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Tag Archives: Enlightenment

Banned! — Letters Concerning the English Nation

26 Wednesday Sep 2018

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Alexander Pope, Amsterdam, Bastille, British, Drake Stillman, England, English, Enlightenment, France, Francis Bacon, French, French Parliament, Galileo, Isaac Newton, Italian, John Locke, John Lockman, John Milton, Jonathan Swift, letters, London, Pennsylvania, Quakers, rare books, Roman Catholic Church, tail pieces, University of Toronto, vignettes, Voltaire, William Bowyer, William Penn, William Shakespeare


“The great Freedom with which Mr. de Voltaire delivers himself in his various Observations, cannot give him any Apprehensions of their being less favourably receiv’d upon that Account, by a judicious People who abhor flattery. The English are pleas’d to have their Faults pointed out to them, because this shews at the same Time, that the Writer is able to distinguish their merit.”

Letters Concerning the English Nation…
Voltaire (1694-1778)
London: Printed for C. Davis…and A. Lyon…, 1733
First edition
PQ2086 L4 E5 1733

Voltaire (nee François-Marie Arouet) fled to England after arguing with powerful French political figures. During his exile, from 1726 to 1728, he learned English, reading the works of William Shakespeare, John Milton, Isaac Newton, and Francis Bacon; and met other British authors such as Alexander Pope and Jonathan Swift. The British embraced Voltaire as a victim of France’s political discrimination.

In Letters, Voltaire, with the works of John Locke and Enlightenment authors as his basis, wrote a slur against the French government and the French Roman Catholic Church, calling for political and religious reform. Letters was translated from French into English by John Lockman from a manuscript prepared by Voltaire.

Voltaire wrote about Isaac Newton and his theories in four of the letters. He told the story of the falling apple as the impetus for Newton’s theorem of the law of gravity, the first time this anecdote was told in print.


“…as he was walking one Day in his Garden, and saw some Fruits fall from a Tree, he fell into a profound Meditation on that Gravity, the Cause of which has so long been sought, but in vain, by all the Philosophers, whilst the Vulgar think there is nothing mysterious in it. He said to himself, that from what height soever, in our Hemisphre, those Bodies might descend…Why may not this Power which causes heavy Bodies to descend, and is the same without any sensible Diminution at the remostest Distance from the Center of the Earth, or on the Summits of the highest Mountains; Why, said Sir Isaac, may not this power extend as high as the Moon?”

Voltaire also wrote about William Penn and the founding of Pennsylvania as a haven for Quakers.


About this time arose the illustrious William Pen, who establish’d the power of the Quakers in America, and would have made them appear venerable in the eyes of the Europeans, were it possible for mankind to respect virtue, when reveal’d in a ridiculous light…Pen set sail for his new dominions with two ships freighted with Quakers, who follow’d his fortune. The country was then call’d Pensilvania from William Pen, who there founded Philadelphia, now the most flourishing city in that country.”

Letters was published in French in Amsterdam in 1734. It was immediately condemned by the French Parliament. Copies that made it into France were confiscated and burned. A warrant was issued for Voltaire’s arrest. The printer was imprisoned in the Bastille. At the same time, it was a bestseller in England, going through several more editions during the eighteenth century.

It is likely that this English edition was printed by William Bowyer (1699-1777), as the ornaments (the title vignette and tail-pieces) are those used in other of his imprints.

Rare Books copy has the bookplate of Drake Stillman (1910-1993), an emeritus professor of the history of science at the University of Toronto. He published many translations of the works of Galileo and other sixteenth century Italian scientists.

