The article discusses the concept of multisensuality in the satirical prints of the Georgian era in England, focusing on how the sensory perception enhances the visual humor. Drawing upon historical and cultural contexts, this study investigates how English caricaturists employed various sensory elements, such as sight, sound, smell, taste and touch to convey satire and provoke emotional responses among viewers. Ten satirical prints by five different authors were chosen for the analysis.

ABSTRACT This paper discusses the intended argument and conceptual backgrounds of two satirical engravings published during the Truce Conflicts in the Dutch Republic (ca. 1611–1621), with a special focus on the use of fish imagery and its political implications. The case under consideration shows a now historic perception of (giant) fishes employed for disparaging purposes in the context of a deeply polarised society over issues of religious orthodoxy and toleration.

This section contains four original articles addressing the matters of interaction, coexistence and representation of the human senses in various historical and cultural contexts. The multisensory experience of the world in relations to the past, the present and the future constitutes the main theme of the selected articles. The authors analyze how, in various cultural texts and historical moments, human experience was depicted through the prism of sensory perception, sometimes combined with sensory memory and the powerfulness/powerlessness of the (non)human corporeality. (...) The authors analyze a variety of historical and cultural sources to answer the question of the impact of multisensory experience on our view of the world: in the past, the present and the future. Nina C. Rastinger in her article “Capturing Extraordinary Multisensory Experiences in Writing: Reports on Natural Disasters in an 18th Century Newspaper Corpus” deals with written representations of natural disasters, which constitute extraordinary multisensory experiences, in historical newspaper texts. Natalia Giza in her study “Multisensuality in the Satirical Prints of the Georgian Era in England” shows how sensory perception enhanced visual humor in the satirical prints of Georgian England, examining how English caricaturists used various sensory elements such as sight, sound, smell, taste, and touch. Jules Sebastian Skutta in his paper “Tactile Vision and Othering: Ethnographic Engagements and Racial Differentiations in 19th Century Travelogues” demonstrates on the basis of ethnographic travelogues from German East Africa and from the time of German colonial rule that the transmission, emergence, and dissemination of features of racial differentiation are based on the interplay of different sensory perceptions. Finally, Bartosz Mroczkowski, in the article entitled “Designing the Future Through Touch” focuses on the sense of touch in the process of designing the future. The aforementioned articles illustrate that multisensuality is a multidimensional concept that requires a thorough analysis from different academic perspectives and with the use of various methodological approaches. (shrink)

_ Source: _Volume 37, Issue 1, pp 5 - 22 Erasmus’ famous elusiveness can be linked to a marked preference for media and genres that allowed for a _persona_, a mask, behind which the ‘real’ Erasmus could disappear at will. This article seeks to identify the literary, rhetorical and above all dialectical patterns Erasmus made use of in order to separate man and argument and to distance speaker and enunciation. This does not only refer to Erasmus’ familiarity with satirical (...) and rhetorical devices, but also to his ingenious emulation of debating techniques that were common practice among the schoolmen he attacked so fervently. Erasmus’ famous ambiguity and eel-like quality is, at least in some high-profile cases, owed to his ambition of establishing declamation as an equivalent to scholastic controversial formats. Some of his most famous texts are testimony to the attempt of constructing a debating arena in print. (shrink)

