As Hogarth’s famous print, The Enraged Musician, makes clear, “sound” and “noise” are antithetical notions. Noise is defined negatively as a disruptive element. “It works as a deconstruction”, Paul Hegarty claims. Historically, in the Aristotelian tradition, music used to be thought of as an art based upon harmonious sound and correct proportions, that is, as fundamentally opposed to noise, which did not depend on harmony or mathematical rules. Such a conception was, however, to be gradually overruled by theories of the sublime which accomplished a shift from the object (i.e. music) to the subject (i.e. the listener). Music was gradually “freed”, as it were, from its dependence upon mathematics, and since – for Burke – terror was considered the main cause of the sublime, the temptation arose to suggest sublime terror in music by procedures of imitation of natural noises. This, however, clashed with another dominant aspect of the theories of musical expression that directed that whatever was harsh or discordant could not claim the title of “music.” This paper attempts to analyse the epistemological and aesthetic crisis that resulted from the eighteenth-century theories of expression and of the sublime in England, and which made “noise” both something that one was tempted to introduce into music to create sublime effects, as well as something that was fundamentally incompatible with harmonious sound and expression.
{"title":"The Impossible Temptation of Noise in Late Eighteenth-Century English Music","authors":"P. Dubois","doi":"10.4000/EPISTEME.1122","DOIUrl":"https://doi.org/10.4000/EPISTEME.1122","url":null,"abstract":"As Hogarth’s famous print, The Enraged Musician, makes clear, “sound” and “noise” are antithetical notions. Noise is defined negatively as a disruptive element. “It works as a deconstruction”, Paul Hegarty claims. Historically, in the Aristotelian tradition, music used to be thought of as an art based upon harmonious sound and correct proportions, that is, as fundamentally opposed to noise, which did not depend on harmony or mathematical rules. Such a conception was, however, to be gradually overruled by theories of the sublime which accomplished a shift from the object (i.e. music) to the subject (i.e. the listener). Music was gradually “freed”, as it were, from its dependence upon mathematics, and since – for Burke – terror was considered the main cause of the sublime, the temptation arose to suggest sublime terror in music by procedures of imitation of natural noises. This, however, clashed with another dominant aspect of the theories of musical expression that directed that whatever was harsh or discordant could not claim the title of “music.” This paper attempts to analyse the epistemological and aesthetic crisis that resulted from the eighteenth-century theories of expression and of the sublime in England, and which made “noise” both something that one was tempted to introduce into music to create sublime effects, as well as something that was fundamentally incompatible with harmonious sound and expression.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70105348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The golden days of vocal castrati lasted from c. 1650 -1750, when opera buffa, reform opera, and Enlightenment ideas about ‘the sound’ and ‘natural’, made the ‘unnatural’ and ‘unsound’ voice of the castrati obsolete. This article will investigate the castrato voice in eighteenth-century music on a scale from sound to unsound, using contemporary statements. It will explore the castrato voice, the vocal ideals that led to their fame and downfall, and also reveal the stigma that adhered to their presence in society, barring them from a normal social life. It will consider how the contemporaries of castrati viewed them on a scale from male to female and explain the reasons for categorizing them as a third gender.
{"title":"Voicing the Third Gender – The Castrato Voice and the Stigma of Emasculation in Eighteenth-century Society","authors":"M. Tråvén","doi":"10.4000/EPISTEME.1220","DOIUrl":"https://doi.org/10.4000/EPISTEME.1220","url":null,"abstract":"The golden days of vocal castrati lasted from c. 1650 -1750, when opera buffa, reform opera, and Enlightenment ideas about ‘the sound’ and ‘natural’, made the ‘unnatural’ and ‘unsound’ voice of the castrati obsolete. This article will investigate the castrato voice in eighteenth-century music on a scale from sound to unsound, using contemporary statements. It will explore the castrato voice, the vocal ideals that led to their fame and downfall, and also reveal the stigma that adhered to their presence in society, barring them from a normal social life. It will consider how the contemporaries of castrati viewed them on a scale from male to female and explain the reasons for categorizing them as a third gender.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70105048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reginald Scot’s The Discoverie of Witchcraft is above all remembered for its proto-anthropological approach to the question of witchcraft, while the anti-Catholicism of his books is usually played down or rapidly acknowledged as part of a general trend. And yet the author fully participates in a vast campaign of anti-Catholic propaganda fuelled by the Jesuit missions of the early 1580s and further intensified by the appointment of John Whitgift as archbishop of Canterbury in 1583. Peter Elmer has recently demonstrated that Scot was charged by Whitgift with writing a report of non-conformist activities in Kent, which begs to re-examine The Discoverie of Witchcraft not only through the anti-Catholic prism but also through an anti-puritan one. Yet Scot’s treatise shows very few traces of such an important shift in the doctrinal positions of its author who, until the arrival of Whitgift, seemed to have shared Edmund Grindal’s views by supporting tolerance and freedom of preaching. The present paper will try to show that the answer may lie in the very circumstances of its composition, written between 1582 and 1584 and published in the summer of 1584.
