Academic literature on the topic 'Europe – Intellectual life – 1780-1840'

The seven papers in this special issue focus primarily on the development of British colonial rule between the 1780s and the 1840s. Over the course of these decades, the East India Company extended and consolidated its political and military control throughout much of the Indian subcontinent. Many of the crucial developments in the formation of the colonial state occurred during this period. These include the conquest of Mysore and the defeat of the Marathas, the implementation of the Permanent Settlement, the reforms undertaken during the Viceroyalty of Lord Bentinck, the introduction of Utilitarianism and missionary activity, the establishment of the Trigonometrical Survey, the development of the systems of control based upon indirect rule in the ‘princely states’, the emergence of new concepts of ‘race’ and social hierarchy, and the reshaping of British social life in South Asia. Outside of India, Ceylon's maritime provinces were captured from the Dutch and, in 1815, the interior Kandyan kingdom was annexed, paving the way for the island's transformation into a Crown colony focused on plantation production. In Britain, too, there was a growing interest among the public in the British territorial possessions in South Asia and an increasing awareness that this empire helped to define Britain as a great national power within Europe. For these reasons alone, this period, which begins when the Company was seeking to entrench itself as the de facto ruler of Bengal and ends shortly before the 1857 rebellions and the formal end of the Company rule, requires serious attention by historians.

Clauss, Martin / Christoph Nübel (Hrsg.), Militärisches Entscheiden. Voraussetzungen, Prozesse und Repräsentationen einer sozialen Praxis von der Antike bis zum 20. Jahrhundert (Krieg und Konflikt, 9), Frankfurt a. M. / New York 2020, Campus, 496 S. / Abb., € 52,00. (Jörg Rogge, Mainz) Scheller, Benjamin (Hrsg.), Kulturen des Risikos im Mittelalter und in der Frühen Neuzeit (Schriften des Historischen Kollegs. Kolloquien, 99), Berlin / Boston 2019, de Gruyter Oldenbourg, IX u. 278 S. / Abb., € 69,95. (Christian Wenzel, Marburg) Eisenbichler, Konrad (Hrsg.)‚ A Companion to Medieval and Early Modern Confraternities (Brill’s Companions to the Christian Tradition, 83), Leiden / Boston 2019, Brill, XVI u. 475 S. / Abb., € 215,00. (Nikolas Funke, Münster) Das, Nandini / Tim Youngs (Hrsg.), The Cambridge History of Travel Writing, Cambridge [u. a.] 2019, Cambridge University Press, XVIII u. 639 S. / Abb., £ 135,00. (Michael Maurer, Jena) Baumann, Anette / Sabine Schmolinsky / Evelien Timpener (Hrsg.), Raum und Recht. Visualisierung von Rechtsansprüchen in der Vormoderne (Bibliothek Altes Reich, 29), Berlin / Boston 2020, de Gruyter Oldenbourg, VIII u. 183 S. / Abb., € 59,95. (Falk Bretschneider, Paris) Carpegna Falconieri, Tommaso di, The Militant Middle Ages. Contemporary Politics between New Barbarians and Modern Crusaders, übers. v. Andrew M. Hiltzik (National Cultivation of Culture, 20), Leiden / Boston 2020, Brill, XI u. 281 S., € 138,00. (Martin Clauss, Chemnitz) Kitapçı Bayrı, Buket, Warriors, Martyrs, and Dervishes. Moving Frontiers, Shifting Identities in the Land of Rome (13th-15th Centuries) (The Medieval Mediterranean, 119), Leiden / Boston 2020, Brill, X u. 259 S. / Karten, € 99,00. (Mihailo Popović, Wien) Cristea, Ovidiu / Liviu Pilat (Hrsg.), From Pax Mongolica to Pax Ottomanica. War, Religion and Trade in the Northwestern Black Sea Region (14th-16th Centuries) (East Central and Eastern Europe in the Middle Ages, 450 – 1450, 58), Leiden / Boston 2020, Brill, VI u. 321 S., € 105,00. (Markus Koller, Bochum) Jones, Linda G. / Adrienne Dupont-Hamy (Hrsg.), Christian, Jewish, and Muslim Preaching in the Mediterranean and Europe. Identities and Interfaith Encounters (Sermo, 15), Turnhout 2019, Brepols, VI u. 337 S. / Abb., € 90,00. (Sina Rauschenbach, Potsdam) Catlos, Brian A., al-Andalus. Geschichte des islamischen Spanien, München 2019, Beck, 491 S. / Abb., € 29,95. (Matthias Maser, Erlangen) Glick, Thomas F. / Antonio Malpica / Félix Retamero / Josep Torró (Hrsg.), From Al-Andalus to the Americans (13th–17th Centuries). Destruction and Construction of Societies (The Medieval and Early Modern Iberian World, 65), Leiden / Boston 2018, Brill, XIII u. 471 S. / Abb., € 127,00. (Ludolf Pelizaeus, Amiens) Hamilton, Tracy Chapman / Mariah Proctor-Tiffany (Hrsg.), Moving Women Moving Objects (400 – 1500) (Maps, Spaces, Cultures, 2), Leiden / Boston 2019, Brill, XXIX und 346 S. / Abb., € 149,00. (Sabine Klapp, Kaiserslautern) Makowski, Elizabeth, Apostate Nuns in the Later Middle Ages (Studies in the History of Medieval Religion, 49), Woodbridge 2019, The Boydell Press, XIV u. 227 S., £ 60,00. (Christine Kleinjung, Münster) Dickason, Kathryn, Ringleaders of Redemption. How Medieval Dance Became Sacred (Oxford Studies in Historical Theology), New York 2021, Oxford University Press, XV u. 369 S. / Abb., £ 64,00. (Gregor Rohmann, Frankfurt a. M.) Clauss, Martin / Gesine Mierke / Antonia Krüger (Hrsg.), Lautsphären des Mittelalters. Akustische Perspektiven zwischen Lärm und Stille (Beihefte zum Archiv für Kulturgeschichte, 89), Wien / Köln / Weimar 2020, Böhlau, 340 S. / Abb., € 65,00. (Karl Kügle, Oxford / Utrecht) Geßner, Kerstin, Die Vermessung des Kosmos. Zur geometrischen Konstruktion von urbanem Raum im europäischen Mittelalter, Wien / Köln / Weimar 2020, Böhlau, 341 S. / Abb., € 45,00. (Felix Rösch, Göttingen) Hirbodian, Sigrid / Andreas Schmauder / Petra Steymans-Kurz (Hrsg.), Materielle Kultur und Sozialprestige im Spätmittelalter. Führungsgruppen in Städten des deutschsprachigen Südwestens (Schriften zur südwestdeutschen Landeskunde, 82), Ostfildern 2019, Thorbecke, IX u. 148 S. / Abb., € 25,00. (Gerald Schwedler, Kiel) Liening, Simon, Das Gesandtschaftswesen der Stadt Straßburg zu Beginn des 15. Jahrhunderts (Mittelalter-Forschung, 63), Ostfildern 2019, Thorbecke, 245 S., € 34,00. (Klara Hübner, Brno) Serif, Ina, Geschichte aus der Stadt. Überlieferung und Aneignungsformen der deutschen Chronik Jakob Twingers von Königshofen (Kulturtopographie des alemannischen Raums, 11), Berlin / Boston 2020, de Gruyter, X u. 297 S. / Abb., € 99,95. (Carla Meyer-Schlenkrich, Köln) Urkundenregesten zur Tätigkeit des deutschen Königs- und Hofgerichts bis 1451, Bd. 17: Die Zeit Ruprechts 1407 – 1410, hrsg. v. Bernhard Diestelkamp, bearb. v. Ute Rödel (Quellen und Forschungen zur höchsten Gerichsbarkeit im Alten Reich. Sonderreihe), Wien / Köln / Weimar 2018, Böhlau, XCIX u. 531 S., € 90,00. (Jörg Schwarz, Innsbruck) Van Dussen, Michael / Pavel Soukup (Hrsg.), A Companion to the Hussites (Brill’s Companions to the Christian Tradition, 90), Leiden / Boston 2020, Brill, XI u. 453 S., € 199,00. (Christina Traxler, Wien) Kaar, Alexandra, Wirtschaft, Krieg und Seelenheil. Papst Martin V., Kaiser Sigismund und das Handelsverbot gegen die Hussiten in