Recommended reading:
Galileo at Work: His Scientific Biography
Stillman Drake
Chicago: University of Chicago Press, 1978
QB36 G2 D69, L1

Telescopes, Tides, and Tactics: A Galilean Dialogue about The Starry Messenger and Systems of the World
Stillman Drake
Chicago: University of Chicago Press, 1983
QB41 G178 D7 1983, L1

Galileo: Pioneer Scientist
Stillman Drake
Toronto: University of Toronto Press, 1990
QB36 G23 D67 1990, L1

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Banned! — Lettre de Thrasibule a Leucippe

26 Tuesday Sep 2017

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Adam Smith, Benjamin Franklin, Cesare Beccaria, David Garrick, David Hume, Denis Diderot, Edward Gibbon, Enlightenment, France, French, Greek, Horace Walpole, Jean-Jacque Rousseau, L'Encyclopedie, Laurence Sterne, library, Paris, Paul Holbach, salon, Voltaire

BL2773-L458-1768-title

““How could the human mind progress, while tormented with frightful phantoms, and guided by men, interested in perpetuating its ignorance and fears? Man has been forced to vegetate in his primitive stupidity: he has been taught stories about invisible powers upon whom his happiness was supposed to depend. Occupied solely by his fears, and by unintelligible reveries, he has always been at the mercy of priests, who have reserved to themselves the right of thinking for him, and of directing his actions.”

Lettre de Thrasibule a Leucippe
Paul Heinrich Dietrich, Baron d’Holbach (1723-1789)
…a Londres : [no printer or date, but probably Paris, circa 1768]
First edition

An anti-religious and atheistic attack on superstition, this work compares ancient religions and considers Christianity to be a mixture of Judaism and the religions of Egypt. The work was attributed to Nicolas Freret (1688-1749), but is now considered to be by Paul Holbach, who frequently used the names of deceased writers on the titles of his books in order to disguise his authorship. Nicolas Freret was well-known and highly esteemed in his lifetime, but left little of his own writings.

Here, the French text is presented as a translation of an English text that, in turn, is presented as an original Greek text.

Paul Holbach was a French-German encyclopedist and prominent as a salonist in Paris during the French Enlightenment. He supported Denis Diderot financially and contributed articles and translations to L’Encyclopedie – in all about 400 pieces. His salons were exclusively male and attended by such notables as Jean-Jacques Rousseau, Adam Smith, David Hume, Horace Walpole, Edward Gibbon, David Garrick, Laurence Stern, Cesare Beccaria and Benjamin Franklin. Well-fed, his guests were surrounded by Holbach’s three thousand-volume library.

Holbach is recognized today for his philosophical writings, published anonymously or under pseudonyms, and printed outside of France. His writings, however, were certainly recognized in his own day. Voltaire, who was sometimes accused of writing these polemics, made it known that he was not a fan of the « anonymous » Holbach’s work.

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DOC/UNDOC — Part 1/6, “Peruse, Inspect, Handle, Consider”

18 Friday Dec 2015

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1552, 1770, 1859, 1885, 1934, 1998, Aristotle, Ars Shamánica Performática, artists' books, Baroque, Bartolomé de las Casas, book artists, books, codex, Codex Espangliensis, Codex Ixtilxochitl, communication, Doc/Undoc, documentation, Emily McVarish, Enlightenment, ethnography, Felicia Rice, fine press, format, Gobierno General, Granary Books, Greco-Roman, Grolier Club, Guillermo Gomez Peña, Hernan Cortés, history, ideas, image, Isabel Dulfano, Jae Jennifer Rossman, Jed Birmingham, Jennifer González, Johanna Drucker, journal, Kathy Walkup, Kyle Schlesinger, language, Latin, Latin America, literary analysis, literary criticism, literature, Luise Poulton, Managing Curator, manuscript, Mimeo Mimeo, Moving Parts Press, multimedia, Nombres Geografico de Mexico, Open Book, parchment, political, printing press, rare books, Rare Books Department, readers, rhetoric, scroll, sequence, Spanish, stone, story, suitcase, text, The Bonefolder, type, University of Utah, Webster's Dictionary, Women's Studio Workshop, writing

During Fall Semester, 2015, University of Utah graduate students in SPAN6900-2 Analyzing Texts: Form and Content visited Rare Books. During the third and final session with Rare Books, the students were introduced to late 20th century/early 21st century fine press and artists’ books. The session ended with the premiere viewing of our copy of DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática, purchased in September. Student response was so strong that managing curator Luise Poulton, in her typical, over-enthusiastic way, exclaimed, “You should post your thoughts on Open Book!” Prof. Isabel Dulfano, in her own enthusiastic way, immediately took up the suggestion and made this a new assignment, right then and there. Bless the beleaguered grad students! Rare Books is pleased to present these responses, one post at a time, beginning with comments from Dr. Dulfano.