{"title":"From Grindal to Whitgift. The Political Commitment of Reginald Scot","authors":"Pierre Kapitaniak","doi":"10.4000/EPISTEME.1263","DOIUrl":"https://doi.org/10.4000/EPISTEME.1263","url":null,"abstract":"Reginald Scot’s The Discoverie of Witchcraft is above all remembered for its proto-anthropological approach to the question of witchcraft, while the anti-Catholicism of his books is usually played down or rapidly acknowledged as part of a general trend. And yet the author fully participates in a vast campaign of anti-Catholic propaganda fuelled by the Jesuit missions of the early 1580s and further intensified by the appointment of John Whitgift as archbishop of Canterbury in 1583. Peter Elmer has recently demonstrated that Scot was charged by Whitgift with writing a report of non-conformist activities in Kent, which begs to re-examine The Discoverie of Witchcraft not only through the anti-Catholic prism but also through an anti-puritan one. Yet Scot’s treatise shows very few traces of such an important shift in the doctrinal positions of its author who, until the arrival of Whitgift, seemed to have shared Edmund Grindal’s views by supporting tolerance and freedom of preaching. The present paper will try to show that the answer may lie in the very circumstances of its composition, written between 1582 and 1584 and published in the summer of 1584.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70105294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the decades that followed Horace Walpole’s pioneer novel of the new Gothic genre, Gothic literature would prove unruly in its evolution and would veer towards a markedly audible experience in the works of Radcliffe, Lewis and Maturin during the last decade of the eighteenth century. While these novelists honored Walpole’s thematic requisites of murder, transgression and abundant architectural entrapments (castles, abbeys, and cloisters) – these authors supplemented the visual experience with a fresh, previously unexplored ingredient: sound. What seems to emerge from these texts is a sort of Gothic soundtrack whose noise, music and voice is capable of triggering panic and ushering in greater unpredictability. While Gothicism had already existed as literary genre well beyond the firm grasp of logic and control of human law and reason, sound begins to emerge, and functions as a textual device that amplifies these notions of terror. Sound, much like the immortal bodies of evil Gothic protagonists who pass through walls and topple morality, is unable to be managed or contained. Sound wafts over walls, passes through latched doors and knows no real barrier. Specifically, Gothic novelists Radcliffe, Lewis and Maturin experiment with the potential of sound a menacing device by orchestrating cacophony, gloomy chants and disembodied voices. Unable to be governed, it is, therefore in its very essence, an additional, albeit elusive, element that fuels the genre.
{"title":"The Function of Sound in the Gothic Novels of Ann Radcliffe, Matthew Lewis and Charles Maturin","authors":"Angela M. Archambault","doi":"10.4000/EPISTEME.965","DOIUrl":"https://doi.org/10.4000/EPISTEME.965","url":null,"abstract":"In the decades that followed Horace Walpole’s pioneer novel of the new Gothic genre, Gothic literature would prove unruly in its evolution and would veer towards a markedly audible experience in the works of Radcliffe, Lewis and Maturin during the last decade of the eighteenth century. While these novelists honored Walpole’s thematic requisites of murder, transgression and abundant architectural entrapments (castles, abbeys, and cloisters) – these authors supplemented the visual experience with a fresh, previously unexplored ingredient: sound. What seems to emerge from these texts is a sort of Gothic soundtrack whose noise, music and voice is capable of triggering panic and ushering in greater unpredictability. While Gothicism had already existed as literary genre well beyond the firm grasp of logic and control of human law and reason, sound begins to emerge, and functions as a textual device that amplifies these notions of terror. Sound, much like the immortal bodies of evil Gothic protagonists who pass through walls and topple morality, is unable to be managed or contained. Sound wafts over walls, passes through latched doors and knows no real barrier. Specifically, Gothic novelists Radcliffe, Lewis and Maturin experiment with the potential of sound a menacing device by orchestrating cacophony, gloomy chants and disembodied voices. Unable to be governed, it is, therefore in its very essence, an additional, albeit elusive, element that fuels the genre.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70112921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Conscious of the difficulty of expressing sound in a culture still under the influence of a form of rationalism that privileges the sense of sight over the sense of hearing, Diderot never stopped inscribing and exploring the voice in his philosophical work and at times in his novels. This article looks at the way in which the materialist writer attempts to rehabilitate the human voice as a sign of vitality, working from the internal tension between the simultaneous presence of both negative and positive sounds, between annoyance and attraction to sounds. The article shows that Diderot experiments with the sensibility of matter in his characters, at times even describing the energy and the excess of a vibrant voice; but he also speaks about the strength of the human voice when passionate – a voice which might finally lose its perfectibility, but by the same token extracts itself from the silence imposed by the religious and political context. For Diderot, to represent the voice is thus to act both as an esthete and as an anthropologist, but it also has a political dimension.
