Canon Formation Research Articles

The Anatomy of the Revenger: Violence and Dissection on the Early Modern English Stage

The persistent employment of excessive violence on the early modern English stage was studied by Renaissance scholarship for centuries in diverse but rather formal or historicist ways, and this critical focus received no new impetus until the corporal turn in critical theory after the 1980s. Before the poststructuralist, or, more precisely, the postsemiotic and corposemiotic investigations, critics tended to categorize bodily transgression as part of the general process of deterioration that lead to the decadence and all-enveloping perversity of the Stuart and Caroline stage, or they merely catalogued the metamorphoses of iconographic and emblematic elements of the memento mori, the ars moriendi, the contemptus mundi, the danse macabre or the exemplum horrendum traditions through the imagery of violence, mutilation and corporeal disintegration. The reception history of Shakespeare’s first tragedy exemplifies the general hostility towards extreme violence, an attitude which was established by the technologies of canon formation in the eighteenth and nineteenth century.

Rethinking Critical approaches to Arabic Comparatively, in a ‘Post’ Colonial Context

Rethinking critical approaches requires rereading Arabic through a comparative perspective of distinct practices, within their continual intra-regional exchanges. This ought to be implemented by theoretical methods with strategies to contest the canonical, invoked by critical approaches from the North and the South. New outlooks to the postcolonial approach need to be assessed in relation to the decolonial approach postulated by the Latin American Philosophy of Liberation movement (1960). Its critics have propounded an epistemology for determining the role played by vocational discursive practices in canon formation, challenging the reification of the canon. The decolonial approach can be instrumental in rethinking the process of canon formation in Arabic. Decolonizing Arabic literature from the centralized ‘master voice’ invokes new critical modes of reading radical writing inhibited by institutional and political hegemony. By challenging major literature, minor writing dismantles institutionalized major literature, and destabilizes the canon. It requires from the reader/critic a comparative approach aware of cultural specificities, while relating them to what goes beyond their borders. Such an awareness would initiate an intracultural dialogue among scholars of Arabic from different locations, which would open more channels for partaking in a global critical debate.

Canon Constitution and Canon Change in Children’s Literature ed. by Bettina Kümmerling-Meibauer and Anja Müller