Introduction
Isabel Dulfano, Ph.D
Associate Professor of Spanish, The University of Utah

This commentary tells the story of how our class came to view the artist book, DOC/UNDOC Documentado/Undocumented Ars Shamánica Performática (2014, Moving Parts Press) by Guillermo Gomez Peña, Jennifer González and Felicia Rice at the Rare Books Department in the University of Utah’s J. Willard Marriott Library. Our reading of this extraordinary, groundbreaking book object came as the culmination of our interrogation of form and content of literary works during a class called “Analyzing Texts: Form and Content.”

Doc/Undoc photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

During three library sessions, Luise Poulton, Managing Curator of Rare Books, provided an eclectic sampling of Latin American-themed pieces for the students to peruse, inspect, handle, and consider. Touching and examining a wide variety of books from over a 600-year period turned literary analysis into a visceral as well as intellectual practice. Luise challenged us to think about the history of books, from technological milestones and inventions, to the conceptual remapping and physical reshaping of the concept of book over time.

Webster’s Dictionary defines books as “a handwritten or printed work of fiction or nonfiction, usually on sheets of paper fastened or bound together within covers” as well as a “division of a literary work.” However the artist book transforms a known form of the book, “which once toyed with, interrogated, or in any way manipulated, reveals itself as a complex composition, a work produced, upon reading, by the orchestration of its parts” (Rossman 10). Artists’ books rely on the reader’s operation of the component parts in a continuously generative process, which pushes the limits of what literary analysis may have to take into account in the contemporary world.

The first of three meetings in the Rare Books Classroom began with the hands-on display of original and facsimile copies of classic canonical texts, masterfully printed at the time of inscription and in the distinctive style of the individual printing press. Titles by Bartolomé de las Casas and Hernan Cortés or the Codex Ixtlilxochitl revealed historical and ethnographic information that maintained conventional print production formats and content appropriate to known genres. Acknowledging books as one of the principle forms of documentation used to convey and disseminate ideas, we queried the relationship between the use of a medium (stone, parchment, scroll, codex, manuscript, printed bound book) and its’ content (genre, message, symbols, themes, subject/stylistics) in these celebrated texts.

Entre los remedios q do Fray Bartolome de Las Casas, 1552

Entre los remedios q do Fray Bartolome de Las Casas, 1552

Histoira de Nueva-Espana, 1770

Historia de Nueva-Espana, 1770

The next sessions shifted in time to the late Baroque/Enlightenment period through the late XIXth century, eventually reaching the present-day. A gradual disruption of structure (physical and conceptual) followed this chronological timeline. Older documents were logical in their coherence and assemblage, adhering to what Johanna Drucker identifies as the two fundamental structural elements of a book: finitude and sequence (257). Sequence “participates in the distribution of elements into an organized system where location helps provide access” (258 Drucker). A hybrid book includes language and image (text, type, and format) to tell a story, which challenges conventional notions of sequence. The resulting fragmentation in the articulation of narrative sequence provides an “integral part of its meaning” (Drucker 262).