Böhmen (Forschungen zur Kaiser- und Papstgeschichte des Mittelalters. Beihefte zu J. F. Böhmer, Regesta Imperii, 46), Wien / Köln / Weimar 2020, Böhlau, 387 S. / Abb., € 55,00. (Gerhard Fouquet, Kiel) Regesten Kaiser Friedrichs III. (1440 – 1493) nach Archiven und Bibliotheken geordnet, hrsg. v. Paul-Joachim Heinig / Christian Lackner / Alois Niederstätter, Heft 34: Die Urkunden und Briefe des Österreichischen Staatsarchivs in Wien, Abt. Haus-‍, Hof- und Staatsarchiv: Allgemeine Urkundenreihe, Familienurkunden und Abschriftensammlungen (1476 – 1479), bearb. v. Kornelia Holzner-Tobisch nach Vorarbeiten v. Anne-Katrin Kunde, Wien / Köln / Weimar 2020, Böhlau, 315 S., € 50,00. (Jörg Schwarz, Innsbruck) Regesten Kaiser Friedrichs III. (1440 – 1493) nach Archiven und Bibliotheken geordnet, hrsg. v. Paul-Joachim Heinig / Christian Lackner / Alois Niederstätter, Heft 35: Die Urkunden und Briefe des Österreichischen Staatsarchivs in Wien, Abt. Haus-‍, Hof- und Staatsarchiv: Allgemeine Urkundenreihe, Familienurkunden und Abschriftensammlungen (1480 – 1482), bearb. v. Petra Heinicker / Anne-Katrin Kunde, Wien / Köln / Weimar 2019, Böhlau, 197 S., € 40,00. (Jörg Schwarz, Innsbruck) Christ, Georg / Franz-Julius Morche (Hrsg.), Cultures of Empire. Rethinking Venetian Rule, 1400 – 1700. Essays in Honour of Benjamin Arbel (The Medieval Mediterranean, 122), Leiden / Boston 2020, Brill, XXXI u. 484 S. / Abb., € 149,00. (Uwe Israel, Dresden) Lemire, Beverly, Global Trade and the Transformation of Consumer Cultures. The Material World Remade, c. 1500 – 1820 (New Approaches to Economic and Social History), Cambridge 2018, Cambridge University Press, XVIII u. 352 S. / Abb., £ 22,99. (Stefan Hanß, Manchester) Siebenhüner, Kim / John Jordan / Gabi Schopf (Hrsg.), Cotton in Context. Manufacturing, Marketing, and Consuming Textiles in the German-Speaking World (1500 – 1900) (Ding, Materialität, Geschichte, 4), Wien / Köln / Weimar 2019, Böhlau, 424 S. / Abb., € 90,00. (Stefan Hanß, Manchester) Dalrymple-Smith, Angus, Commercial Transitions and Abolition in West Africa 1630 – 1860 (Studies in Global Slavery, 9), Leiden / Boston 2020, Brill, XI u. 278 S. / Abb., € 121,00. (Magnus Ressel, Frankfurt a. M.) Ruhe, Ernstpeter, „Aus Barbareÿen erlösett“. Die deutschsprachigen Gefangenenberichte aus dem Maghreb (XVI.–XIX. Jh.) und ihre Rezeption (Studien zur Literatur und Geschichte des Maghreb, 11), Würzburg 2020, Königshausen & Neumann, 288 S. / € 39,80. (Stefan Hanß, Manchester) Godfrey, Andrew M. / Cornelis H. van Rhee (Hrsg.), Central Courts in Early Modern Europe and the Americas (Comparative Studies in Continental and Anglo-American Legal History, 34), Berlin 2020, Duncker & Humblot, 542 S., € 99,90. (Tobias Schenk, Wien) Enenkel, Karl A. E. / Jan L. de Jong (Hrsg.), „Artes Apodemicae“ and Early Modern Travel Culture, 1550 – 1700 (Intersections, 64), Leiden / Boston 2019, Brill, XIX u. 339 S. / Abb., € 124,00. (Michael Maurer, Jena) Detering, Nicolas / Clementina Marsico / Isabella Walser-Bürgler (Hrsg.), Contesting Europe. Comparative Perspectives on Early Modern Discourses on Europe, 1400 – 1800 (Intersections, 67), Leiden / Boston 2020, Brill, XVIII u. 386 S. / Abb., € 115,00. (Theo Jung, Freiburg i. Br.) Giannini, Giulia / Mordechai Feingold (Hrsg.), The Institutionalization of Science in Early Modern Europe (Scientific and Learned Cultures and Their Institutions, 27), Leiden / Boston 2020, Brill, XII u. 301 S., € 115,00. (Sebastian Kühn, Berlin) Wilkinson, Alexander S. / Graeme J. Kemp (Hrsg.), Negotiating Conflict and Controversy in the Early Modern Book World (Library of the Written Word, 73; The Handpress World, 56), Leiden / Boston 2019, Brill, XIII u. 287 S. / Abb., € 126,00. (Johannes Frimmel, München) Dinges, Martin / Pierre Pfütsch (Hrsg.), Männlichkeiten in der Frühmoderne. Körper, Gesundheit und Krankheit (1500 – 1850) (Medizin, Gesellschaft und Geschichte, Beiheft 76), Stuttgart 2020, Steiner, 536 S. / Abb., € 76,00. (Christina Vanja, Kassel) Widder, Roman, Pöbel, Poet und Publikum. Figuren arbeitender Armut in der Frühen Neuzeit, Konstanz 2020, Konstanz University Press, 481 S., € 39,90. (Anke Sczesny, Augsburg) Bushkovitch, Paul, Succession to the Throne in Early Modern Russia. The Transfer of Power 1450 – 1725, New York 2021, Cambridge University Press, XV u. 397 S., £ 90,00. (Martina Winkler, Kiel) Ordubadi, Diana / Dittmar Dahlmann (Hrsg.), Die ‚Alleinherrschaft‘ der russischen Zaren in der ‚Zeit der Wirren‘ in transkultureller Perspektive (Macht und Herrschaft, 10), Göttingen 2021, V&R unipress / Bonn University Press, 377 S. / Abb, € 50,00. (Martina Winkler, Kiel) Hochedlinger, Michael / Petr Maťa / Thomas Winkelbauer (Hrsg.), Verwaltungsgeschichte der Habsburgermonarchie in der Frühen Neuzeit. Hof und Dynastie, Kaiser und Reich, Zentralverwaltungen, Kriegswesen und landesfürstliches Finanzwesen, 2 Teilbde. (Mitteilungen des Instituts für Österreichische Geschichtsforschung, Ergänzungsband 62), Wien 2019, Böhlau, 1308 S., € 150,00. (William D. Godsey, Wien) Kustatscher, Erika, Die Innsbrucker Linie der Thurn und Taxis – Die Post in Tirol und den Vorlanden (1490 – 1769) (Schlern-Schriften, 371), Innsbruck 2018, Universitätsverlag Wagner, 489 S. / Abb., € 39,90. (Wolfgang Behringer, Saarbrücken) Kurelić, Robert, Daily Life on the Istrian Frontier. Living on a Borderland in the Sixteenth Century (Studies in the History of Daily Life [800 – 1600], 7), Turnhout 2019, Brepols, 230 S. / Karten, € 75,00. (Stephan Steiner, Wien) Neumann, Franziska, Die Ordnung des Berges. Formalisierung und Systemvertrauen in der sächsischen Bergverwaltung (1470 – 1600) (Norm und Struktur, 52), Wien / Köln / Weimar 2021, Böhlau, 411 S., € 70,00. (Tobias Schenk, Wien) Mattox, Mickey L. / Richard J. Serina / Jonathan Mumme (Hrsg.), Luther at Leipzig. Martin Luther, the Leipzig Debate, and the Sixteenth-Century Reformations (Studies in Medieval and Reformation Traditions, 218), Leiden / Boston 2019, Brill, XIV u. 348 S., € 129,00. (Thomas Fuchs, Leipzig) Brewer, Brian C. / David M. Whitford (Hrsg.), Calvin and the Early Reformation (Studies in Medieval and Reformation Traditions, 219), Leiden / Boston 2020, Brill, XIV u. 231 S., € 99,00. (Volker Reinhardt, Fribourg) Nicholls, Sophie, Political Thought in the French Wars of Religion (Ideas in Context), Cambridge [u. a.] 2021, Cambridge University Press, XIII u. 269 S., £ 75,00. (Ronald G. Asch, Freiburg i. Br.) Vadi, Valentina, War and Peace. Alberico Gentili and the Early Modern Law of Nations (Legal History Library, 37; Studies in the History of International Law, 14), Leiden / Boston 2020, Brill Nijhoff, XXVI u. 566 S. / Abb., € 160,00. (Miloš Vec, Wien) Schmidt, Ariadne, Prosecuting Women. A Comparative Perspective on Crime and Gender before the Dutch Criminal Courts, c. 1600 – 1810 (Crime and City in History, 4), Leiden / Boston 2020, Brill, X u. 285 S. / graph. Darst., € 105,00. (Wiebke Voigt, Dresden) Moore, John K., Mulatto, Outlaw – Pilgrim – Priest. The