An unpublished satirical work, writtenc.1848–1854, provides fresh insight into the most famous scientific voyage of the nineteenth century. John Clunies Ross, settler of Cocos-Keeling – which HMSBeaglevisited in April 1836 – felt that Robert FitzRoy and Charles Darwin had ‘depreciated’ the atoll on which he and his family had settled a decade earlier. Producing a mock ‘supplement’ to a new edition of FitzRoy'sNarrative, Ross criticized their science and their casual appropriation of local knowledge. Ross's virtually unknown work is intriguing (...) not only for its glimpse of theBeaglevoyage, but also as a self-portrait of an imperial scientific reader. An experienced merchant seaman and trader–entrepreneur with decades of experience in the region, Ross had a very different perspective from that of FitzRoy or Darwin. Yet he shared many of their assumptions about the importance of natural knowledge, embracing it as part of his own imperial projects. Showing the global reach of print culture, he used editing and revision as satirical weapons, insisting on his right to participate as both reader and author in scientific debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Deceit, Desire, and The Dunciad:Mimetic Theory and Alexander PopeAllan Doolittle (bio)Anxiety expressed over what is often termed "information overload"1 is by no means solely a phenomenon of our electronic age. Recent scholarship has traced this concern as far back as the early modern period. The increased production and dissemination of books in the sixteenth and seventeenth centuries was a source of "wonder and anxiety"2 for authors and prompted the (...) need for a "substantial reorganization of the intellectual world."3 Seventeenth-century French scholar and critic Adrien Baillet gave warning of an impending barbarism unless there was a "separating [of] those books which we must throw out or leave in oblivion from those which one should save."4 The most recognizable expression of this imperative to sort the printed wheat from the chaff comes from the voices of some of eighteenth-century England's most studied, most admired, yet also detested authors, the Scriblerians. From this celebrated literary group came "the three great Tory satires, Jonathan Swift's Gulliver's Travels, John Gay's Fables and Alexander Pope's The Dunciad."5Christian Thorne, in his discussion of these works in relation to the rise of the public sphere in early modern England, defines the Scriblerian rallying cry as a protest against "the rise of print culture... in which signification will [End Page 1] run amok, flooding the polity with an undifferentiated mass of contradictory opinions and arguments and thus corroding traditional forms of citizenship or civic virtue."6 Pope saw the deluge of aspiring authors and their printed output as a destructive force, a force that had a leveling effect on what he perceived as the traditional structure of the cultural hierarchy. In this article, I will look specifically at the career of Alexander Pope and his lifelong struggle against all but a small number of those who populated what Samuel Johnson called the "Age of Authors."Pope's career is indelibly marked with conflict. This conflict stemmed from Pope's untiring efforts to regulate the field in which he worked, to promote himself and his friends, and to do everything at his disposal to thwart the efforts of those whom he saw as threatening his literary endeavors. His adversaries, most often the professional ranks of Grub Street writers and publishers, served as fodder for Pope's satire and were deeply entwined in Pope's literary output. However, the adversaries he most wanted to be rid of—the primary target of his purposeful and brilliant satire—were not the "hackney scribblers" typical of Grub Street but those most threatening to Pope's professional writing career: "verbal critics" or literary scholars.7 The threat came in the form of the newly emerging critical techniques of philological scholarship. It is my contention that the literary scholars possessed knowledge that Pope showed himself to be desirous of, but that he was incapable of attaining.In this paper I will apply René Girard's mimetic theory both to Pope's relationships with these scholars and to his depiction of them in The Dunciad. The application of Girard's theory helps to explain Pope's motivation in writing, expanding, and obsessing over a poem that was seemingly more trouble than it was worth. The publication history of the poem, which is "exceedingly complicated,"8 "cost [Pope] as much pains as anything [he] ever wrote"9 and brought down an avalanche of ridicule and abuse on him, prompting many to wonder "what can possibly have impelled him to do what he did?"10 This article will go some distance toward answering this question and will also provide insight into the way The Dunciad operated in the service of Pope's attempt to shape the literary culture of early-eighteenth-century England. I will do what no critic to date has yet attempted: I will use Girard's theory to clarify the relationship between Pope's work with the classics and that of his rival classical scholars, and to show how these two threads are woven into his magnum opus, The Dunciad.René Girard's insightful and controversial theory of the nature and origin of human culture may be grouped into three... (shrink)

