Garrod, Smith and the contributors of the volume envisage the longue durée poetics of an early modern genre. They interpret its poetics alongside its various epistemic agenda and make a case for the literary status of natural history.

L'étude des formes paradoxales chez Ménandre le rhéteur et les humanistes du XVIe siècle, Agrippa de Nettesheim, Montaigne, ainsi que chez Molière, Chamfort...

Topoisomerase enzymes – found in prokaryotes to human cells – control conformational changes in DNA and aid the orderly progression of DNA replication, gene transcription and the separation of daughter chromosomes at cell division. Several classes of anti‐cancer drugs are now recognised as topoisomerase poisons because of their ability to trap topoisomerase molecules on DNA as ‘cleavable complexes’. Understanding how drugs generate such complexes and why they are toxic to actively growing cancer cells is a major challenge for the development (...) of modern approaches to chemotherapy. (shrink)

_ Source: _Volume 35, Issue 1, pp 35 - 60 The early-modern French translations of Erasmus’ Praise of Folly show an astonishing adaptability to its ever changing readerships. Much attention has been paid recently to the two sixteenth-century translations and their intended readers—royal and bourgeois respectively. The three French translations of the seventeenth and eighteenth centuries are less known but all the more intriguing. In 1642 Folly addresses herself to the French pre-classicist readers, adepts of Richelieu’s new Académie Française—although her (...) translator, Hélie Poirier, was a Protestant refugee, recently settled in the Netherlands. In 1671 Folly seeks her readers in the Parisian salons, satirizing the same societal wrongs as her great contemporary Molière in Tartuffe and Les femmes savantes. The successful translation by Nicolas Gueudeville is also a chameleon: originally translated and printed in Leiden, the text gradually becomes more Parisian with each passing edition. Folly’s language is bowdlerized according to the principles of bienséance, and Vianen’s illustrations, based on Holbein, are discarded as rude and old-fashioned. In 1751 they are replaced by Charles Eisen’s elegant, long-limbed, periwigged figures, dressed to the latest fashion. Although she changes her name, her language, her appearance and attire, Folly remains much the same through the ages—everlasting and omnipresent, just as the vices she laughs at. (shrink)

Drawing on the classical concept of rhetorical _dispositio_, this study gives new interpretations of a number of literary texts of the French Renaissance. The often problematic ordering of these texts is studied from a variety of perspectives, historical, theoretical and cultural.