Gobierno General, 1859

Gobierno General, 1859

Nombres geograficos de Mexico, 1885

Nombres geograficos de Mexico, 1885

Contemporary ouevres may appeal partially to traditional literary print formats by utilizing canonical forms as at least one component, however simultaneously they reject the limitations and conventional parameters implicit in a manuscript. Modern works disavow orthodox arrangement, organization or configuration. Some recent examples even repudiate documentation aligned with the standard regimented form of a bounded print book, and instead experiment with democratizing form and defamiliarization techniques (McVarish, 2008). Many deconstruct authorial privilege, since the reader operates and manipulates the text to produce meaning. As Jae Jennifer Rossman points out “in artist’s books the hallmark of the medium is endowing the physical attributes of the book with part of the message” (86), thereby interleaving form and content inextricably together. The artist book uniquely transmits message through myriad surfaces, spaces, materials, concepts, and sequences.

West Indies, Ltd., 1934

West Indies, Ltd., 1934

Codex Espangliensis, 1998

Codex Espangliensis, 1998

As literary critics and scholars of literature we are engaged in the practice of approaching, analyzing and appraising literature, as well as instructing students to do the same. The act of literary criticism is a technical and esthetic evaluation of the oral and written forms of articulation of narrative sequence, discourse, and message of an author’s perspective on the human condition and spirit. It is based on certain known principles, outlined originally by Greco-Roman intellectuals in the Western tradition. The utilization of the tools of this trade, such as identification of, and interpretation of, structural elements or rhetorical and literary devices has taken place since Aristotle. Literary analysis involves a process of extracting meaning from literature, a word derived from the Latin littera, referring to an esthetic represented in written documents of one type or another. The book manuscript, principal medium used for conveying and disseminating ideas, especially in the Leporello and Concertina style, have served as the predominant Western medium for millennia.

In this class, we were able to witness the evolution of book formats as the concept passed through multiple permutations from scroll and parchment to bounded manuscript to the extreme case of DOC/UNDOC housed in a suitcase, with multimedia such as: “A traveling case for apprentice shamans, A reliquary for imaginary saints, A toolbox for self-transformation, A quiet call to heal yourself with fetishes and antidotes, A border kit to face the uncertainty of future crossings.” In fact, in DOC/UNDOC the abundant mixed media, hybridity of language and image, amalgamation of a hand-written contemporary codex, interactive suitcase with mirrors and paraphernalia, CD, and DVD video of (director, writer, performance artist, activist, and docent) Guillermo Gomez Peña’s Daliesque performance, destabilizes our quotidian understanding of the process of documentation. Many features of Doc/Undoc insist on deviation from the typical privileged form of written, sequenced, and finitely orchestrated communication.

Doc/Undoc -- photo courtesy of Moving Parts Press

Doc/Undoc photo courtesy of Moving Parts Press

In this manner it participates in what The Bonefolder, a journal dedicated to book artists, describes as the constant “challenge of defining art and craft, looking to the past for tradition and forward for new possibilities” (Fox, Krause, & Simmons 2009). As a consequence, the auto-referential title of Doc/Undoc is explored thematically and structurally to demystify the legal, political, literary, and philosophical ramifications of being documented or not having documentation. The outcome of this creation sui generis raises a host of questions about how to read, what reading is, what literature is, identity, genre, legitimate/illegitimacy, forms of documentation, the role of readers, and the mutability of the authorial/director’s hand that remain unresolved.

The history of literature begins with the history of writing. Analysis emerges as individuals start to engage in the interpretation and valuation of literary works. We have analytical tools that enrich and expand our comprehension of the informative, communicative, linguistic, stylistic, and aesthetic components of a literary work. For instance, we can determine the genre of a given oeuvre; or try to discern the author or oeuvres’ intention with respect to art for art’s sake, didactic/instructive ends, or postulation of an engagé committed message. These are rudimentary points of departure in analysis, yet as literature evolves, and documentation itself is brought into question, the entire repertoire of analytic tools will be needed in order to grapple with the changing format, structure and content.