Reviewed by: Canon Constitution and Canon Change in Children’s Literature ed. by Bettina Kümmerling-Meibauer and Anja Müller Mike Cadden (bio) Canon Constitution and Canon Change in Children’s Literature. Edited by Bettina Kümmerling-Meibauer and Anja Müller. New York: Routledge, 2017. In this recent entry in the Routledge Children’s Literature and Culture series, Bettina Kümmerling-Meibauer and Anja Müller present to the reader thirteen takes on the process as well as the product of canonization. Like Kümmerling-Meibauer and Elina Druker’s recent ChLA Edited Book Award–winning Children’s Literature and the Avant-Garde (2015), which was based on a 2012 conference of the same name, this collection grew out of an eponymous conference held at the University of Tübingen in 2014. Canon Constitution and Canon Change in Children’s Literature also shares with the previous volume a clarity of mission and a wider appeal than its title might suggest. The preface tells the reader that “This volume focuses on the (de)canonization process in children’s literature, considering the construction and cultural-historical changes of canons in different children’s literatures,” and that “Particular emphasis is given to sociological canon theories, which have so far been under-represented in canon research in children’s literature” (n. pag.). The editors’ introduction revisits some familiar arguments about the relationship and tensions between children’s and adult literature as literary categories and then offers observations about canon formation to get us thinking: for example, the observation that “in general, theoretical approaches [End Page 104] to canons and canonization largely follow either socio-cultural or aesthetic perspectives” (2). The volume offers a brief “prelude” by Peter Hunt. Clever and amusing, his new version of “The Emperor’s New Clothes” serves as a parody of both canon dynamics and the participants in this process. This piece could actually serve to inspire undergraduates to think about the politics and dynamics of canon formation. Part 1, “Canons, Cultural Capital and Policies of Community Building,” mostly focuses on the shifting of national canons over the course of a few decades. The chapters share the interesting narrative context of providing an account of forming a canon in a country that has recently come into being. In her study of Israel’s canon formation, for example, Yael Darr argues that “when dealing with nation building and literary canons, distinction should be drawn between older and more ground-breaking dimensions; that is, between what is presented as a traditional canon and the innovative, pioneering one” (24). Michael Düring’s essay shows “Swift’s Gulliver’s Travels as a children’s classic in the Soviet Union between 1922 and 1937 as a part of a state-managed process” of the ideological education of children (Introduction 7). Müller, Simone Herrmann, and Franziska Burstyn argue in their study of the British canon of children’s literature that “texts considered as canonical share not only aesthetic features but also a collective understanding of cultural values” (39). Kimberley Reynolds’s essay on the socialist-to-establishment career of Geoffrey Trease dovetails with the others in its focus on the shifts of national political winds and the formation of canons. Rounding out this section is Anna Maria Czernow and Dorota Michutka’s essay on the Polish children’s canon from independence in 1918, to the People’s Republic of Poland in 1945, to the end of communism in 1989. All show how over the course of only a few decades, the canon and its politics and attendant aesthetics were marked by drastic shifts. Part 2 explores “The Challenges of the Canon: Genre, Gender, Avant-garde.” Helene Høyrup examines how Hans Christian Andersen’s use of dual address made him successful with both children and adults in a number of different countries. She argues that “the dual address mode in conjunction with a more adult agenda is one of the features that trigger creative innovation in Andersen’s tales. Thereby he enters a more general Romantic-modernist line” (113). Kümmerling-Meibauer questions why children’s books inspired by the avant-garde, particularly in Germany, are considered “singular oddities within the history...

The Idea of Art Music in a Commercial World, 1800–1930 ed. by Christina Bashford and Roberta Montemorra Marvin