From 1897 through about 1912, film producers would shoot their footage and then make a contact print of the entire film on a roll of photographic paper. Mailed to the Library of Congress, these rolls of paper established copyright. The films document a very busy world indeed. They show people thronging streets, working, shopping; they show crowds shuffling through gates at Ellis Island or welcoming returning war heroes. More than just documentary, the films include satire ad commentary on the nature (...) of life at the turn of the last century. In these early films, which almost never run much longer than two or three minutes, the camera almost never moves—no zooms, pans, or fast cuts or clever editing. But the screens are never still, full of action and movement. They document great disasters and everyday events, the dynamic world of the turn of the last century. These very early films played almost entirely to a working class audience. Indeed, when middle class observers began noticing this new phenomenon, the “movies,” sweeping working class neighborhoods they saw it as both fast paced, as a “get thrills quick” medium that played magical games with time and space, and also as a dangerous soporific. They show a busy world, but they show confusion about what “busy” means. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"MURTHER, BY A SPECIOUS NAME": ABSALOMAND ACHITOPHEVS POETICS OF SACRIFICIAL SURROGACY Gary Ernst Roger's State University d;,uring the late 1670's and early '80s, English political satirists 'participated in the endeavors of the rival factions, Dissenter or Whig and Royalist or Tory, to effect judicial violence. While juries condemned and the hangman executed Catholics as traitors during the Popish Plot persecution, John Oldham suggests in the "Prologue' to his Satires (...) upon the Jesuits that he writes to stoke the mass hatred fueling the slayings (2: 19-22). Such animosity powered this initial Dissenter effort to exclude Charles II's Catholic brother, James Stuart, Duke ofYork, from the throne, and left more than two hundred dead.' And Dryden's vituperative response to the striking of a medal to celebrate the grand jury's dismissal of high treason charges against Anthony Ashley Cooper, Earl of Shaftesbury, The Medall (pointedly subtitledA Satire againstSedition) seems to have a clear purpose of inciting Royalists to redouble their efforts to dispatch the opposition leadertothe gallows.2 Judicial slayings ofthis kind are perhaps not surprising in these years ofcrisis and fear. Dissenters like Oldham believed that English Catholics plotted to assassinate Charles, put James on the throne, martyr Protestants with the help of foreign Catholic armies, and destroy both the Protestantfaith and English culture itself; Royalists, on the other hand, saw as ever-looming Dissenter insurrection and another catastrophic civil war to take away their property, power, and perhaps the ' For studies ofthe Plot in this political context, see Miller 169-82; Jones 197-217; Greaves 5-32, and Kenyon's complete volume. 2 Harth studies The Medall as an example of Tory propaganda against the Whigs and supportive of Royal efforts to deliver the earl to the gallows (161-9). 62Gary Ernst life ofthe king.3 Duringthe bloodshed ushering in the two party system, the fatal goals ofsatirists seem quite realistic—and indeed may have been so. Thejudicial persecution ofCatholics consumed victims until the fervorthat Oldham labors to feed burnt out; and, in November 1682, eight months after The Medall found its first audience, Shaftesbury, accused by the crown of new treasons, went into hiding soon to flee England in mortal terror of successful Royalist prosecution. The greatest political satire of this turbulent period, Absalom and Achitophel, responds directly to the recent efforts of Charles's beloved, eldest natural son, the Protestant James Scott, Duke of Monmouth—now "Fir'd with near possession of a Crown " (684)—to displace York in the line of succession. The satire revolves around a depiction ofMonmouth's "War in Masquerade," his recenttour through the west ofEngland to gauge and gain support (682-725). Despite the factthatthe satire clearly posits the threat of national catastrophe, it hardly seems at first as intent upon the death ofthis target as either The Medall or Oldham's Satires seem oftheirs. But, to be sure, it is, although Dryden—committed firstly to York and secondly to king4—carefully conceals both his methods and his intentions against Charles's son. For the purpose ofleading his audience to imitate his attack and carry it from the printed page into the world of action and the courts, he conceives apoetics ofsacrifice that screens his hostilities toward Monmouth from the eyes ofthe very persons he undertakes to mobilized. By appropriating for his satire the cultural phenomenon defined by René Girard as the "scapegoat" or "sacrificial mechanism,"5 Dryden arouses and 3 According to Kenyon, in late 1678, the Commons' inflammatory speeches and addresses to the king gave the impression in the House of Lords that the members of the Commons "seemed intent on fighting the Civil Wars all over again" (129) 4 For a fuller discussion ofDryden's commitmentto York, see McFadden 91, 111 -202; Winn 243-75, and Erskine-Hill 22-5. Daly argues that Mac Flecknoe, written some three years before the beginning ofthe Exclusion Crisis of 1679-81, is an oblique but sustained attack upon Monmouth, a result ofthe laureate's concerns about the king's bestowals ofpower upon Monmouth and the possibility ofthe bastard's eventual succession (655-76). For another discussion that focuses upon Dryden's targeting ofMonmouth m Absalom and Achitophel... (shrink)

During a smallpox epidemic in April 1721, Lady Mary Wortley Montagu asked Dr. Charles Maitland to "engraft" her daughter, thus instigating the first documented inoculation for smallpox (_Variola_ virus) in England. Engrafting, or variolation, was a means of conferring immunity to smallpox by placing pus taken from a smallpox pustule under the skin of an uninfected person to create a local infection. The introduction of infectious viral matter, however, could trigger fullblown smallpox, and the practice was controversial for both this (...) reason and the pervasive conviction that it was immoral to intentionally infect a human body. Eventually, engrafting was phased out altogether in favor of vaccination, a much safer procedure established by Edward Jenner in the late eighteenth century. Montagu's decision was influenced by her experiences in Constantinople, where she had spent a year, and where engrafting was commonplace. As a smallpox survivor herself, Montagu had taken an interest in Turkish inoculation practices, and had had her son Edward engrafted while in Turkey. She was not the first person to import the idea of smallpox inoculation to England, nor the first English person to have their child inoculated (other English children had been inoculated while visiting Turkey), yet she quickly became known for importing and popularizing smallpox inoculation. At the request of her acquaintances, she took her inoculated daughter with her on a round of visits into elite households to demonstrate the safety of the procedure. The reputation she gained was both positive and negative: monuments were erected in her honor, encomiastic poems were published, and Voltaire declared her "a woman of as fine a genius, and endued with as great a strength of mind as any of her sex in the British Kingdoms"; however, anti-inoculationists ridiculed her, some society figures regarded her warily, and Alexander Pope satirized her in his poetry.