{"title":"The Vital Dynamism of the Voice in Diderot","authors":"Hélène Cussac","doi":"10.4000/EPISTEME.1191","DOIUrl":"https://doi.org/10.4000/EPISTEME.1191","url":null,"abstract":"Conscious of the difficulty of expressing sound in a culture still under the influence of a form of rationalism that privileges the sense of sight over the sense of hearing, Diderot never stopped inscribing and exploring the voice in his philosophical work and at times in his novels. This article looks at the way in which the materialist writer attempts to rehabilitate the human voice as a sign of vitality, working from the internal tension between the simultaneous presence of both negative and positive sounds, between annoyance and attraction to sounds. The article shows that Diderot experiments with the sensibility of matter in his characters, at times even describing the energy and the excess of a vibrant voice; but he also speaks about the strength of the human voice when passionate – a voice which might finally lose its perfectibility, but by the same token extracts itself from the silence imposed by the religious and political context. For Diderot, to represent the voice is thus to act both as an esthete and as an anthropologist, but it also has a political dimension.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70104984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay aims to show how London clubs played a decisive role in the shaping of conversation into a social art. It first examines the evolution of conversation in England both as a cultural concept and as a social practice in the context of the emergence and success of club sociability over the course of the eighteenth century. Conversation was at the heart of urban sociability practices and especially flourished in the London coffee-houses of the end of the seventeenth century. At the same time, conversation was theorized, conceptualized, modeled and discussed in a prolific and varied normative literature. Was the conversation that animated the first coffee-houses of the same nature as the conversation which prevailed in the exclusive circles of the second half of the eighteenth century? This study then points at obvious dissonances between the theory and the practice of conversation within the world of London clubs. While club conversation was a rite of worldly sociability, whose refined principles clubmen were supposed to master, it often sounded far from the smooth and polite prescriptive model it was expected to conform to. To what extent was Samuel Johnson, the founder of The Club and one of the greatest conversationalists of his time, a significant agent in the transformation of conversation into a social art in itself? Finally, this analysis claims that gentlemen’s clubs contributed to shape a new model of conversation in England, in which noise and sound could co-exist and the paradoxes inherent in club conversation could be reconciled.
{"title":"Noise and Sound Reconciled: How London Clubs Shaped Conversation into a Social Art","authors":"Valérie Capdeville","doi":"10.4000/EPISTEME.1208","DOIUrl":"https://doi.org/10.4000/EPISTEME.1208","url":null,"abstract":"This essay aims to show how London clubs played a decisive role in the shaping of conversation into a social art. It first examines the evolution of conversation in England both as a cultural concept and as a social practice in the context of the emergence and success of club sociability over the course of the eighteenth century. Conversation was at the heart of urban sociability practices and especially flourished in the London coffee-houses of the end of the seventeenth century. At the same time, conversation was theorized, conceptualized, modeled and discussed in a prolific and varied normative literature. Was the conversation that animated the first coffee-houses of the same nature as the conversation which prevailed in the exclusive circles of the second half of the eighteenth century? This study then points at obvious dissonances between the theory and the practice of conversation within the world of London clubs. While club conversation was a rite of worldly sociability, whose refined principles clubmen were supposed to master, it often sounded far from the smooth and polite prescriptive model it was expected to conform to. To what extent was Samuel Johnson, the founder of The Club and one of the greatest conversationalists of his time, a significant agent in the transformation of conversation into a social art in itself? Finally, this analysis claims that gentlemen’s clubs contributed to shape a new model of conversation in England, in which noise and sound could co-exist and the paradoxes inherent in club conversation could be reconciled.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70105031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Criticism on Thomas Nashe has been notoriously preoccupied with the idea that he had nothing to say. While recent analyses have shown that his works in fact do say lots of specific things about the literary culture of his time, Nashe’s peculiar form and style remain at the centre of attention. This essay suggests that Nashe’s preoccupation with style is also what invokes a sense of commitment in his readers; by their use of the author’s persona and their often baffling narration, Nashe’s works also force the reader to consider questions of what literature is, why we read it and who has control over it. In other words, the repeated admissions of incompetence and narrative digressions have the result of engaging the readers in exercising their judgement and deliberating on aspects of style, narrative and, generally, what literature is.