Reviewed by: The Idea of Art Music in a Commercial World, 1800–1930 ed. by Christina Bashford and Roberta Montemorra Marvin Julian Onderdonk The Idea of Art Music in a Commercial World, 1800–1930. Edited by Christina Bashford and Roberta Montemorra Marvin. (Music in Society and Culture.) Woodbridge, Suffolk: The Boydell Press, 2016. [xv, 350 p. ISBN 9781783270651 (hardback). $115.] Illustrations, index. One of the most frequently encountered ideas in Western literate culture is that art and commerce are fundamentally incompatible. Ironically, the notion gained general currency in nineteenth-century Europe precisely at a time when the old patronage system was breaking down and the consumption of art was being placed on a new commercial footing. Few seem to have noticed; if they did, they conveniently ignored it. Thus in music, Ludwig van Beethoven scorned money as the antithesis of Art even as he drove a hard bargain for his compositions and, somewhat unscrupulously, sold works to multiple publishers at once. Robert Schumann, likewise, repudiated the "philistine" public while making a living peddling ideas of artistic purity to that very same public in the pages of his newspaper, Neue Zeitschrift für Musik. Eventually, "art for art's sake," the default mode of the fin-de-siècle, was enshrined in the complex of ideas understood by the word modernism, as formulated by twentieth-century commentators such as Theodor W. Adorno and Carl Dahlhaus. It is this last development—the lodging of these ideas in musical scholarship—that is the main source of the trouble. Whereas students of the Renaissance or Classical periods, say, have habitually relied on payroll accounts, employment contracts, bills of sale, and other business-related materials to help guide their critical assessments, those of nineteenth- and twentieth-century art music have generally ignored such things, in a kind of vacuum, focusing instead on the intrinsic value of the works themselves. As scholars of this repertory internalized the romantic aesthetics informing the music—notions of self-expression and artistic integrity, where money matters are seen as banal despoilers of the numinous—they made these aesthetics the basis of their own valuations. Never mind that the antimaterialist rhetoric arose as a direct response to an increased material prosperity that was itself a consequence of stupendous advancements in technology and communications under a growing industrial capitalism, or that the rising demand for "high art" emerged as a means to confer respectability and taste on the middle and upper reaches of a society eager to distance itself from the masses. Focused mainly on the form and expression of art, mainstream musicology has missed the mundane and often messy conditions that fundamentally explain it. As a corrective to these widespread historiographical trends, The Idea of Art Music in a Commercial World, 1800–1930 seeks to uncover this forgotten commercial orientation. It contains thirteen essays, touching on Italian, German, [End Page 647] French, British, and American topics and covering approximately 130 years of cultural history, organized thematically into five parts ("Publishers," "Personalities," "Instruments," "Repertoires," "Settings"). The neatly-chosen headings provide largely accurate descriptors of each section's subject matter and angle, but what really unites the essays is a focus on materialism—not only as the root cause and simultaneous consequence of a rapidly developing nineteenth- and early-twentieth-century industrial economy, but also as the means, the actual stuff, by which art music was marketed and promoted. Newspapers, magazines, and other manifestations of the print culture so fundamental to the age naturally loom largest here, and it comes as no surprise that they are the special focus of three different essays. Foremost is Jann Pasler's examination of the sheet music published in everyday French newspapers and magazines ca. 1870–1920, a groundbreaking survey that makes striking suggestions about the role of the popular commercial press in canon formation. No less interesting is Catherine Hennessy Wolter's study of advertisements for pianos (including player pianos) in American magazines printed between 1914 and 1917, which tells us much about technological history, patterns of amateur music-making, and contemporaneous attitudes toward class, gender and family life. In contrast, Jon Solomon's mostly descriptive overview of the American response to archeological discoveries, ca. 1875...