Montagu’s pioneering role in the smallpox debate is undoubtedly significant: she instigated the first smallpox inoculation on English soil, and she was largely responsible for making the practice acceptable in elite circles. My interest in this essay is in the nature and significance of Montagu’s reputation as an inoculation pioneer. I will argue that her reputation was based on the particular combination of her social position as a Whig and an aristocratic woman; her interest in progressive and enlightened forms of social, political, and scientific thought; her standing in influential literary circles; and, not least, the force of her own personality. In broad terms, I offer Montagu’s involvement in the smallpox debate as a case study in a new kind of public role becoming available to elite women in the early eighteenth century — a role that caused considerable discomfort among her peers and in the medical community, and one that stimulated a widespread controversy in print publications of the day. (shrink)

It is well established that discursive innovations in literature and philosophy encouraged pro-animal sentiments in 18th-century England. Far less well known in this regard is the "animal turn" in the graphic arts. This article seeks to redress this imbalance by documenting the extensive representation of animals in the paintings, drawings, and printed engravings of the English artist William Hogarth. It outlines the four chief ways in which Hogarth pictured animals-namely, as hybrids, as edibles, as "pets," and as signs of satire. (...) In so doing the article asks, how did Hogarth see animals? How should we see Hogarth’s animals? (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)

Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-American aesthetics. Though Victorians are most often associated with realism, certain (...) art writers promoted a formalism that would come to dominate canons of twentieth-century art. Teukolsky analyzes the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich field of Victorian print culture--gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on such interactions. (shrink)

Volume 1 of the Writings and Speeches of Edmund Burke presents Burke's early literary writings up to 1765, and before he became a key political figure. It is the first fully annotated and critical edition, with comprehensive notes and an authoritative introduction. The writings published here introduce readers to Burke's early attempts at a public voice. They demonstrate in a variety of ways how determined he was to become involved in the social and intellectual life of his times. The one (...) work of Burke's early life which has long been recognized as having prime critical significance, the Sublime and the Beautiful, is naturally found here. In addition the volume includes the first fully edited version of other works which have been neglected, notably the Vindication of Natural Society, a substantial satire on current philosophical and religious thought, the Abridgement of English History and the Hints for an Essay on the Drama. The volume also prints reliable texts of his early poems and prose `characters' as well as the first complete text of The Reformer since it was first published in 1748. This was a weekly paper devoted principally to the Dublin cultural scene and was edited by Burke shortly after he graduated from Trinity College, Dublin. (shrink)

In recent years it has become increasingly common in the United States and in the United Kingdom for newspapers and other media to expose problematic aspects of the private lives of political figures; or, since the facts may already be in the public domain, to draw wider attention to them and to make them the subject of commentary. These “problematic aspects” may include past or continuing physical or psychological illness, eating disorders, drug and alcohol abuse or dependence, financial difficulties, family (...) conflict, infidelity, or certain sexual proclivities of both the political figures themselves and of their family members or intimates. In the United States, the most prominent cases are probably those of President Bill Clinton in relation to a series of alleged extramarital affairs leading up to the scandal involving White House intern Monica Lewinsky, and of President John F. Kennedy, also in relation to marital infidelities. The latter exposure was, of course retrospective, as were revelations of similar matters concerning other presidents and holders of high office. Up until the mid-1960s, while it was sometimes known to the press that politicians had “problems” in their private lives, it was rare for these to be made public. Sometimes it might be reported, or more likely hinted, that a figure had a “complex” or “difficult” personal life, and the public was left to infer whatever it might from this . The recent culture of exposure results from a combination of factors, including changed attitudes toward public discussion of sexual conduct, changed standards of sexual behavior, recognition of the scale of Cold War espionage and of its practice of blackmail, a general decline in social deference, a threat to the print media posed by the growth of television, and the rise of satirical entertainment. All of these elements were present in the case that marked the establishment of the culture of exposure in the U.K.: the ‘Profumo scandal’ of 1963. For those unaware of this episode, it may be sufficient to say that it involved the then-secretary of state for war, members of the British aristocracy, a Soviet naval attaché, and a number of “society” call girls, and that it contributed to the resignation of Prime Minister Harold Macmillan and the subsequent fall from power of the Conservative Party. In the United States, the culture of exposure developed somewhat later and took shape in the period of the Watergate scandal, which damaged the American public's perception of the governing classes just as the Profumo scandal had in Britain. (shrink)