Legal Case of José Soller, Accused of Impersonating a Pastor and Other Crimes in Seventeenth-Century Spain (The Medieval and Early Modern Iberian World, 75), Leiden / Boston 2020, Brill, XVIII u. 359 S. / Abb., € 127,00. (Alexandra Kohlhöfer, Münster) Junghänel, André, Kirchenverwaltung und Landesherrschaft. Kirchenordnendes Handeln in der Landgrafschaft Hessen-Kassel im 17. Jahrhundert (Schriften zur politischen Kommunikation, 26), Göttingen 2021, V&R unipress, 721 S. / Abb., € 90,00. (Lennart Gard, Berlin) Elsner, Ines, Das Huldigungssilber der Welfen des Neuen Hauses Braunschweig-Lüneburg (1520 – 1706). Geschenkkultur und symbolische Interaktion zwischen Fürst und Untertanen, Regensburg 2019, Schnell & Steiner, 256 S. / Abb., € 59,00. (Torsten Fried, Schwerin / Greifswald) Pečar, Andreas / Andreas Erb (Hrsg.), Der Dreißigjährige Krieg und die mitteldeutschen Reichsfürsten. Politische Handlungsstrategien und Überlebensmuster (Quellen und Forschungen zur Geschichte Sachsen-Anhalts, 20), Halle a. d. S. 2020, Mitteldeutscher Verlag, 202 S. / Abb., € 38,00. (Fabian Schulze, Elchingen / Augsburg) Capdeville, Valérie / Alain Kerhervé (Hrsg.), British Sociability in the Long Eighteenth Century. Challenging the Anglo-French Connection (Studies in the Eighteenth Century), Woodbridge 2019, The Boydell Press, XV u. 304 S., £ 65,00. (Michael Schaich, London) McIntosh, Carey, Semantics and Cultural Change in the British Enlightenment. New Words and Old (Brill’s Studies in Intellectual History, 315), Leiden / Boston 2020, Brill, VI u. 222 S., € 95,00. (Christina Piper, Kiel) Bulinsky, Dunja, Nahbeziehungen eines europäischen Gelehrten. Johann Jakob Scheuchzer (1672 – 1733) und sein soziales Umfeld, Zürich 2020, Chronos, 191 S. / Abb., € 48,00. (Lisa Dannenberg-Markel, Aachen) Furrer, Norbert, Der arme Mann von Brüttelen. Lebenswelten eines Berner Söldners und Landarbeiters im 18. Jahrhundert, Zürich 2020, Chronos, 229 S. / Abb., € 38,00. (Tim Nyenhuis, Düsseldorf) Finnegan, Rachel, English Explorers in the East (1738 – 1745). The Travels of Thomas Shaw, Charles Perry and Richard Pococke, Leiden / Boston 2019, Brill, XIII u. 331 S. / Abb., € 99,00. (Michael Maurer, Jena) Décultot, Elisabeth / Jana Kittelmann / Andrea Thiele / Ingo Uhlig (Hrsg.), Weltensammeln. Johann Reinhold Forster und Georg Forster (Das achtzehnte Jahrhundert. Supplementa, 27), Göttingen 2020, Wallstein, 280 S. / Abb., € 29,90. (Michael Maurer, Jena) Evers, Jan-Hendrick, Sitte, Sünde, Seligkeit. Zum Umgang hallischer Pastoren mit Ehe, Sexualität und Sittlichkeitsdelikten in Pennsylvania, 1742 – 1800 (Hallesche Forschungen, 57), Halle a. d. S. 2020, Verlag der Franckeschen Stiftungen; Harrassowitz in Kommission, XII u. 455 S. / graph. Darst., € 69,00. (Norbert Finzsch, Köln) Schmidt, Dennis, Bedrohliche Aufklärung – Umkämpfte Reformen. Innerösterreich im josephinischen Jahrzehnt 1780 – 1790, Münster 2020, Aschendorff, XV u. 621 S. / graph. Darst., € 58,00. (Simon Karstens, Trier) Bregler, Thomas, Die oberdeutschen Reichsstädte auf dem Rastatter Friedenskongress (1797 – 1799) (Studien zur bayerischen Verfassungs- und Sozialgeschichte, 33), München 2020, Kommission für bayerische Landesgeschichte, X u. 562 S. / Abb., € 49,00. (Dorothée Goetze, Sundsvall) Esser, Franz D., Der Wandel der Rheinischen Agrarverfassung. Der Einfluss französischer und preußischer Agrarreformen zwischen 1794 und 1850 auf die bäuerlichen Rechtsverhältnisse im Rheinland (Forschungen zur deutschen Rechtsgeschichte, 32), Wien / Köln / Weimar 2020, Böhlau, 270 S. / Abb., € 70,00. (Werner Troßbach, Fulda)

The ideas put forth here do not fit perfectly or entirely into the genre and form of what has established itself as the scholarly journal article. What is put forth, instead, is a juxtaposition of lines of thinking about the scholarly and popular in publishing, past, present and future. As such it may indeed be quite appropriate to the occasion and the questions raised in the call for papers for this special issue of M/C Journal. The ideas put forth here are intended as pieces of an ever-changing puzzle of the making public of scholarship, which, I hope, may in some way fit with both the work of others in this special issue and in the discourse more broadly. The first line of thinking presented takes the form of an historical overview of publishing as context to consider a second line of thinking about the current status and future of publishing. The historical context serves as reminder (and cause for celebration) that publishing has not yet perished, contrary to continued doomsday sooth-saying that has come with each new medium since the advent of print. Instead, publishing has continued to transform and it is precisely the transformation of print, print culture and reading publics that are the focus of this article, in particular, in relation to the question of the boundaries between the scholarly and the popular. What follows is a juxtaposition that is part of an investigation in progress. Presented first, therefore, is a mapping of shifts in print culture from the time of Gutenberg to the twentieth century; second, is a contemporary snapshot of the editorial mandates of more than one hundred member journals of the Canadian Association of Learned Journals (CALJ). What such juxtaposition is able to reveal is open to interpretation, of course. And indeed, as I proceed in my investigation of publishing past, present and future, my interpretations are many. The juxtaposition raises a number of issues: of communities of readers and the cultures of reading publics; of privileged and marginalised texts (as well as their authors and their readers); of access and reach (whether in terms of what is quantifiable or in a much more subtle but equally important sense). In Canada, at present, these issues are also intertwined with changes to research funding policies and some attention is given at the end of this article to the Social Sciences and Humanities Research Council (SSHRC) of Canada and its recent/current shift in funding policy. Curiously, current shifts in funding policies, considered alongside an historical overview of publishing, would suggest that although publishing continues to transform, at the same time, as they say, plus ça change, plus c’est la même chose. Republics of Letters and Ghosts in Machines Republics of Letters that formed after the advent of the printing press can be conjured up as distant and almost mythical communities of elite literates, ghosts almost lost in a Gutenberg galaxy that today encompasses (and is embodied in) schools, bookshelves, and digital archives in many places across the globe. Conjuring up ghosts of histories past seems always to reveal ironies, and indeed some of the most interesting ironies of the Gutenberg galaxy involve McLuhanesque reversals or, if not full reversals, then in the least some notably sharp turns. There is a need to define some boundaries (and terms) in the framing of the tracing that follows. Given