks. By including “custom content” and performing the act of listening to women, Le Mercure Galant situates itself as an intermediary, using the nouvelle as a vehicle to amplify women’s voices. These fictions, presented as true stories, depict incidents and situations that women often bore silently in real life: domestic violence, romantic betrayal, dishonor, or simply loneliness. By publishing these stories alongside its chronicle of historic events, the Mercure lends credence and prestige to depictions of the private life of anonymous individuals, exploiting the ostensibly anodyne genre of “women’s fiction” to disseminate modern ideas about women’s agency.