It seems that a Greek romance named Chaereas and Callirhoe—if it was in fact written about A.D. 50—might be the oldest extant romantic novel.1 Chaucer's Troilus, Chretien's Erec, Apuleius' Metamorphoses, and for all l know Homer's Odyssey have already blushed under this dubious accolade; and I do not mean to celebrate an old Greek book by thrusting an English genre-label upon it. But nothing quite like Callirhoe survives from an earlier period of western literature; and following our inclination to comprehend (...) such a phenomenon by fitting it into familiar categories we would call it a Greek romance because it is written in Greek, a novel because it is an extensive prose fiction of ordinary moral life that conforms to a recognizable canon of realism, and a romance because its admirable protagonists suffer the most serious threats to their lives and values but survive them all. Its author, a certain Chariton of Aphrodisia, a small city in the province of Caria in Asia Minor, places his book about Callirhoe in the Hellenistic genre of the erotikon pathematon—a story of erotic suffering. This is an accurate label and perhaps a bold one, as erotic pathemata were thought to be more suitable for epic or elegiac verse than for prose. In any case, I am not here concerned to argue that Callirhoe is the precursor of such entities as the novel, nor to speculate about its cultural origins, nor to point out its obvious likenesses to later narratives. I do want to discuss the habits of narrative art Chariton exploits in his book, and to explore a few of the ways he makes erotic suffering pleasurable for his readers—us, and the leisured, literate members of the bourgeois households that had for centuries flourished in the great Hellenic cities of the eastern Mediterranean basin. · 1. I accept the date accepted by Ben E. Perry, The Ancient Romances , p. 350. The standard edition is W.E. Blake's , whose translation I use throughout. Chariton's work did not see print until 1750, so it did not enjoy the vogue enjoyed by other Greek romances in the Renaissance. Arthur Heiserman is the author of several articles, short stories, and Skelton and Satire. 'Aphrodisian Chastity" will appear as a chapter in his forthcoming book, Romance in Antiquity: Essays and Discussions about the Beginnings of Prose Fiction in the West. (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, in which (...) I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

The misleading and propagandistic tendencies in American news reporting have been a part of public discussion from its earliest days as a republic (Innis, 2007;Sheppard, 2007). “Fake news” is hardly new (McKernon, 1925), and the term has been applied to a variety of distinct phenomenon ranging from satire to news, which one may find disagreeable (Jankowski, 2018;Tandoc et al., 2018). However, this problem has become increasingly acute in recent years with the Macquarie Dictionary declaring “fake news” the word of the (...) year in 2016 (Lavoipierre, 2017). The international recognition of fake news as a problem (Pomerantsev and Weiss, 2014;Applebaum and Lucas, 2016) has led to a number of initiatives to mitigate perceived causes, with varying levels of success (Flanagin and Metzger, 2014;Horne and Adali, 2017;Sample et al., 2018). The inability to create a holistic solution continues to stymie researchers and vested parties. A significant contributor to the problem is the interdisciplinary nature of digital deception. While technology enables the rapid and wide dissemination of digitally deceptive data, the design and consumption of data rely on a mixture of psychology, sociology, political science, economics, linguistics, marketing, and fine arts. The authors for this effort discuss deception’s history, both old and new, from an interdisciplinary viewpoint and then proceed to discuss how various disciplines contribute to aiding in the detection and countering of fake news narratives. A discussion of various fake news types (printed, staged events, altered photographs, and deep fakes) ensues with the various technologies being used to identify these; the shortcomings of those technologies and finally the insights offered by the other disciplines can be incorporated to improve outcomes. A three-point evaluation model that focuses on contextual data evaluation, pattern spread, and archival analysis of both the author and publication archives is introduced. While the model put forth cannot determine fact from fiction, the ability to measure distance from fact across various domains provides a starting point for evaluating the veracity of a new story. (shrink)

What would happen if pleasure were made the organizing principle for social relations and sexual pleasure ruled over all? Radical French libertines experimented clandestinely with this idea during the Enlightenment. In explicit novels, dialogues, poems, and engravings, they wrenched pleasure free from religion and morality, from politics, aesthetics, anatomy, and finally reason itself, and imagined how such a world would be desirable, legitimate, rapturous--and potentially horrific. Laying out the logic and willful illogic of radical libertinage, this book ties the Enlightenment (...) engagement with sexual license to the expansion of print, empiricism, the revival of skepticism, the fashionable arts and lifestyles of the Ancien Régime, and the rise and decline of absolutism. It examines the consequences of imagining sexual pleasure as sovereign power and a law-unto-itself across a range of topics, including sodomy, the science of sexual difference, political philosophy, aesthetics, and race. It also examines the roots of radical claims for pleasure in earlier licentious satire and their echoes in appeals for sexual liberation in the 1960s and beyond. (shrink)