that the time frame in question spans more than five hundred years (from the advent of Gutenberg’s printing press in the fifteenth century to the turn of the 21st century), the tracing must necessarily be done in broad strokes. With regard to what is meant by the “making public of scholarship” in this paper, by “making public” I refer to accounts historians have given in their attempts to reconstruct a history of what was published either in the periodical press or in books. With regard to scholarship (and the making public of it), as with many things in the history of publishing (or any history), this means different things in different times and in different places. The changing meanings of what can be termed “scholarship” and where and how it historically has been made public are the cornerstones on which this article (and a history of the making public of scholarship) turn. The structure of this paper is loosely chronological and is limited to the print cultures and reading publics in France, Britain, and what would eventually be called the US and Canada, and what follows here is an overview of changes in how scholarly and popular texts and publics are variously defined over the course of history. The Construction of Reading Publics and Print Culture In any consideration of “print culture” and reading publics, historical or contemporary, there are two guiding principles that historians suggest should be kept in mind, and, though these may seem self-evident, they are worth stating explicitly (perhaps precisely because they seem self-evident). The first is a reminder from Adrian Johns that “the very identity of print itself has had to be made” (2 italics in original). Just as the identity of print cultures are made, similarly, a history of reading publics and their identities are made, by looking to and interpreting such variables as numbers and genres of titles published and circulated, dates and locations of collections, and information on readers’ experiences of texts. Elizabeth Eisenstein offers a reminder of the “widely varying circumstances” (92) of the print revolution and an explicit acknowledgement of such circumstances provides the second, seemingly self-evident guiding principle: that the construction of reading publics and print culture must not only be understood as constructed, but also that such constructions ought not be understood as uniform. The purpose of the reconstructions of print cultures and reading publics presented here, therefore, is not to arrive at final conclusions, but rather to identify patterns that prove useful in better understanding the current status (and possible future) of publishing. The Fifteenth and Sixteenth Centuries—Boom, then Busted by State and Church In search of what could be termed “scholarship” following the mid-fifteenth century boom of the early days of print, given the ecclesiastical and state censorship in Britain and France and the popularity of religious texts of the 15th and 16th centuries, arguably the closest to “scholarship” that we can come is through the influence of the Italian Renaissance and the revival and translation (into Latin, and to a far lesser extent, vernacular languages) of the classics and indeed the influence of the Italian Renaissance on the “print revolution” is widely recognised by historians. Historians also recognise, however, that it was not long until “the supply of unpublished texts dried up…[yet for authors] to sell the fruits of their intellect—was not yet common practice before the late 16th century” (Febvre and Martin 160). Although this reference is to the book trade in France, in Britain, and in the regions to become the US and Canada, reading of “pious texts” was similarly predominant in the early days of print. Yet, the humanist shift throughout the 16th century is evidenced by titles produced in Paris in the first century of print: in 1501, in a total of 88 works, 53 can be categorised as religious, with 25 categorised as Latin, Greek, or Humanist authors; as compared to titles produced in 1549, in a total of 332 titles, 56 can be categorised as religious with 204 categorised as Latin, Greek, or Humanist authors (Febvre and Martin 264). The Seventeenth Century—Changes in the Political and Print Landscape In the 17th century, printers discovered that their chances of profitability (and survival) could be improved by targeting and developing a popular readership through the periodical press (its very periodicity and relative low cost both contributed to its accessibility by popular publics) in Europe as well as in North America. It is worthwhile to note, however, that “to the end of the seventeenth century, both literacy and leisure were virtually confined to scholars and ‘gentlemen’” (Steinberg 119) particularly where books were concerned and although literacy rates were still low, through the “exceptionally literate villager” there formed “hearing publics” who would have printed texts read to them (Eisenstein 93). For the literate members of the public interested not only in improving their social positions through learning, but also with intellectual (or spiritual or existential) curiosity piqued by forbidden books, it is not surprising that Descartes “wrote in French to a ‘lay audience … open to new ideas’” (Jacob 41). The 17th century also saw the publication of the first scholarly journals. There is a tension that becomes evident in the seventeenth century that can be seen as a tension characteristic of print culture, past and present: on the one hand, the housing of scholarship in scholarly journals as a genre distinct from the genre of the popular periodicals can be interpreted as a continued pattern of (elitist) divide in publics (as seen earlier between the oral and the written word, between Latin and the vernacular, between classic texts and popular texts); while, on the other hand, some thinkers/scholars of the day had an interest in reaching a wider audience, as printers always had, which led to the construction and fragmentation of audiences (whether the printer’s market for his goods or the scholar’s marketplace of ideas). The Eighteenth Century—Republics of Letters Become Concrete and Visible The 18th century saw ever-increasing literacy rates, early copyright legislation (Statute of Anne in 1709), improved printing technology, and ironically (or perhaps on the contrary, quite predictably) severe censorship that in effect led to an increased demand for forbidden books and a vibrant and international underground book trade (Darnton and Roche 138). Alongside a growing book trade, “the pulpit was ultimately displaced by the periodical press” (Eisenstein 94), which had become an “established institution” (Steinberg 125). One history of the periodical press in France finds that the number of periodicals (to remain in publication for three or more years) available to the reading public in 1745 numbered 15, whereas in 1785 this increased to 82 (Censer 7). With regard to scholarly