The Labyrinthine Exhibition: A New Genre

This essay examines the labyrinthine exhibition and its recent emergence as an identifiable exhibition genre. Consideration of what a labyrinthine exhibition actually is, understanding its origins, mapping even a partial corpus, and plotting a provisional history allow us to engage with questions about genre formation and reformulation more generally. To that end, what follows is a discussion of terminology, canon formation, and knowledge production with regard to the labyrinthine exhibition and how new exhibition genres are constituted.

The Problematic Role of "Thingliness" in Experimental Music Canon Formation: The New York School, Free Jazz, and Recombinant Ontology

The Problematic Role of "Thingliness" in Experimental Music Canon Formation: The New York School, Free Jazz, and Recombinant Ontology

Ritualized Writing: Buddhist Practice and Scriptural Cultures in Ancient Japan by Bryan D. Lowe

Reviewed by: Ritualized Writing: Buddhist Practice and Scriptural Cultures in Ancient Japan by Bryan D. Lowe Charlotte Eubanks (bio) Ritualized Writing: Buddhist Practice and Scriptural Cultures in Ancient Japan. By Bryan D. Lowe. University of Hawai'i Press, 2017. xiv, 272 pages. $60.00. Performance studies scholar Diana Taylor has argued for the coexistence of (at least) two systems of knowledge transfer, which she calls the "archive" and the "repertoire." For Taylor, the archive is a type of memory that exists [End Page 409] in the form of documents, maps, literary texts, manuscripts, and the like, while the repertoire is its crucial coconstituent: a form of memory embodied in performance, gesture, ritual, orality, movement, and so forth. Taylor's concern is to show how these two epistemological modes contest and shape one another, in her case, as relevant to the formation of identity and memory in the pre- and post-Colombian Americas.1 Though Bryan Lowe does not refer to Taylor's work in his study of Ritualized Writing, his fresh approach to Buddhist canon formation, scribal practice, and manuscript cultures comprises a masterful examination of the interplays between archive and repertoire in ancient (seventh- to ninth-century) Japan. Lowe's primary archive is the Shōsōin collection, which consists of "more than ten thousand documents detailing the activities of a scriptorium" (p. 7), all housed at the storehouse (shōsō) northwest of the Great Buddha Hall at the temple Tōdaiji in Nara. The scriptorium (the Office of Sutra Transcription) closed its doors in 776 CE and the related collection of manuscripts remained "as they had been left over a millennium ago, until they were rediscovered in the nineteenth century" (p. 24), thus providing an unparalleled window onto textual practice in ancient Japan. Lowe's study is the first in English to delve into these precious materials, newly available as photographic reproductions. In addition to his exploration of the Shōsōin materials, Lowe has also performed exhaustive research into collections of ancient Japanese Buddhist manuscripts across the world, from Tokyo and Nara to London, Paris, Seoul, Beijing, Dunhuang, and several points in between. Reading creatively and inventively, with an impressive eye for detail and a keen sense of story, Lowe carefully recreates for us a wide variety of embodied repertoires which, enacted by a wide range of actors from sovereigns to scribes, created, adjusted, maintained, and imagined this archive. Lowe uncovers, for instance, the career of the heretofore unknown scribe Karakuni no Hitonari (721–?), following his career track to administration and his eventual assumption of monastic orders. He reconstructs for us the varied commissioning activities of the Kuni-no-Miyatsuko group of local chieftains, showing how ritualized writing drew together "fellowships" from across clan lines. And, in a truly compelling section of scholarship, Lowe mines archival materials to reimagine Queen Consort Kōmyōshi's (710–60) and Emperor Shōmu's (r. 724–49) transcriptional campaign to combat demonic threats and venom-based witchcraft (!) in the eighth-century court, building an argument about how dependent sovereigns actually were on Buddhist protections and how subject they were to its restrictions on behavior. Lowe's scholarship is thus a radical departure from the "state Buddhism" [End Page 410] models that have long been dominant in our understandings of Nara religious practice. In short, as Lowe notes, his study attends to the "non-hermeneutic aspects of texts" and to the "connection[s] between the content of the texts and the practices directed toward them," as well as those practices involved in creating them (p. 7). Combining the strengths of archival and repertoire-focused approaches, and acknowledging debts to Japanese scholars (chief among them Sakaehara Towao and Miyazaki Kenji,2 who facilitated his access to, and helped him learn to evaluate, Shōsōin documents), Lowe has given us a fresh, vibrantly new examination of ancient Japanese Buddhist culture. A central argument of the book is that "writing is an inherently social endeavor" (p. vii). More particularly, Lowe concerns himself with sketching a history of "ritualized writing" in ancient Japan as a complex sociological network which "shaped the human and heavenly order … structured communities and instilled identities … [and] provided opportunities...

Метамодерний вияв і літературний контекст розвитку сучасної української прози (на матеріалі роману А. Куркова "Сірі бджоли")

The article deals with the researches the main factors and peculiarities of literary canon formation. Traditional views on canon as the representation of the texts defined, aesthetically generalized and classified by the public are analyzed. On the contrary, the ideas of the revision of canonical texts and stressed on its dependence on set of non-literary factors.

Introduction: Cross-Cultural Reading

Introduction: Cross-Cultural Reading

Canons as Reservoirs: The Ottoman Ocean in Ziya Pasha's Harabat and Reframing the History of Comparative Literature

This article analyzes the introduction of Ziya Pasha's Ottoman anthology Harabat (AH 1291–1292 [1874/1875–1875/1876]), which provides a comparative history of Arabic, Turkish, and Persian literatures. I argue that Harabat compiles texts from diverse geographical and temporal origins and, instead of defining them as members of distinct national traditions, projects this compilation as what I call a literary “reservoir” that constitutes the multilingual Ottoman canon. My argument draws upon Ziya Pasha's characterization of the Ottoman culture as an “ocean” that encompasses Arabic, Persian, and Turkish “streams.” This description undermines the typical scholarly view that the Ottoman culture emerged and developed under Arabic and Persian influences. I then reframe our understanding of canonization through using the conceptual repertoire that the world literature scholarship has brought into literary studies—circulations, target culture, and source culture. Building upon John Guillory's work on the process of canon formation, I propose that each source text can be “deracinated” when its context is ignored in the target culture to facilitate this text's incorporation into a new canon, or “reservoir.” This article finally calls for rewriting the history of comparative and world literature by demonstrating that Harabat is constitutive of the nineteenth-century comparative literature paradigm.