Of the 218 letters, 126 belong to correspondence with the Imperial Count Ernst Christoph von Manteuffel, a dedicated patron of the supporters of Christian Wolff and the head of the Berlin chapter of the Society of Alethophiles. In Berlin and Leipzig great hopes were placed in the Prussian heir apparent Friedrich II, whom many saw a kind of Platonian “philosopher king” who would help elevate reason and Wolffian philosophy to new heights. The letters document the development of a rationalistic strain (...) in Gottsched's sermons. They also provide insight into the satires of Wolff's opponents written by L.A.V. Gottsched. Gottsched's speeches concerning Martin Opitz and the “book printing anniversary” found strong resonance in the correspondence and inspired letters concerning similar undertakings. Jakob Brucker's letters illuminate the planning and creation of the “Bilder-sal”, a contemporary history of notable scholars that featured biographies and portraits, and which came to include Gottsched and his wife. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Audio BooksWilliam IrwinI hide my audio book habit because most of my colleagues, and even some of my snobbier students, regard audio books as a sign of an impending dark age of mass illiteracy. Feeling uneasy, I wonder: when The Brothers Karamazov comes up in conversation am I obliged to "confess" that I listened to the unabridged audio book, but did not silently read the massive tome? Is (...) there a difference that makes a difference between listening to an audio book and reading a printed book?IPeople read less today, partly because reading silently is not social; we crave the company of loved ones at the end of the day, and so prefer to watch television with them. Silent reading does not fit today's multitasking lifestyle; you can listen to music while you drive or jog, but you cannot read a book. Or, then again, perhaps you can, if listening to an audio book is reading after all. Time does not need to be specifically set aside for an audio book the way it does with a conventional book—the lights don't even have to be on. And surprisingly, it is satisfying to listen to a book ten minutes at a time while running errands. Perhaps this is because getting started is as easy as pressing a button. By contrast, few people read printed books in ten minute blocks, presumably because it takes something for most people to warm up to reading. If they are going to read, then they are going to do it for a sustained time—something longer than a ten-minute block. It is easier to "push through" and finish an audio book. I nearly gave up on Catch-22; it's too thick and over the top with satire for my taste. And I surely would have given up on it if I had been reading the book silently. I stuck with [End Page 358] the audio book, however, largely because it was easy to continue; I just pressed play every time I got in my car.Books on tape have been available for quite some time, but, despite often being abridged, they were too clunky and cumbersome for most people. The availability of books on CD and for MP3 download makes it all much more convenient. Audio books are now the fastest growing segment of the book industry and are likely to become even more common and popular, perhaps some day eclipsing the sale of conventional books, perhaps some day becoming the normal way of "reading" literature. And far from being abridged, some audio books today include extras. For example, the audio version of The Amber Spyglass includes epigrams before each chapter that are not in the print version.IIHarold Bloom says, "Deep reading really demands the inner ear as well as the outer ear. You need the whole cognitive process, that part of you which is open to wisdom. You need the text in front of you."1 Before listening to audio books myself I would have agreed with Bloom; but now I suspect he simply has never listened to an audio book. Skeptical of literature on audio, I started my audio experience with nonfiction. Pleasantly surprised with nonfiction, I tried listening to fiction and found the presentation very different. Nonfiction books are simply read, whereas works of fiction are typically performed—characters get distinct voices and the reader really puts on a show. Most audio book performances of literature are much like a one-man play, taking us back to the days of traveling bards and rhapsodes.In The Performance of Reading Peter Kivy highlights that for most of its history Western literature has been experienced out loud.2 As is well known, Homer's Iliad and Odyssey were performed out loud by bards, as Beowulf was centuries later. But less well known is the fact that even after the invention of the printing press, when books were still scarce and expensive, even people in possession of books generally read them out loud to themselves and to others. So it is odd that along with Harold Bloom, my colleagues and students, look with mistrust at... (shrink)

Citizenship education in established democracies is challenged by declining youth participation in democracy. Youth disenchantment and disengagement in democracy is primarily evident in formal political behaviour, especially through voting, declining membership of political parties, assisting at elections, contacting politicians, and the like. If citizenship education is to play a major role in addressing these concerns it will need to review the impact it is making on young people in schools. This paper reviews a major national project on youth participation in (...) democracy in Australia set in the context of a national citizenship education programme. The Youth Electoral Study found that citizenship education in Australian schools has at best been marginally successful and substantially more is required to raise levels of democratic engagement. The paper explores many opportunities available to education systems and schools to address these issues through reconceptualising aspects of the formal and the informal curriculum. (shrink)

States commonly employ education policy to build a strong sense of citizenship within young people and to create types of citizens appropriate to the country. In Singapore the government created a policy to build citizenship through both policy statements and social studies in the school curriculum. In the context of a tightly controlled state regulating schooling through a highly controlled educational system, the government expected teachers to obey these policy documents, political statements and the prescribed curriculum. What do teachers understand (...) about citizenship in this context? In schools do teachers demonstrate independence of thought on citizenship education or do they acquiesce to government policy? This article reports on a small group of social studies teachers' understandings of citizenship and explores the nature of these understandings in the context of government policy. The study showed an unexpected diversity of conceptualization amongst Singaporean teachers with their understandings of citizenship located in four themes, namely a sense of identity, rights and responsibilities, participation, and national history. This response was unintended by government and reflects an independence of citizenship education landscape in schools, despite the tight policy and bureaucratic controls over teachers by the Singapore state. (shrink)