periodicals, another study shows that between 1790 and 1800 there were 640 scientific-technological periodicals being published in Europe (Kronick 1961). Across the Atlantic, earlier difficulties in cultivating intellectual life—such as haphazard transatlantic exchange and limited institutions for learning—began to give way to a “republic of letters” that was “visible and concrete” (Hall 417). The Nineteenth Century—A Second Boom and the Rise of the Periodical Press By the turn of the 19th century, visible and concrete republics of letters become evident on both sides of the Atlantic in the boom in book publishing and in the periodical press, scholarly and popular. State and church controls on printing/publishing had given way to the press as the “fourth estate” or a free press as powerful force. The legislation of public education brought increased literacy rates among members of successive generations. One study of literacy rates in Britain, for example, shows that in the period from 1840–1870 literacy rates increased by 35–70 per cent; then from 1870–1900, literacy increased by 78–261 per cent (Mitch 76). Further, with the growth and changes in universities, “history, languages and literature and, above all, the sciences, became an established part of higher education for the first time,” which translated into growing markets for book publishers (Feather 117). Similarly the periodical press reached ever-increasing and numerous reading publics: one estimate of the increase finds the publication of nine hundred journals in 1800 jumping to almost sixty thousand in 1901 (Brodman, cited in Kronick 127). Further, the important role of the periodical press in developing communities of readers was recognised by publishers, editors and authors of the time, something equally recognised by present-day historians describing the “generic mélange of the periodical … [that] particularly lent itself to the interpenetration of language and ideas…[and] the verbal and conceptual interconnectedness of science, politics, theology, and literature” (Dawson, Noakes and Topham 30). Scientists recognised popular periodicals as “important platforms for addressing a non-specialist but culturally powerful public … [they were seen as public] performances [that] fulfilled important functions in making the claims of science heard among the ruling élite” (Dawson et al. 11). By contrast, however, the scholarly journals of the time, while also increasing in number, were becoming increasingly specialised along the same disciplinary boundaries being established in the universities, fulfilling a very different function of forming scholarly and discipline-specific discourse communities through public (published) performances of a very different nature. The Twentieth Century—The Tension Between Niche Publics and Mass Publics The long-existing tension in print culture between the differentiation of reading publics on the one hand, and the reach to ever-expanding reading publics on the other, in the twentieth century becomes a tension between what have been termed “niche-marketing” and “mass marketing,” between niche publics and mass publics. What this meant for the making public of scholarship was that the divides between discipline-specific discourse communities (and their corresponding genres) became more firmly established and yet, within each discipline, there was further fragmentation and specialisation. The niche-mass tension also meant that although in earlier print culture, “the lines of demarcation between men of science, men of letters, and scientific popularizers were far from clear, and were constantly being renegotiated” (Dawson et al 28), with the increasing professionalisation of academic work (and careers), lines of demarcation became firmly drawn between scholarly and popular titles and authors, as well as readers, who were described as “men of science,” as “educated men,” or as “casual observers” (Klancher 90). The question remains, however, as one historian of science asks, “To whom did the reading public go in order to learn about the ultimate meaning of modern science, the professionals or the popularizers?” (Lightman 191). By whom and for whom, where and how scholarship has historically been made public, are questions worthy of consideration if contemporary scholars are to better understand the current status (and possible future) for the making public of scholarship. A Snapshot of Scholarly Journals in Canada and Current Changes in Funding Policies The here and now of scholarly journal publishing in Canada (a growing, but relatively modest scholarly journal community, compared to the number of scholarly journals published in Europe and the US) serves as an interesting microcosm through which to consider how scholarly journal publishing has evolved since the early days of print. What follows here is an overview of the membership of the Canadian Association of Learned Journals (CALJ), in particular: (1) their target readers as identifiable from their editorial mandates; (2) their print/online/open-access policies; and (3) their publishers (all information gathered from the CALJ website, http://www.calj-acrs.ca/). Analysis of the collected data for the 100 member journals of CALJ (English, French and bilingual journals) with available information on the CALJ website is presented in Table 1 (below). A few observations are noteworthy: (1) in terms of readers, although all 100 journals identify a scholarly audience as their target readership, more than 40% of the journal also identify practitioners, policy-makers, or general readers as members of their target audience; (2) more than 25% of the journals publish online as well as or instead of print editions; and (3) almost all journals are published either by a Canadian university or, in one case, a college (60%) or a scholarly or professional society (31%). Table 1: Target Readership, Publishing Model and Publishers, CALJ Members (N=100) Journals with identifiable scholarly target readership 100 Journals with other identifiable target readership: practitioner 35 Journals with other identifiable target readership: general readers 18 Journals with other identifiable target readership: policy-makers/government 10 Total journals with identifiable target readership other than scholarly 43 Journals publishing in print only 56 Journals publishing in print and online 24 Journals publishing in print, online and open access 16 Journals publishing online only and open access 4 Journals published through a Canadian university press, faculty or department 60 Journals published by a scholarly or professional society 31 Journals published by a research institute 5 Journals published by the private sector 4 In the context of the historical overview presented earlier, this data raises a number of questions. The number of journals with target audiences either within or beyond the academy raises issues akin to the situation in the early days of print, when published