Our interactions, alias sessions in Rare Books, with “books” from pre-conquest Latin America to more modern examples forced the class to think about literary analysis in a whole new manner rarely addressed in standard textbooks. Bringing home the very concrete, tangible aspect of a book, through our physical engagement, incited a distinct appreciation of the knowledge and wonder incarnate in hard copy, electronic, virtual, artists’ books or otherwise. Our task was to unlock their universe by questioning the implications of the form and meaning – the how and what – of their documentation or lack thereof. Coincidentally, DOC/UNDOC invites the reader to participate in a similar kind of intellectual endeavor; the analysis and reading of a provocative revalorization of the act of documentation in the twenty-first century.

20151201_155114

Drucker, Johanna, Granary Books, and Press Collection. The Century of Artists’ Books. 2nd ed. 2004: 257-285. Print.
Fox, A., Krause, D., and Simmons, S.K. (Fall 2009),The Hybrid Book: Intersection and Intermedia,The Bonefinder: An e- Journal For The Book Binder And The Book Artist,Volume 6, Number 1. Retrieved Dec.4, 2015 from http://digilib.syr.edu/cgi-bin/showfile.exe?CISOROOT=/bonefolder&CISOPTR=76&filename=78.pdf
Gómez-Peña, Guillermo, Rice, Felicia, Vazquez, Gustavo, González, Jennifer A., Watkins, Zachary, and Moving Parts Press, Publisher. DOC/UNDOC : Documentado/Undocumented Ars Shamánica Performática. 2014. Print.
McVarish, Emily. (Autumn 2008). Artist books Mimeo Mimeo No. 2 Jed Birmingham and Kyle Schlesinger
Rossman, Jae Jennifer. 2010. Documentary Evidence: The Aura of Veracity in Artists’ Book. In Walkup, Kathy., and Grolier Club. Hand, Voice & Vision: Artists’ Books from Women’s Studio Workshop 2010. Print.

Coming soon: Response from Sam DeMonja

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Book of the Week – Philosophiae Naturalis Principia Mathematica

30 Monday Nov 2015

Posted by scott beadles in Book of the Week

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Age of Reason, Albert Einstein, alchemy, Alexander Pope, Aristotle, astronomy, calculus, Copernicus, Edmund Halley, Enlightenment, Galielo, gravity, history of science, Isaac Newton, Johannes Kepler, laws of motion, Leibniz, London, mathematics, Principia, telescope, The University of Utah, theory of relativity, William Wordsworth

QA803-A2-1687-titleQA803-A2-1687-pg1QA803-A2-1687-pg283

Philosophiae Naturalis Principia Mathematica
Isaac Newton (1642-1727)
London, J. Streater, 1687
First edition
QA803 A2 1687

Although Copernicus, Galileo, and Kepler had shown the way by describing the phenomena they observed, Isaac Newton explained the underlying universal laws of those phenomena. Newton’s theories overthrew the subjective interpretations of nature that had dominated science and natural philosophy since the time of Aristotle and ushered in the Age of Reason. By age forty-three, Newton had invented calculus, broken white light into its component colors, and built a telescope whose design is still used today. When he was forty-seven he published the book that profoundly changed the way we see the world and established his brilliance as an astronomer and mathematician. It is likely that no more than three hundred copies of the first edition were printed.

Principia gave us the three laws of motion, defined gravity, and provided the precise mathematical equations by which it could be measured. Edmund Halley was instrumental in getting Principia into print. Halley wheedled, flattered and bullied Newton, a recluse, into preparing his manuscript. Halley paid the cost of printing it out of his own pocket. Leibniz admired Newton’s math but was appalled by his fascination with alchemy. Of the birth of the Age of Reason, Alexander Pope wrote, “Nature and nature’s laws lay hid in night;/God said ‘Let Newton be!’ and all was light.” William Wordsworth wrote of Newton, “for ever Voyaging thro’ strange seas of Thought, alone.” Albert Einstein said that Newton “determined the course of western thought, research, and practice like no one else before or since.”

In the twenty-first century, Principia is still considered one of the greatest single contributions in the history of science.