Using bibliographical data from the major electronic German libraries’ catalogues for the editions of the works by Frane Petrić, and the copies of these works, it is possible to arrive at results which probably cannot be obtained using other means and instruments. There are strong indicators that the pre-20th century German reception of Petrić differs considerably from his reception elsewhere . In this phase of reception the impact of the Discussiones peripateticae and the Militia romana is particularly conspicuous. The results (...) for the impact of the 1953sqq editions of Petrić’s works are under many aspects different from the results obtained for the earlier editions of his works. This is a preliminary case study for Germany, using data from the U.K. and from the AHCI database for comparisons. (shrink)

This paper presents a uniform semantic treatment of nonmonotonic inference operations that allow for inferences from infinite sets of premises. The semantics is formulated in terms of selection functions and is a generalization of the preferential semantics of Shoham (1987), (1988), Kraus, Lehman, and Magidor (1990) and Makinson (1989), (1993). A selection function picks out from a given set of possible states (worlds, situations, models) a subset consisting of those states that are, in some sense, the most preferred ones. A (...) proposition α is a nonmonotonic consequence of a set of propositions Γ iff α holds in all the most preferred Γ-states. In the literature on revealed preference theory, there are a number of well-known theorems concerning the representability of selection functions, satisfying certain properties, in terms of underlying preference relations. Such theorems are utilized here to give corresponding representation theorems for nonmonotonic inference operations. At the end of the paper, the connection between nonmonotonic inference and belief revision, in the sense of Alchourrón, Gärdenfors, and Makinson, is explored. In this connection, infinitary belief revision operations that allow for the revision of a theory with a possibly infinite set of propositions are introduced and characterized axiomatically. (shrink)

The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be (...) ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation. (shrink)

La morale occupe une place centrale dans l’oeuvre de Diderot et dans Le Neveu de Rameau. La morale a un double sens: les moeurs, les opinions et les comportements valorisés dans une société et la science des moeurs. À côté des études savantes ou apologétiques (religieuses), la satire offre un moyen pour comprendre les normes et les valeurs morales, en dénonçant leur transgression par des vicieux. Le Neveu de Rameau est une « satyre ». L’article analyse le genre de satire (...) qu’est ce dialogue. Il apparaît que si d’un côté c’est Lui, le vicieux qui est la cible de la satire, de l’autre c’est lui qui fait la satire d’un milieu social qui nie les valeurs de la morale commune. L’hypothèse est que ce dispositif vise à montrer les limites de la philosophie en ce qui concerne la morale. (shrink)

In ‘“Sneering, or Other Social Pelting”’, Lucy O’Brien understands sneering acts as ways of making feel that are aimed at socially downgrading a target. Sneers are essentially expressions of contempt. Although typically thought of as vicious, O’Brien argues they can also be used virtuously to disrupt social hierarchies, especially when taken up by people with low social status. I examine satire as a potentially effective means of carrying out this virtuous activity. I examine O’Brien’s account while exploring the conditions that (...) must obtain to make satire an efficacious tool for social recalibration. (shrink)

This chapter argues that SNL tends, with some exceptions, away from the philosophical and satirical areas of the spectrum and more towards the smart‐assical, silly side. Moreover, just like SNL sketches, Aristophanes' plays often subjected contemporary figures, celebrities, and politicians to intense ridicule. The sketch provided SNL a way of criticizing its own network by allowing the writers and actors to adopt a different persona, thus creating a safe distance between critic and target. Setting aside how accurately the scenario (...) sketched at the outset depicts typical SNL performances, it should be noted that it does paint a fair picture of staged satire in Athens, Greece, circa. As in the case of Aristophanes, most of SNL's satirical qualities revolve around political debates, issues, and, most famously, figures. (shrink)

The dream of political satire - to fearlessly speak truth to power - is not matched by its actual effects. This study explores the role of satirical communication in licensing public expression of harsh emotions defined in neuroscience as the CAD triad. The mobilisation of these emotions is a fundamental distinction between satirical and comic laughter. Phiddian pursues this argument particularly through an account of Jonathan Swift and his contemporaries. They played a crucial role in the early eighteenth (...) century to make space in the public sphere for intemperate dissent, an essential condition of free political expression. (shrink)

This article is a co-written reflection on the process of curating and programming Printing Solidarity: Tricontinental Graphics from Cuba (2021–2022). Held at Stony Brook University's Paul W. Zuccaire Gallery, the exhibition featured over sixty posters and printed matter produced mostly in the 1960s–1970s by the Organization of Solidarity with the People of Asia, Africa, and Latin America (OSPAAAL) in Havana. As an experiment in pedagogical curating, the yearlong project spanned the isolation from, return to, and re-envisioning of inperson learning during (...) the COVID-19 pandemic. Reflecting on our inspirations, intentions, and challenges, we argue for the role of art objects in activating material-based, in-person learning on campus and consider the value of academic collaboration, cross-regional research, and experimental pedagogies. The project offered an opportunity to revisit the Cold War-period politics of global solidarity in today's pandemic era while exploring what it would mean to study art today from the question of solidarity rather than division. (shrink)