works were primarily in Latin, with only 22 per cent in vernacular languages (Febvre and Martin 256), thereby strongly limiting access and reach to diverse audiences until the 17th century when Latin declined as the international language (Febvre and Martin 275) and there is a parallel to scholarly journal publishing and their changing readership(s). Diversity in audiences gradually developed in the early days of print, as Febvre and Martin (263) show by comparing the number of churchmen and lawyers with library collections in Paris: from 1480–1500 one lawyer and 24 churchmen had library collections, compared to 1551–1600, when 71 lawyers and 21 churchmen had library collections. Although the distinctions between present-day target audiences of Canadian scholarly journals (shown in Table 1, above) and 16th-century churchmen or lawyers no doubt are considerable, again there is a parallel with regard to changes in reading audiences. Similarly, the 18th-century increase in literacy rates, education, and technological advances finds a parallel in contemporary questions of computer literacy and access to scholarship (see Willinsky, “How,” Access, “Altering,” and If Only). Print culture historians and historians of science, as noted above, recognise that historically, while scholarly periodicals have increasingly specialised and popular periodicals have served as “important platforms for addressing a non-specialist but culturally powerful public…[and] fulfill[ing] important functions in making the claims of science heard among the ruling élite” (Dawson 11), there is adrift in current policies changes (and in the CALJ data above) a blurring of boundaries that harkens back to earlier days of print culture. As Adrian John reminded us earlier, “the very identity of print itself has had to be made” (2, italics in original) and the same applies to identities or cultures of print and the members of that culture: namely, the readers, the audience. The identities of the readers of scholarship are being made and re-made, as editorial mandates extend the scope of journals beyond strict, academic disciplinary boundaries and as increasing numbers of journals publish online (and open access). In Canada, changes in scholarly journal funding by the Social Sciences and Humanities Research Council (SSHRC) of Canada (as well as changes in SSHRC funding for research more generally) place increasing focus on impact factors (an international trend) as well as increased attention on the public benefits and value of social sciences and humanities research and scholarship (see SSHRC 2004, 2005, 2006). There is much debate in the scholarly community in Canada about the implications and possibilities of the direction of the changing funding policies, not least among members of the scholarly journal community. As noted in the table above, most scholarly journal publishers in Canada are independently published, which brings advantages of autonomy but also the disadvantage of very limited budgets and there is a great deal of concern about the future of the journals, about their survival amidst the current changes. Although the future is uncertain, it is perhaps worthwhile to be reminded once again that contrary to doomsday sooth-saying that has come time and time again, publishing has not perished, but rather it has continued to transform. I am inclined against making normative statements about what the future of publishing should be, but, looking at the accounts historians have given of the past and looking at the current publishing community I have come to know in my work in publishing, I am confident that the resourcefulness and commitment of the publishing community shall prevail and, indeed, there appears to be a good deal of promise in the transformation of scholarly journals in the ways they reach their audiences and in what reaches those audiences. Perhaps, as is suggested by the Canadian Centre for Studies in Publishing (CCSP), the future is one of “inventing publishing.” References Canadian Association of Learned Journals. Member Database. 10 June 2008 ‹http://www.calj-acrs.ca/>. Canadian Centre for Studies in Publishing. 10 June 2008. ‹http://www.ccsp.sfu.ca/>. Censer, Jack. The French Press in the Age of Enlightenment. London: Routledge, 1994. Darnton, Robert, Estienne Roche. Revolution in Print: The Press in France, 1775–1800. Berkeley: U of California P, 1989. Dawson, Gowan, Richard Noakes, and Jonathan Topham. Introduction. Science in the Nineteenth-century Periodical: Reading the Magazine of Nature. Ed. Geoffrey Cantor, Gowan Dawson, Richard Noakes, and Jonathan Topham. Cambridge: Cambridge UP, 2004. 1–37. Eisenstein, Elizabeth. The Printing Revolution in Early Modern Europe. Cambridge: Cambridge UP, 1983 Feather, John. A History of British Publishing. New York: Routledge, 2006. Febvre, Lucien, and Henri-Jean Martin. The Coming of the Book: The Impact of Printing 1450–1800. London: N.L.B., 1979. Jacob, Margaret. Scientific Culture and the Making of the Industrial West. New York: Oxford UP, 1997. Johns, Adrian. The Nature of the Book: Print and Knowledge in the Making. Chicago: U of Chicago P, 1998. Hall, David, and Hugh Armory. The Colonial Book in the Atlantic World. Cambridge: Cambridge UP, 2000. Klancher, Jon. The Making of English Reading Audiences. Madison: U of Wisconsin P, 1987. Kronick, David. A History of Scientific and Technical Periodicals: The Origins and Development of the Scientific and Technological Press, 1665–1790. New York: Scarecrow Press, 1961. ---. "Devant le deluge" and Other Essays on Early Modern Scientific Communication. Lanham: Scarecrow Press, 2004. Lightman, Bernard. Victorian Science in Context. Chicago: U of Chicago P, 1997. Mitch, David. The Rise of Popular Literacy in Victorian England: The Influence of Private choice and Public Policy. Philadelphia: U of Pennsylvania P, 1991. Social Sciences and Humanities Research Council. Granting Council to Knowledge Council: Renewing the Social Sciences and Humanities in Canada, Volume 1, 2004. Social Sciences and Humanities Research Council. Granting Council to Knowledge Council: Renewing the Social Sciences and Humanities in Canada, Volume 3, 2005. Social Sciences and Humanities Research Council. Moving Forward As a Knowledge Council: Canada’s Place in a Competitive World. 2006. Steinberg, Sigfrid. Five Hundred Years of Printing. London: Oak Knoll Press, 1996. Willinsky, John. “How to be More of a Public Intellectual by Making your Intellectual Work More Public.” Journal of Curriculum and Pedagogy 3.1 (2006): 92–95. ---. The Access Principle: The Case for Open Access to Research and Scholarship. Cambridge, MA: MIT Press, 2006. ---. “Altering the Material Conditions of Access to the Humanities.” Ed. Peter Trifonas and Michael Peters. Deconstructing Derrida: Tasks for the New Humanities. London: Palgrave Macmillan, 2005. 118–36. ---. If Only We Knew: Increasing the Public Value of Social-Science Research. New York: Routledge, 2000.

