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[caption id="attachment_214" align="alignright" width="300"] The first page of the book in question.[/caption]Following on from my post on Anne Barton (née Righter), this post is dedicated to Marian Hobson-Jeanneret (née Hobson), and, more particularly, her book The Object of Art: The Theory of Illusion in Eighteenth-Century France, published in 1982. Like Barton’s Shakespeare and the Idea of the Play, this book grew out of Hobson-Jeanneret’s thesis, so I’ll also be trying to work out, as I write, what I can learn from it for my thesis. For the most part, these will be different conclusions from those drawn the last time I did this, as this book is - for want of a better word - much more ‘theoretical’ than Barton’s.The book’s aim is a large one: to trace the development of theories of illusion in eighteenth-century France across four major domains, the novel, the theatre, poetry and music. Needless to say, the breadth of knowledge demonstrated by such a book is breathtaking: the book’s bibliography exceeds thirty pages of very small print, and the index contains pretty much anyone you could think of as relevant to this topic. At the same time as being wide-ranging, however, Hobson-Jeanneret is also focussed on the topic of illusion, and manages, by the end of the text, to give a convincing account of how this concept evolved, just as Barton, by focussing on ‘the idea of the play’ is at once wide-ranging and specifically deep.The introduction to The Object of Art contains a table, laying out some of the conceptual framework Hobson-Jeanneret has created for the discussion of illusion. I’ll reproduce it here:S1: simulationmaking itself like something which is not thereAdequatioA1: seemingthe work seems (to be) (like) - it is not reallyContrary of AdequatioS2: dissimulationhides itself by some diversionary behaviourContrary of AletheiaA2: appearingshows itself, and points to something beyondAletheiaThis framework, elaborated with the help of Gombrich, Hamon, Derrida and Plato, demands study. I can only get a grip on it by setting one side against the other: S1 vs A1 shows the importance of “it is not really”, and S2 vs A2 the importance of a direct relation to aletheia. The important S1 vs A2 (adequatio vs aletheia) distinction is explained by Hobson-Jeanneret as follows: “our attention is relayed by the appearance towards what is pointed at” in aletheia, while “adequatio, on the contrary, seeks a replica, a simulation, it excludes what is not truth, it presents the alternatives”. Such distinctions, and other new concepts introduced here (like papillotage), become clearer as the book dives into the worlds of writing around novels, plays, music and poetry, but this way of beginning a book is, I find, quite remarkable. It asks a lot of the reader, but does provide the tools the reader will learn to use better as they go on with the text. On top of this, such an interpretative grid, established before really entering into the eighteenth-century material, claims the potential for being extracted and used in other debates over ‘illusion’. Ultimately, therefore, as well as having a broad corpus of texts, Hobson-Jeanneret’s tight focus on illusion is, from the outset, itself aiming at broader applications.With regard to my own work, I don’t know whether such a thing would be possible. At the moment, I don’t really have a single concept open to such anatomisation as Hobson-Jeanneret performs. I suppose I could obtain one by taking the concept of ‘performance’ and then breaking down the various ways of understanding it in the period, ranging from the ‘execution’ of a task to the mere appearance of doing something (doing it / feeling as though you’re doing it // not doing it / not feeling it). I suspect that if I took this road, the concept of ‘performance’ would become the limiting factor, the tight focus of my thesis, and so replace Shakespeare’s reception. Studying the concept of ‘performance’ in the eighteenth-century reception of Shakespeare would only provide me with a body of texts both too small and too unrepresentative to work with.I’ve just been using The Object of Art to help me prepare my paper for Yale. Upon returning to the book, I noticed a few other things about the way it is written that might come in handy for my own work. The first of these is the density of Hobson-Jeanneret’s text, which is not so much the result of her style, but rather the sheer inter-connectedness of her way of writing. Individual points are hard to extract as each point grows out of another. This means that she is very hard to argue against, as each point justifies and is justified by another, with the whole ensemble serving as the foundation for her choice of subject. If I can get anywhere near such interrelation with my own writing, I will be very happy indeed. To be more precise, though, what is specifically striking is not so much the creation of a network, with lots of cross-references (although this is also present), but rather the linear way each point leads to the next, and this new topic then drives us forward into another. To be able to do this demands more than a grasp of a wide range of material, but a powerful logical approach to them as well.My second main observation, and the last I will detail in this post, is Hobson-Jeanneret’s flair for neat and memorable expression. The chapter on plays (in the section on illusion and the theatre) concludes with a memorable use of the word ‘ogle’ in the summary of how perceptions of what plays should be evolved (from aletheia to adequatio, as defined above):Conventional tragedy refers away from what it is: it ogles a meaning which is not within it; like certain scurrilous novels it is often à clé; it clearly accepts theatrical convention and sharpens it to an extreme of artificiality; its defenders use the theory of voluntary illusion. The reform of drama, on the contrary, tries to make meaning and play coincide: signs are to be eliminated in favour of the thing signified.Another example, and one I’m currently quoting in a draft of the NEASECS 2013 paper, is Hobson-Jeanneret’s description of Garrick’s role in Diderot’s thought about the theatre:Just as Chardin’s [i.e. a painter’s] work and talk may have forced Diderot to recognise the role of technique in creation, so it is round the figure of Garrick that the recognition that the art object is imaginary crystallisesOverall then, whether it encourages me to think of my research in more abstract terms, or provides an example of powerful and memorable argumentation, The Object of Art has been pretty useful for my thesis. This is, of course, without even really mentioning the many detailed and clear observations it makes on eighteenth-century material that have been extremely useful for my general understanding of this area. I suspect that I may have portrayed Hobson-Jeanneret as too theoretical here, and so it’s important to note in this final sentence that, like all good concept-heavy approaches, this one also has deep textual roots.