Shaftesbury développe, au début du XVIII e siècle, une philosophie de « l'humeur » qui s'inscrit dans l'élaboration très britannique de la notion d'humour. Entre satire et humour, il propose une théorie de la « bonne humeur », opposée à l'humeur noire, atrabilaire ou mélancolique, inspirée à la fois du théâtre élisabéthain et de la mise en discussion des origines littéraires et philosophiques de la satire. At the beginning of the XVIIIth Century, Shaftesbury develops a philosophy of « humour » (...) which is in keeping with the very British inquiry on the notion of humour . Between satire and humour, he propounds a theory of « good humour » opposed to ill, atrabilious or melancholic humour, both coming from the Elizabethan Drama and the discussion of the philosophical and literary origins of satire. (shrink)

3D printing has surely come of age. Widely available, and integrated into many computer-based design and animation curricula, it almost seems to have become a simple extension of what we already had in 2D printing. A 2D image acts as the basis of a sign, which, perhaps upon further twists of the semiotic spiral, may lead one to cognition of a 3D physical pipe. But then, perhaps not. And only in a rare case would the physical pipe in turn find (...) use as a sign of the aforesaid 2D image. With 3D printing, this order of semiosis no longer applies. Since 3D printing mainly occurs as a non-mass-production manufacturing technique, a 3D-printed artifact acts as a physical object – and generally it is printed to act precisely in that manner. It is a being that has an ontic difference from its digital source. The case of 3D printing provides an intriguing, complex, case study for semiosis, since the printables move in and out of the virtual and physical. (shrink)

In Printing Spinoza Jeroen van de Ven systematically examines all seventeenth-century printed editions of Spinoza's writings, published between 1663 and 1694, as well as their variant 'issues'. In focus are Spinoza's 1663 adumbration of René Descartes's 'Principles of Philosophy' with his own 'Metaphysical Thoughts', the 'Theological-Political Treatise' (1670), and the posthumous writings (1677), including the famously-known 'Ethics'. Van de Ven's descriptive bibliography studies, contextualizes, and records all aspects of the publication history of Spinoza's writings from manuscript to print and assesses (...) their immediate reception. It discusses the printed books' codicology, philology, typographical and textual relationships, illustration programmes, as well as their dissemination in early Enlightenment Europe, in view of the physical aspects of 1,246 extant copies and their provenance. (shrink)

Puts forward an account of the printing and publishing history of the second edition of Leviathan—an edition that has the same date as the first, is known to be a later production, but has never hitherto been dated with any accuracy. With the help of bibliographical evidence and details drawn from the archives of the Stationers’ Company, a fairly detailed account of the history of this edition can be constructed. What the evidence shows is that this so‐called ‘Bear’ edition was (...) first printed in 1670 in London; that the printing was partly confiscated by the Stationers’ Company; and that the remaining sheets were then combined with sheets produced by a Dutch printer in the period 1675–8. (shrink)

The rich body of understudied imagery constituting the culture of satire in pre-World War I Paris represents the work of scores of contributing artists, ranging from mockery of manners to biting critique of government policy. While František Kupka is recognized as a major Parisian contributor to the development of modernism and abstraction, his career as a satirist has been sidelined. In 1900, Kupka wrote to his friend the Czech poet Josef S. Machar that he would devote himself in future mainly (...) to lithography and graphics as these media are more "democratic". Kupka published scores of cartoons in France in the prewar period and was recognized at the time as a leading satirist. Here I explore his work... (shrink)

Dieter Declercq’s Satire, Comedy, and Mental Health (2021) examines the nature and value of satire, critically reviews familiar ways of construing its value, and mounts an argument for understanding satire’s value in terms of the contributions it can make to our mental health. Declercq has much to say about longstanding debates—for example, over whether satire is a powerful political weapon (vs. a waste of political time and energy) and whether satire functions as a catalyst for needed emotional catharsis (vs. merely (...) a welcome distraction). But the most important contribution Satire, Comedy, and Mental Health makes is to open a new line of enquiry about satire—namely, enquiry into the relationship between satire and mental health—thereby widening the debate over satire’s significance and value. Specifically, Declercq argues that satire is most impressive for how it helps us cope with the limits of critique—that is, with our awareness that unjust suffering will persist despite our very best efforts. Critique cannot cure the world because we do not have endless resources to devote to solving all the world’s problems and righting all the world’s wrongs; even if we did, our efforts will not always be successful. Indeed, in some cases, our efforts might make things worse. We are finite and limited beings who simply cannot perfectly design, create, choreograph, and maintain the perfect utopias we so desire. This refreshingly new perspective makes this book an important addition to the scholarly literature on satire. (shrink)