{"title":"Committing Authorship: Thomas Nashe and the Engaged Reader","authors":"Per Sivefors","doi":"10.4000/EPISTEME.1065","DOIUrl":"https://doi.org/10.4000/EPISTEME.1065","url":null,"abstract":"Criticism on Thomas Nashe has been notoriously preoccupied with the idea that he had nothing to say. While recent analyses have shown that his works in fact do say lots of specific things about the literary culture of his time, Nashe’s peculiar form and style remain at the centre of attention. This essay suggests that Nashe’s preoccupation with style is also what invokes a sense of commitment in his readers; by their use of the author’s persona and their often baffling narration, Nashe’s works also force the reader to consider questions of what literature is, why we read it and who has control over it. In other words, the repeated admissions of incompetence and narrative digressions have the result of engaging the readers in exercising their judgement and deliberating on aspects of style, narrative and, generally, what literature is.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":"1-13"},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70104826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is to attract the reader’s attention on the treatment of the sounds of nature by British poets in the pre-Romantic and Romantic era. It is demonstrated that, at a time when the age-old topos of world harmony was at bay in an increasingly dechristianized Europe, poets endeavoured to revive the idea of a pact of man with nature through the notion of aural sensation. From Thomson to Keats, natural noises and sounds came to the status of traces of the transcendence. In texts such as The Task (Cowper) or “On the Power of Sound” (Wordsworth), the topos of locus amoenus and that of harmony are outlined so as to point to an evanescent unity at work in nature which it is the poet’s task to find and to bring to the knowledge of his fellow human beings. It is striking that, in forgotten fragments and major works alike, the lexical field of music as an art is omnipresent, though unobtrusive, in bucolic or georgic depictions of landscapes. Used in metaphors, it hints at natural sounds to be heard and understood as a language that man must be aware of and make his. Poetry around 1720-1830 thus invited each of its readers, as an individual, to open themselves to the mystery underlying the sensible world and to re-enchant their vision of this world… through listening.
{"title":"On the Use and Representations of Sound in British Pre-Romantic and Romantic Poetry, or “On The Power of Sound”","authors":"Claire Téchéné","doi":"10.4000/EPISTEME.1032","DOIUrl":"https://doi.org/10.4000/EPISTEME.1032","url":null,"abstract":"The aim of this paper is to attract the reader’s attention on the treatment of the sounds of nature by British poets in the pre-Romantic and Romantic era. It is demonstrated that, at a time when the age-old topos of world harmony was at bay in an increasingly dechristianized Europe, poets endeavoured to revive the idea of a pact of man with nature through the notion of aural sensation. From Thomson to Keats, natural noises and sounds came to the status of traces of the transcendence. In texts such as The Task (Cowper) or “On the Power of Sound” (Wordsworth), the topos of locus amoenus and that of harmony are outlined so as to point to an evanescent unity at work in nature which it is the poet’s task to find and to bring to the knowledge of his fellow human beings. It is striking that, in forgotten fragments and major works alike, the lexical field of music as an art is omnipresent, though unobtrusive, in bucolic or georgic depictions of landscapes. Used in metaphors, it hints at natural sounds to be heard and understood as a language that man must be aware of and make his. Poetry around 1720-1830 thus invited each of its readers, as an individual, to open themselves to the mystery underlying the sensible world and to re-enchant their vision of this world… through listening.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":"13"},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70104653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The journals in which James Boswell records his experiences in London between 1760 and 1795 are a rich source of information regarding the sounds that were generated by and heard within the city. They are also highly revealing in terms of the manner in which a single individual listened, thought about sound and noise, and represented this form of sensory experience through writing. This article makes the case that a productive approach to this material is to examine it in relation to the widely used but often loosely defined concept of the soundscape. It draws together the various dimensions of this concept, including the ideas of immersion, selection, regulation, manipulation, and imagination, and brings them into dialogue with existing scholarship on Boswell’s construction of self through writing, and on the influence of The Spectator project and the role ascribed to the senses within the philosophical writing of Locke and Hume, both on him personally and eighteenth-century society more broadly. In so doing, it argues that we can nuance our understanding of Boswell in relation to others, himself, and the world and can identify patterns regarding the relationship between Boswell’s external and internal experience as they change over time.
