A groundbreaking work that places the mechanical arts and the world of making at the heart of the Enlightenment What would the Enlightenment look like from the perspective of artistes, the learned artisans with esprit, who presented themselves in contrast to philosophers, savants, and routine-bound craftsmen? Making a radical change of historical protagonists, Paola Bertucci places the mechanical arts and the world of making at the heart of the Enlightenment. At a time of great colonial, commercial, and imperial concerns, artistes planned encyclopedic projects and sought an official role in the administration of the French state. The Société des Arts, which they envisioned as a state institution that would foster France’s colonial and economic expansion, was the most ambitious expression of their collective aspirations. Artisanal Enlightenment provides the first in-depth study of the Société, and demonstrates its legacy in scientific programs, academies, and the making of Diderot and D’Alembert’s Encyclopédie. Through insightful analysis of textual, visual, and material sources, Bertucci provides a groundbreaking perspective on the politics of writing on the mechanical arts and the development of key Enlightenment concepts such as improvement, utility, and progress.

The eighteenth century saw the creation of a number of remarkable mechanical androids: at least ten prominent automata were built between 1735 and 1810 by clockmakers, court mechanics, and other artisans from France, Switzerland, Austria, and the German lands. Designed to perform sophisticated activities such as writing, drawing, or music making, these “Enlightenment automata” have attracted continuous critical attention from the time they were made to the present, often as harbingers of the modern industrial age, an era during which human bodies and souls supposedly became mechanized. In Androids in the Enlightenment, Adelheid Voskuhl investigates two such automata—both depicting piano-playing women. These automata not only play music, but also move their heads, eyes, and torsos to mimic a sentimental body technique of the eighteenth century: musicians were expected to generate sentiments in themselves while playing, then communicate them to the audience through bodily motions. Voskuhl argues, contrary to much of the subsequent scholarly conversation, that these automata were unique masterpieces that illustrated the sentimental culture of a civil society rather than expressions of anxiety about the mechanization of humans by industrial technology. She demonstrates that only in a later age of industrial factory production did mechanical androids instill the fear that modern selves and societies had become indistinguishable from machines.

A great book about an even greater book is a rare event in publishing. Darnton's history of the Encyclopedie is such an occasion. The author explores some fascinating territory in the French genre of histoire du livre, and at the same time he tracks the diffusion of Enlightenment ideas. He is concerned with the form of the thought of the great philosophes as it materialized into books and with the way books were made and distributed in the business of publishing. This is cultural history on a broad scale, a history of the process of civilization. In tracing the publishing story of Diderot's Encyclopedie, Darnton uses new sources--the papers of eighteenth-century publishers--that allow him to respond firmly to a set of problems long vexing historians. He shows how the material basis of literature and the technology of its production affected the substance and diffusion of ideas. He fully explores the workings of the literary market place, including the roles of publishers, book dealers, traveling salesmen, and other intermediaries in cultural communication. How publishing functioned as a business, and how it fit into the political as well as the economic systems of prerevolutionary Europe are set forth. The making of books touched on this vast range of activities because books were products of artisanal labor, objects of economic exchange, vehicles of ideas, and elements in political and religious conflict. The ways ideas traveled in early modern Europe, the level of penetration of Enlightenment ideas in the society of the Old Regime, and the connections between the Enlightenment and the French Revolution are brilliantly treated by Darnton. In doing so he unearths a double paradox. It was the upper orders in society rather than the industrial bourgeoisie or the lower classes that first shook off archaic beliefs and took up Enlightenment ideas. And the state, which initially had suppressed those ideas, ultimately came to favor them. Yet at this high point in the diffusion and legitimation of the Enlightenment, the French Revolution erupted, destroying the social and political order in which the Enlightenment had flourished. Never again will the contours of the Enlightenment be drawn without reference to this work. Darnton has written an indispensable book for historians of modern Europe.

In this book the eighteenth century Enlightenment receives an important reassessment, using an astonishing range of materials and objects drawn from Europe and beyond, including artefacts from India and China, West Africa and Polynesia. A series of authoritative essays written by experts in the field explores the full range of material culture in the long eighteenth century, raising crucial questions about notions of property and invention, homely and commercial lives. The book also includes a series of well-illustrated exhibits, a startling and provocative assemblage of objects from the Enlightenment world, each accompanied by expert commentaries. The collection of essays and exhibits is the result of collaborative debate by scholars from Europe and north America, who have together worked on the cross-disciplinary importance of material history in making sense of how past society was fundamentally transformed through the world of goods.

Enveloped in a design reproduced from the hand-tooled leather cover of a 17th-century Bible, this journal inspires your own enlightenment. Embossed with silver foil pattern. 7" x 9"

The Routledge Companion to the Hispanic Enlightenment is an interdisciplinary volume that brings together an international team of contributors to provide a unique transnational overview of the Hispanic Enlightenment, integrating both Spain and Latin America. Challenging the usual conceptions of the Enlightenment in Spain and Latin America as mere stepsisters to Enlightenments in other countries, the Companion explores the existence of a distinctive Hispanic Enlightenment. The interdisciplinary approach makes it an invaluable resource for students of Hispanic studies and researchers unfamiliar with the Hispanic Enlightenment, introducing them to the varied aspects of this rich cultural period including the literature, visual art, and social and cultural history.

Engineering the Revolution documents the forging of a new relationship between technology and politics in Revolutionary France, and the inauguration of a distinctively modern form of the “technological life.” Here, Ken Alder rewrites the history of the eighteenth century as the total history of one particular artifact—the gun—by offering a novel and historical account of how material artifacts emerge as the outcome of political struggle. By expanding the “political” to include conflict over material objects, this volume rethinks the nature of engineering rationality, the origins of mass production, the rise of meritocracy, and our interpretation of the Enlightenment and the French Revolution.