Let us work backwards from what we know, from personal experience: the photograph of which we have each been the subject. Roland Barthes says of this photograph that it transforms "the subject into object": one begins aping the mask one wants to assume, one begins, in other words, to make oneself conform in appearance to the disguise of an identity (Camera Lucida 11). A quick glance back at your most recent holiday gathering will no doubt confirm his diagnosis. Barthes gives to this subject-object the title of Spectrum in order to neatly join the idea of spectacle with the fearsome spectre, what he calls that "terrible thing which is there in every photograph: the return of the dead" (Camera Lucida 9). Cathy Davidson points out that in "photocentric culture, we can no longer even see that we see ourselves primarily as seen, imaged, the photograph as the evidential proof of existence"; photocentric culture thus generates "a profound confusion of image and afterlife" (669 672). Andre Bazin announces that the medium "embalms time, rescuing it simply from its proper corruption" (242), while Susan Sontag points out that it may "assassinate" (13). What photography mummifies, distorts and murders, among other things, is the sense that the reality of the self resides in the body, the corporeal and temporal boundaries of personhood. The spectral haunting of the photograph is familiar to anyone who has ever looked at snapshots in a family album. How much more present it was to the producers and consumers of early photography who engineered the genre of the memento mori, portraits taken of the dead or in imitation of death. Despite the acknowledged 'eeriness' of our own recorded and vanished pasts, such pictures seem grotesquely morbid to us now -- for what we cannot recover is the absolute novelty of photography in its early days, or the vehicle that it provided in the nineteenth century for a whole set of concerns about selfhood that begin, ironically, with death. Those early photographs bring to mind another death, that of the author. Re-enter Barthes, for it is he who definitively announces the new textual paradigm in which the author disappears. In "Death of the Author," Barthes calls the author tyrannical and adopts liberationist rhetoric in unseating him. But what cult is Barthes actually countering? His essay begins and ends with Balzac, and includes Baudelaire, Van Gogh and Tchaikovsky, while his heroes are Mallarmé, Valéry and Proust. Barthes' notion of the author is implicitly a nineteenth-century construction, to be undone by modernist writing against the grain. And what distinguishes the nineteenth-century author from his predecessors? His portrait, of course. Thanks to the surge of visual and reproductive technologies culminating in the mechanised printing process and photography, the nineteenth-century author is suddenly widely available to readers as an image. The author literally becomes a face hovering above the text; it is this omnipresence that Barthes objects to. Photography gives new momentum to the cult of the author, but this is not mere historical coincidence -- that the photograph is developed at a point in history when authorship is particularly mobile: in between the Romantic individualism that transforms authorship from a craft to a calling, and the modernist interrogation of ontology and representation that explodes such notions from within. However, the opposite is also true. Photography as we know it is a product of the institution of authorship. Photography is founded on and makes available, through the democratisation and dissemination of a certain technology, a concept of public selfhood that hitherto had been reserved for those in charge of textual representation, of themselves as well as of other subjects. Primarily this is because the ideological, technological and material vehicles of the photograph -- identities, characters, scenes, the properties of chemical interaction, the invention of specialised apparatus, poses, props, and photo albums -- were closely related to book culture. How did photography change the notion of the author? It did so by commandeering truth claims -- by serving as the scientific illustration of divinely-ordained natural laws. The art of chemically fixing the image obtained through a camera obscura was perfected in 1839 by Louis Jacques Mandé Daguerre and William Fox Talbot, separately, with different techniques.1 Daguerre's method caught on quickly, partly because his daguerreotype recorded such exquisite detail. The daguerreotype surface was reflective and sharply etched; inspection with a magnifying glass disclosed minutiae -- insects, eyelashes, objects in the far distance. The daguerreotype, popularly nicknamed "the pencil of the sun," seemed like a miniaturised and complete mirror of the world, a representation without human intervention.2 In 1839, and throughout the 1840's and '50's, photography transparently supported the notion that the discoveries of science would help reveal God's secrets, not disprove them -- a view that suffered but continued on after the publication of The Origin of the Species in 1859. Its presumed objectivity and comprehensive truthfulness made photography immediately appealing as a scientific and artistic tool. Although it was used to record geologic formations and vegetation, the bulky apparatus of the early photographic methods meant that it was better suited to the indoor studio -- and the portrait, in which the truth of human character could be made visible. It served as a means of defining normality and deviation; it was central to the project of identifying physical characteristics of the insane and the criminal, and of classifying racial features, as in the daguerreotypes made of slaves in the United States by J. T. Zealy in 1850, which the natural scientist Louis Aggasiz used as independent evidence of the natural differences between the races in order to endorse the doctrine of "separate creation" (Trachtenberg 53) So perceptive and penetrating did the photograph seem, it was even deemed capable of revealing vice and virtue, and it was in this way that the photographer moved onto the terrain of the author. The truth-telling properties of photography seemed to corroborate the authorial estimation of character that was a central element of nineteenth-century fiction. In texts where photography is itself on display this property is especially obvious -- in Nathaniel Hawthorne's The House of the Seven Gables, for example, where true and secret characters are only discerned in daguerreotype portraits. But photography did more than divinely and scientifically confirm fictional character; the venerated author's ability to delineate moral qualities made him, or her, an exemplary character as well. The Victorians prized "sincerity," the criterion by which they measured their authors. Especially in the influential pronouncements of Carlyle, the Victorian notion of sincerity "makes man and artist inseparable" (Ball 155). An exemplary moral life was particularly powerful in the form of an author. Indeed, it was through authorship of some kind that such lives could take the public form they needed in order to fulfill their function as models. And so photography appears not just in the text but on its margins, framing and qualifying it: the portrait of the author, already a bibliographic convention, gains additional authority through the objective lens of the camera, in which the author's character is exhibited as a kind of testimony to his or her truth-telling abilities. The frontispiece guarantees the right of the author to moral leadership. As literacy and readership expanded and exceeded former class distinctions, the nineteenth-century author began to need to market himself in order to find and keep an audience. But since the source of the author's authority was sincerity, the commodification of the authorial self presented a dilemma. Some writers, such as Dickens, embraced this role; others withdrew from the task of performing a public self, but their refusal of the public's gaze was itself often dramatised, as for Tennyson, Elizabeth Barret Browning and, after her death, Emily Dickinson. The photograph portrait of the artist, as well as other likenesses of his visage, was a particularly convenient piece of authorial paraphernalia because it sustained the idea of the author as moral exemplar, but in fact it was only one of the many ways in which nineteenth-century readers kept the author before their eyes. Souvenirs such as autographs, original manuscripts and other tokens testifying to the presence of the author's body, as well as gift books and precious editions designed to generate and satisfy fans, were mainstays of Victorian keepsake culture. The photograph as corporeal souvenir signals the point where we must turn around and consider the question of photography and authorship from the other direction: that is, how the institution of authorship constructs photography. Given that photography as an art developed out of the desire to eliminate the human hand, to trace directly from nature, it seems ironic that photography could have an author. And yet it was the notion of a public and visible self, associated primarily with authorship, which accounted for the widespread popularity of photography. When the daguerreotype was introduced in 1839, enterprising amateurs in Europe and the United States transformed it from a tricky chemical procedure into a practical art, a livelihood. Daguerrean saloons appeared in the cities and in rural areas, itinerant daguerreotypists set up temporary headquarters. But every daguerreotype studio had two purposes, whether it was the high-end urban atelier of Southworth and Hawes in Boston or a peddler's rented room: it was the place where one went to have one's picture taken and it was also a public gallery, where the portraits of former customers were displayed. In an urban gallery, those portraits might include the poets, ministers and politicians of the day, but even in a village studio, one could see exhibited the portraits of the local beauties, the town big-wigs. Entering the studio as a customer or a spectator, anyone could imaginatively take his or her place among an assembly of eminent personages. More importantly, the daguerreotype and later forms of photography made portraiture accessible to the middle and working classes for the first time. The studio was a democratic space where one could entertain the