University of Utah copy: Second and third books printed by different printers, evidenced by different type in the headings and a break in paging between the two books. Diagram on p. 22

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Book of the Week – Travels into Several Remote Nations of the World

28 Monday Sep 2015

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Benjamin Motte, Dublin, eighteenth century, English, engraving, Enlightenment, Irish, John Sturt, Jonathan Swift (1667-1745), Lemuel Gulliver, London, portrait, Robert Steensma, seventeenth century, St. Patrick's Cathedral, Teerlink AA, Teerlink B, The University of Utah, travel, William Sheppard


Travels into Several Remote Nations of the World
Jonathan Swift (1667-1745)
London: B. Motte, 1726
First edition
PR3724 G7 1726

When Travels by “Lemuel Gulliver” was first published, only a few close friends knew that the real author was Jonathan Swift, the Dean of the Anglican St. Patrick’s Cathedral in Dublin. Swift, a native Dubliner, was involved in several political controversies during his lifetime, particularly in relation to the treatment of the Irish by the English.

Travels was a none-too-subtle, bitter satire of English royalty, politicians, scientists, and historians. Styled after popular travel and exploration narratives of the seventeenth and eighteenth centuries, the imaginative storytelling lambastes the much-lauded human reason of the Enlightenment. In Travels, Swift suggests that no change in governmental form would ever effect any lasting change in political behavior. Mankind, never noble for long under any circumstances, would always face the same unequivocal self: full of greed, excess, corruption, exploitation, violence, and decadence.

Benjamin Motte, a London printer, received an anonymous letter requesting that “Captain Gulliver’s” memoirs be published. A manuscript, probably copied in a hand other than Swift’s, was delivered, and one short month later, the book went on sale, after the publisher negotiated the softening of several passages. The book’s first printing sold out in a week. The combination of deadpan reporting, exotic experiences, and jaundiced backward glances at English society made the book an immediate success. Thus, the successful publication of a book politically loaded in a time before freedom of the press was but a gleam in a few revolutionary’s eyes.

The frontispiece is a fine example of eighteenth-century English book illustration. The engraved portrait of Swift is by John Sturt and William Sheppard (II?). University of Utah copy (“Teerlink B” edition) gift from Robert Steensma, second University of Utah copy (“Teerlink AA” edition) gift of Anonymous.

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Book of the Week – Notes on the State of Virginia

19 Tuesday Aug 2014

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Comte de Buffon, deportation, education, emancipation, Enlightenment, geography, Georges-Louis Leclerc, Indian tribes, liberty, map, Mathew Carey, nature, New World, patriotism, Philadelphia, Samuel Lewis, slavery, slaves, Thomas Jefferson, United States of America, Virginia


Notes on the State of Virginia
Thomas Jefferson (1743-1826)
Philadelphia: Printed for Mathew Carey, 1794
Second American edition

The second American edition of Notes included a large folding map of Virginia made by Samuel Lewis not in the first edition and a folding chart listing Indian tribes. Written in the form of answers to questions about Virginia, Notes contains information about the geography and social and political life of Virginia. Jefferson also used it as a forum for patriotism, expressing great optimism in regard to the future of the fledgling United States of America.

He supported this argument with a dissertation about the nature of the good society as reflected in his home state of Virginia. He discussed constitutional principles such as the separation of church and state, the importance of the system of checks and balances in a constitutional government and the need and right for individual liberty.

Jefferson passionately refuted a theory posited by the contemporary French naturalist Georges-Louis Leclerc, Comte de Buffon (1707-1788), who stated that nature – plant life, animal life and human life – degenerated in the New World.

In two different chapters, Jefferson discussed slavery, with tortuous attempts to explain and justify American slavery. Jefferson, in fact, held sway with contemporary Enlightenment belief that blacks were inferior to whites (whites were more beautiful and more intelligent). He argued for the mass deportation of slaves toward the common good of whites and blacks, slavery being demoralizing to both races. He suggested education and emancipation for slaves, and then colonization of emancipated slave children outside of the United States. Very outside, in fact. He did not suggest that they colonize any part of the North American continent.

 

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