Planned Obsolescence, or The Fate of Prose in Lytton Strachey's Biographies

Lytton Strachey's first major work, Eminent Victorians, made a revolutionary gesture by giving the lives of its famous subjects ironic treatment, atypical of the serious genre of biography. His highly stylized lives were readable, but his campiness brought critical backlash from the institutional gatekeepers. This dismissal took the same form of homophobic panic that attended writers of aestheticism. Engaging recent constellations of queer style and queer temporality, I argue that Strachey's prose style is a kind of planned obsolescence, in the model of manufacturing schemes to promote demand for yearly updates. Planned obsolescence gives us a new way to look at innovation in styles and canon formation. The continual drive for innovation we think of as modernism is the same demand for novelty in any other commodity. Strachey's work disrupts the conservative modernist reaction to the perceived threat of commodity culture and calls into question its preservation of hierarchies of distinction. Strachey emphasizes momentary pleasure, not the future, and this opens an aesthetic resistance to the collusion of literature and the marketplace, both in its impact on aesthetic form and in its institutionalization in literary studies.

Nabokov's Canon: From ‘Onegin’ to ‘Ada’ by Marijeta Bozovic (review)

SEER, 95, 4, OCTOBER 2017 740 letter he describes revisiting Cambridge, a disappointing trip that failed to live up to his memories, but which also reveals that, even as late as 1937, he had not lost all hope of going home: ‘This visit was a good lesson — the lesson of the return — and a warning: we also need not expect life, heat, a wild awakening of the past — from our other return — to Russia. As a toy sold with a key, everything is already wrapped up in memory — and without it nothing moves’ (p. 312). There are even variants, here, of letters about the same events sent to other people. For example, in June 1944 Nabokov suffered a serious bout of food poisoning which hospitalized him for a few days. He wrote about it in graphic and hilarious detail to Edmund Wilson, but in his account to Véra he omits much of this detail (including vomiting into the telephone) so as not to alarm her, and so much so that he tries to deflate its importance by alluding to the D-Day landings, with which it coincided: ‘In short, the bacilli had taken me for the invasion beach’ (p. 489). These letters serve as a form of alternative autobiography, offering a uniquely spontaneous and unguarded insight into Nabokov’s universe, and together with Shapiro’s portrait of V. D. Nabokov, present both scholars and the general reader with two new, tremendously rich and infinitely rewarding resources to mine. UCL SSEES Barbara Wyllie Bozovic, Marijeta. Nabokov’s Canon: From ‘Onegin’ to ‘Ada’. Studies in Russian Literature and Theory. Northwestern University Press, Evanston, IL, 2016. x + 230 pp. Notes. Bibliography. Index. $39.95 (paperback). Vladimir Nabokov has embarrassed many a librarian seeking just the right place for his novels on the bookshelves. The author of Ada, or Ardor is not exactly an émigré Russian writer, nor the Great American Novelist, in spite of Lolita’s top-rated place in anthologies of American literature. His position in the literary landscape has been the source of many debates: is Vladimir Nabokov the last of the European modernists or the first American postmodern writer? Marijeta Bozovic sees it in different terms. In her original and fascinating study, Nabokov’s Canon: From ‘Onegin’ to ‘Ada’, she relies on Nabokov’s most challenging works — his monumental commentary of Eugene Onegin and his novel Ada — to argue that Nabokov has reshaped the dominant literary landscape by reinventing a transnational and cross-cultural canon in the second half the twentieth century. Progressing methodologically through her corpus, Bozovic opens her first chapter, entitled ‘Pushkin’s Evgenii Onegin: The Breguet Keeps Time’ REVIEWS 741 (pp. 15–43), with an exclusive focus on Evgenii Onegin’s exploration of time, timeliness and use of literary traditions. Relying on the notion of ‘cultural capital’ as developed by French philosophers such as Pierre Bourdieu and Pascale Casanova, Bozovic reads Evgenii Onegin as a meta-literary exploration of canon formation that both betrays and attempts to transcend its obsessional anxieties about the marginal place of Russian literature on the international literary scene. This anxiety will only be magnified later by Nabokov’s own ‘translation’ and commentary of Onegin, which are the focus of the second chapter, ‘Nabokov’s Eugene Onegin: The Chateaubyronic Genre’ (pp. 44–70). Bozovic argues that Nabokov’s lengthy commentary may also be read as an autonomous text that consciously borrows Onegin’s methods of literary appropriation of European masterpieces and constitutes Nabokov’s initial attempt to annex ‘Russian culture to a transnational canon’ (p. 99). With a 150-year leap, Bozovic introduces Ada in the third chapter of her study, ‘Nabokov’s Ada, or Ardor: Translating the Russian Novel’ (pp. 71–96). The possibilities and freedom offered by fiction take Nabokov many steps further in this ongoing redefinition of a transcultural canon. First, Bozovic suggests, the creation of Antiterra reads as Nabokov’s best opportunity to create his own ‘republic of letters,’ to use Casanova’s phrase. The author of Ada said about Lolita that he had carefully ‘kept the Russians out of it’ (V. Nabokov, The Annotated Lolita, New York, 1991, p. 440), yet they reappear more forcefully in Ada...