fantasy of a different self, and in fact one could literally enact that fantasy through the props and accessories of identity that the studio provided. In borrowed hats and canes, sitting stiffly in chairs or standing against painted backdrops, holding books, flowers, candles, and even other daguerreotypes, the sitter could assume the persona he or she would like others to see. Often the sitter composes an obvious gender performance, other times the sitter exhibits himself as the master of a certain occupation. With the invention of the wet plate collodion process in 1851, which made it possible to reproduce quantities of images from a single negative, the public went in for the carte-de-visite, on which one's very own portrait was imprinted and handed out like a postcard souvenir. The carte-de-visite necessitated a new way of keeping and displaying multiple photographs, and thus the photo album was born. But in fact the paradigm of the book already governed photographic display and the storage of the personal collection. When the Bible was the only book a family might own, it served as the cabinet of memorable dates and events. Other kinds of mementoes were stored in lockets and books: locks of hair, painted miniatures, pressed flowers. Daguerreotypes were kept in small codex-like cases or in hinged lockets. The souvenir and its symbolic connection to the body (one's own or that of a beloved) was of course not limited to the cult of the author but was available as a mode of identity to anybody who read novels. The culture of the souvenir, the keepsake, the personal precious object stored in a book, offered a means of articulating the self that readily accommodated the photograph, and in that context, the photograph took on the properties of a personal talisman. In the wake of photography, the scrapbook, the flower album, the signature album -- all those vehicles for collecting and displaying the ephemera of a lifetime -- flourished. Books were no longer mainly devoted to dense layers of print but could consist of open space to be filled in by their owners, who would thereby become authors of their own works and incidentally of their own identities. The popularity of the album was partly due to developments in printing, which was changing from a text-based industry to one increasingly concerned with images, a shift that culminated in photo-offset printing and photoduplication. But the popularity of the album and other biblioform containers for the personal collection also has something to do with the culture of the souvenir, which prepared the way for the photograph as personal talisman and then accomodated the tremendous expansion photography offered to the self. Via the photograph, a self that was allied with its own mementoes would be transformed: selfhood formerly attached to an object intended for private contemplation was subsequently attached to an object intended for exhibition. Via the photograph, the same publicity attendant on the circulation of the author was incorporated into the stuff of the ordinary subject, who regarded his or her own image and offered it up to history. The reflexive spectacle of visible selfhood brings us back to the return of the dead, that feature of the photograph which seems to persist, and perhaps illuminates the difference between the kind of death it spooks us with now and the kind of 150 years ago. For our ancestors, the photograph was a way to cheat death, to manipulate the strict boundaries of identity, to become memorable, to catch a heady glimpse of absolute truth; but for us it is different. We can see how much we are the creations of photography, and how much we surrender to the public self it burdens us with. Notes 1. The technological history of photography is of course much complicated by issues of competition, technological "prehistory" and intellectual property—for example, there is the matter of the disappearance of Daguerre's partner Niepce. However, Daguerre is generally credited with "inventing" the medium. See Gernsheim, Greenough et al and Newhall. 2. The phrase and others like it were not only popularised by influential critic-practitioners of photography such as Oliver Wendell Holmes, Fox Talbot, in The Pencil of Nature, and Marcus Aurelius Root, in The Camera and the Pencil, but were perpetuated in the everyday language of commerce—for example, the portrait studio that advertised its "Sun Drawn Miniatures" (Gernsheim 106). References Ball, Patricia. The Central Self: A Study in Romantic and Victorian Imagination. London: Athlone Press, 1968. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1981. ---. "The Death of the Author." Image, Music, Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. Bazin, André. "The Ontology of the Photographic Image." Classic Essays on Photography. Ed. Alan Trachtenberg. New Haven, Conn: Leete's Island Books, 1980. 237-244. Davidson, Cathy N. "Photographs of the Dead: Sherman, Daguerre, Hawthorne." South Atlantic Quarterly 89.4 (Fall 1990): 667-701. Gernsheim, Helmut. The Origins of Photography. London: Thames and Hudson, 1982. Greenough, Sarah, Joel Snyder, David Travis and Colin Westerbeck. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography. Boston: Little, Brown, 1989. Newhall, Beaumont. The History of Photography, From 1839 to the Present. New York: Museum of Modern Art, 1982. Sontag, Susan. On Photography. New York: Dell, 1977. Trachtenberg, Alan. Reading American Photographs: Images as History, Mathew Brady to the Present. New York: Hill and Wang, 1989. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Dean, Gabrielle. "Portrait of the Self" M/C: A Journal of Media and Culture 5.5 (2002). [your date of access] < http://www.media-culture.org.au/mc/0210/Dean.html &gt. Chicago Style Dean, Gabrielle, "Portrait of the Self" M/C: A Journal of Media and Culture 5, no. 5 (2002), < http://www.media-culture.org.au/mc/0210/Dean.html &gt ([your date of access]). APA Style Dean, Gabrielle. (2002) Portrait of the Self. M/C: A Journal of Media and Culture 5(5). < http://www.media-culture.org.au/mc/0210/Dean.html &gt ([your date of access]).

Defence Date: 26/02/2009
Examining Board: Prof. Heinz-Gerhard Haupt (European University Institute); Prof. Alan Forrest (Universiy of York); Prof. Wessel Krul (University of Groningen); Prof. Jay Winter (Yale University)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The thesis argues that a European cultural history existed in those years that have been considered as the dawn of the ‘Age of Nationalism’. Although, early nineteenth-century pantheons can superficially be divided in two groups, a state-based and a culture-oriented selection, the dissertation shows that the division is more subtle as pantheon commissioners faced numerous similar problems. How could a canon, being a series of exemplary men, be selected that would flag rather than challenge the commissioner’s position as central symbolic reference and ‘national historian’? How to glorify men in cultures still thoroughly attached to conventional forms of Christianity and, even more challenging, in churches dedicated to, in Christian Europe universal, saints? Did a difference exist between pantheons located in Protestant, Catholic or bi-confessional countries, either in the range of exemplary men or in the balance between ancient and Christian symbolism traditionally used in political iconography?20 What style, roughly divided between Neoclassicism and romantic Gothic, was considered most suitable to give visual form to the ideas of a pantheon commissioner or appeal best to the target collective? How could elites, in an age in which the public sphere had started to open up, promote their pantheons through newspapers, provided this is what they wanted? These questions, which will be tackled in relation to every pantheon discussed in the thesis, can be classified under three headings: (i) the relationship between the exemplary men and the commissioner who formed the principal reference point of a pantheon, (ii) the rapport between religious and pagan/secular commemorative rituals as well as a pantheon’s aesthetics and (iii) the balance between nation and region or, more broadly, between political core and periphery. The dissertation is an account of the early nineteenth-century European journey of an ancient, but transformed, concept and its interaction with contemporary political culture. It is the story of how a pantheonic ideal type - roughly defined as a temple in which tribute is paid to the nation’s greatest men for the sake of stimulating emulation of their lives and actions - was adjusted to befit different recipient audiences. Simultaneously, the dissertation shows how, despite the Enlightenment and the French Revolution, the mechanism underlying ancien régime political symbolism and the importance it attached to notions of sanctity survived well into the nineteenth century.21 Moreover, it shows how public pantheons raised prior to 1848 remained, the veil of nationalist rhetoric notwithstanding, socio-politically and culturally eclectic stages intended to reproduce elites. Nor was the community of the dead itself always a democratic collective; occasionally, a commissioner actively sought to differentiate between his exemplary men. The question is, of course, whether did this not defeat the pantheonic principle by making some men more exemplary, and important, than others. As a result, the thesis argues that instead of appreciating early nineteenth-century pantheons as stages where collective ideas were communicated or performed, these monuments should be regarded as both cause and outcome of a ‘struggle for social domination’ and political power played out in a time of great societal transition and continued warfare between (infant) nation-states.22 Finally, the dissertation is the story of how the public pantheons of early nineteenth-century Europe interacted and how, seen in conjunction, they formed a network of power relations that has been downplayed by historians who focus on national peculiarities. Whichever ideological or cultural angle commissioners approached their pantheons from, the basic tenet of every early nineteenth-century public pantheon discussed in the thesis was the same: to phrase the interests of the Self through the vocabulary of the national Other at a time traditional forms of political or social authority eroded. The existence of an inherently conservative bend queries the modernity of these pantheons.