James Boswell在日记中记录了他在1760年到1795年间在伦敦的经历，这是一个丰富的信息来源，关于这个城市产生的声音和听到的声音。它们还高度揭示了一个人倾听、思考声音和噪音的方式，并通过写作来表现这种形式的感官体验。本文提出了一种有效的方法来研究这种材料与广泛使用但通常定义松散的音景概念的关系。它汇集了这一概念的各个方面，包括沉浸、选择、调节、操纵和想象的想法，并将它们与现有的关于Boswell通过写作构建自我的学术研究、《旁观者》项目的影响以及洛克和休谟哲学写作中赋予感官的角色进行了对话，无论是对他个人还是更广泛的18世纪社会。通过这样做，它认为，我们可以在与他人、他自己和世界的关系中细微地理解Boswell，并可以识别Boswell的外部和内部经验之间的关系模式，因为它们随着时间的推移而变化。
{"title":"Boswell in London: An Eighteenth-Century Soundscape Study","authors":"L. Davies","doi":"10.4000/EPISTEME.1046","DOIUrl":"https://doi.org/10.4000/EPISTEME.1046","url":null,"abstract":"The journals in which James Boswell records his experiences in London between 1760 and 1795 are a rich source of information regarding the sounds that were generated by and heard within the city. They are also highly revealing in terms of the manner in which a single individual listened, thought about sound and noise, and represented this form of sensory experience through writing. This article makes the case that a productive approach to this material is to examine it in relation to the widely used but often loosely defined concept of the soundscape. It draws together the various dimensions of this concept, including the ideas of immersion, selection, regulation, manipulation, and imagination, and brings them into dialogue with existing scholarship on Boswell’s construction of self through writing, and on the influence of The Spectator project and the role ascribed to the senses within the philosophical writing of Locke and Hume, both on him personally and eighteenth-century society more broadly. In so doing, it argues that we can nuance our understanding of Boswell in relation to others, himself, and the world and can identify patterns regarding the relationship between Boswell’s external and internal experience as they change over time.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70104759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the discovery of a Shakespeare First Folio in Saint-Omer (in northern France), in a city library that had integrated the library of the former English Jesuit College of St Omers at the French Revolution, scholars have been speculating about Catholic interest in Shakespeare. In an article published in May 2015 in Etudes Episteme, Line Cottegnies and Gisele Venet studied the annotations in the Folio and described, among other things, the curious marking of the book, the letters PS hand-pressed repeatedly throughout at regular intervals. Since then, other similarly-marked books, six in total to date, have emerged in the Saint-Omer rare books collection, and allow us to suggest that the letters PS stand for “Praefectus/i Studiorum”, and that the marked books were placed in a Prefect of Studies’ reserve. This short article mainly aims at describing the PS-marked books that have been identified. We suggest that the marking indicates that PS-marked books were kept separate from the main communal library. This raises in turn some interesting questions about the juxtaposition of the Folio with the other PS-marked books, and this note offers some tentative suggestions to try and explain why it was thus withdrawn from circulation and placed in a reserve or special collection of a Prefect of Studies.
{"title":"New Discoveries about the Saint-Omer Folio: The Signification of the PS Stamp","authors":"L. Cottegnies, Rémy Cordonnier","doi":"10.4000/episteme.1089","DOIUrl":"https://doi.org/10.4000/episteme.1089","url":null,"abstract":"Since the discovery of a Shakespeare First Folio in Saint-Omer (in northern France), in a city library that had integrated the library of the former English Jesuit College of St Omers at the French Revolution, scholars have been speculating about Catholic interest in Shakespeare. In an article published in May 2015 in Etudes Episteme, Line Cottegnies and Gisele Venet studied the annotations in the Folio and described, among other things, the curious marking of the book, the letters PS hand-pressed repeatedly throughout at regular intervals. Since then, other similarly-marked books, six in total to date, have emerged in the Saint-Omer rare books collection, and allow us to suggest that the letters PS stand for “Praefectus/i Studiorum”, and that the marked books were placed in a Prefect of Studies’ reserve. This short article mainly aims at describing the PS-marked books that have been identified. We suggest that the marking indicates that PS-marked books were kept separate from the main communal library. This raises in turn some interesting questions about the juxtaposition of the Folio with the other PS-marked books, and this note offers some tentative suggestions to try and explain why it was thus withdrawn from circulation and placed in a reserve or special collection of a Prefect of Studies.","PeriodicalId":40360,"journal":{"name":"Etudes Episteme","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2016-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70104842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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