문학교육에서 『무정』의 정전화 연구 : 2차 교육과정부터 2009 개정 교육과정까지의 교재화를 중심으로

이 연구의 목적은 문학교육이 실천한 『무정』의 정전화 과정을 밝히고 교육의 시사점을 도출하는 것이다. 이를 위해 『무정』이 중등학교 교과서에 처음 수록된 2차 교육과정부터 학습의 대상이 되지 못한 2009 개정 교육과정까지의 변천 과정을 살피고 정전화의 논리를 재구하였다.BR 『무정』은 문학사의 차원에서 최초의 근대적 장편 소설이지만 문학교육의 차원에서는 가장 오래된 정전이다. 현대소설의 어떤 작품보다도 가장 ‘앞선 시기’에 ‘지속적으로’ ‘다수의 교과서’에 수록되어 읽혔다. 그만큼 학습 목표, 작품 해석, 수록 범위, 학습 활동 등과 관련된 교재화의 양상이 시기마다 상이하다. 2 · 3차 교육과정기 고전 문학사를 다루는 고등학교 선택 과목 〈고전〉의 교과서에 처음 실린 『무정』은 4차 교육과정에 와서 전래의 소설과는 구분되는 ‘최초의 근대적 장편 소설’로 규정되면서 6차 교육과정까지 정전의 위상을 확립해간다. 7차 교육과정부터 『무정』은 대중소설의 면모를 조명 받으며 교육 내용의 지평을 확장하지만 교육 정전의 위상은 흔들린다.BR 『무정』의 정전화에 대한 사적 고찰을 통해 확인된 문학교육의 성과와 한계는 『무정』 교육의 개선을 위한 시사점을 제공한다. 구체적으로, 첫째, 문학사 교육과 관련하여, 학습자가 문학사적 안목을 형성할 수 있도록 『무정』을 다른 작품과 비교하면서 현실 인식의 차원이나 문체적 차원의 연속성을 탐구하고 이해하게 해야 한다는 것, 둘째, ‘문학과 매체’ 관련 성취기준과 관련하여, 『무정』의 소통 현상과 문체 선택의 관계를 탐구하게 함으로써 『무정』의 매체적 특성을 기호론과 소통론 양편에서 이해하도록 해야 한다는 것, 셋째, 문학 교실에서 특정 연재분이 아닌 장편소설 『무정』 전체를 풍성하게 읽을 수 있도록 ‘한 학기 한 권 읽기’를 활용할 것을 제안하였다.

Literary collections from the 1950s to the 1970s and the Canon Formation process of Korea Modern Dramas

Literary collections from the 1950s to the 1970s and the Canon Formation process of Korea Modern Dramas

近代教育学を思想史研究として問うことは何を問うことだったのか : カノン形成から見た教育思想史研究史覚書(第V部 省察から展望へ: 近代批判と教育思想史のゆくえ)

近代教育学を思想史研究として問うことは何を問うことだったのか : カノン形成から見た教育思想史研究史覚書(第V部 省察から展望へ: 近代批判と教育思想史のゆくえ)

The Publication of Korean Literature Anthologies and Canon Formation of Short Stories during the 1950s and 1970s

The Publication of Korean Literature Anthologies and Canon Formation of Short Stories during the 1950s and 1970s

How Lives Became Lists and Scientific Papers Became Data: Cataloguing Authorship during the Nineteenth Century - Corrigendum.

The Catalogue of Scientific Papers, published by the Royal Society of London beginning in 1867, projected back to the beginning of the nineteenth century a novel vision of the history of science in which knowledge was built up out of discrete papers each connected to an author. Its construction was an act of canon formation that helped naturalize the idea that scientific publishing consisted of special kinds of texts and authors that were set apart from the wider landscape of publishing. By recovering the decisions and struggles through which the Catalogue was assembled, this essay aims to contribute to current efforts to denaturalize the scientific paper as the dominant genre of scientific life. By privileging a specific representation of the course of a scientific life as a list of papers, the Catalogue helped shape underlying assumptions about the most valuable fruits of a scientific career. Its enumerated lists of authors' periodical publications were quickly put to use as a means of measuring scientific productivity and reputation, as well as by writers of biography and history. Although it was first conceived as a search technology, this essay locates the Catalogue's most consequential legacy in its uses as a technology of valuation.

コンバリュー『音楽史』にみる共和国のシンボルとしてのベルリオーズ像：第三共和政フランスの音楽史学とカノン形成

コンバリュー『音楽史』にみる共和国のシンボルとしてのベルリオーズ像：第三共和政フランスの音楽史学とカノン形成

How lives became lists and scientific papers became data: cataloguing authorship during the nineteenth century.

The Catalogue of Scientific Papers, published by the Royal Society of London beginning in 1867, projected back to the beginning of the nineteenth century a novel vision of the history of science in which knowledge was built up out of discrete papers each connected to an author. Its construction was an act of canon formation that helped naturalize the idea that scientific publishing consisted of special kinds of texts and authors that were set apart from the wider landscape of publishing. By recovering the decisions and struggles through which the Catalogue was assembled, this essay aims to contribute to current efforts to denaturalize the scientific paper as the dominant genre of scientific life. By privileging a specific representation of the course of a scientific life as a list of papers, the Catalogue helped shape underlying assumptions about the most valuable fruits of a scientific career. Its enumerated lists of authors' periodical publications were quickly put to use as a means of measuring scientific productivity and reputation, as well as by writers of biography and history. Although it was first conceived as a search technology, this essay locates the Catalogue's most consequential legacy in its uses as a technology of valuation.

Decadence and the Reinvention of Modernismthe Decadent Republic of Letters: Taste, Politics, and Cosmopolitan Community from Baudelaire to Beardsley

Decadence and the Reinvention of Modernismthe Decadent Republic of Letters: Taste, Politics, and Cosmopolitan Community from Baudelaire to Beardsley