Bibliographie preparatoire sur les sens

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American Historical Review, 116, April 2011 + e-version “AHR Forum: The Senses in History”
Ashbrook Harvey, Susan. Scenting Salvation: Ancient Christianity and the Olfactory Imagination, UC, 2006.
Assaf, Sharon. “The Ambivalence of the Sense of Touch in Early Modern Prints”, Renaissance and Reformation, 29, 1, 2005, p. 75-98.
Barker-Benfield, G. J. The Culture of Sensibility : Sex and Society in Eighteenth-Century Britain, Chicago: University of Chicago Press, 1992.
Bredvold, Louis, The Natural History of Sensibility, Detroit : Wayne State University Press, 1962.
Bull, Michael & Les Back eds. The Auditory Culture Reader, Berg, 2003.
Burnett, Charles, Michael Fend & Penelope Gouk eds. The Second Sense: Studies in Hearing and Musical Judgement from Antiquity to the Seventeenth Century, Warburg Inst., 1991.
Bynum, W.F. & Roy Porter eds. Medicine and the Five Senses, Cambridge, 1993.
Clark, Stuart. Vanities of the Eye. Vision in Early Modern European Culture, OUP, 2007.
Classen, Constance. Worlds of Sense: Exploring the Senses in History and Across Cultures, Routledge, 1993.
—— The Deepest Sense: A Cultural History of Touch, Illinois, 2012.
Classen, Constance ed. The Book of Touch, Berg, 2005.
Classen, Constance, David Howes & Anthony Synnott eds. Aroma: The Cultural History of Smell, Routledge, 1994.
Cockayne, Emily. “Experiences of the deaf in Early Modern England”, The Historical Journal, 46, 3, 2003, p. 493-510.
—— Hubbub: Filth, Noise, and Stench in England, Yale, 2007.
Corbin, Alain. , Le temps, le désir et l’horreur. Essais sur le XIXe siècle. Flammarion. Champs. 1991. Inclut essai : « Hitoire et anthropologie sensorielle », 227-41. Time, Desire, and Horror: Toward a History of the Senses (1991). Trans. Jean Birell, Polity, 1995
—— The Foul and the Fragrant: Odor and the French Social Imagination, Harvard, 1986. (Le Miasme et la Jonquille. L’odorat et l’imaginaire social, XVIIIe-XIXe siècles (1982), Flammarion, coll. « Champs », Paris, 1986).
—— L’Harmonie des plaisirs. Les manières de jouir du siècle des Lumières à l’avènement de la sexologie (Perrin, 2007).
Corbin, Alain, Jean-Jacques Courtine & Georges Vigarello eds. Histoire du corps, Éditions du Seuil, coll. « L’Univers historique », 3 vol., 2005-2006.
Crockett, Bryan. “‘Holy Cozenage’ and the Renaissance Cult of the Ear”, The Sixteenth-Century Journal 24, 1, Spring 1993, p. 47–65.
De Boer, Wietse & Christine Göttler eds. Religion and the Senses in Early Modern Europe, Brill, 2013.
De Calan, Ronan. Généalogie de la sensation. Physique, physiologie et psychologie en Europe, de Fernel à Locke, Honoré Champion, 2012.

Debray, Régis. Vie et mort de l’image : Une histoire du regard dans l’Occident, Gallimard, 1995.

Deutermann, Allison K. Hearing and Listening in Early Modern Drama, Ph.D. dissertation, Columbia University, 2008.

Drobnick, Jim ed. Aural Cultures, YYZ Books, 2004.
Drobnick, Jim ed. Smell Culture Reader, Berg, 2006.
Dugan, Holly. The Ephemeral History of Perfume. Scent and Sense in Early Modern England, Johns Hopkins, 2011.

Egan, Gabriel. “Hearing or Seeing a Play? Evidence of Early Modern Theatrical Terminology”, Ben Jonson Journal, 8, 2001, p. 327-347.

Erlmann, Veit ed. Hearing Cultures: Essays on Sound, Listening, and Modernity, Berg, 2004.

Feitzinger Brown, Laura. “Brawling in Church: Noise and the Rhetoric of Lay Behavior in Early Modern England”, The Sixteenth Century Journal, 34, 4, 2003, p. 955-972.
Ferrero, Carlo. Les cinq sens d’Eros, Solar, 1988.

Freedman, Paul. Food: The History of Taste, California Studies in Food and Culture, U of California Press, 2007.

Fritz, Jean-Marie. Paysages sonores du Moyen-Âge. Le versant épistémologique, Paris, Champion, 2000.

Gally, Michèle & Michel Jourde. Par la vue et par l'ouïe. Littérature du Moyen Âge et de la Renaissance, ENS Éditions, 2002.

Gleckner, Robert F. “Blake and the Senses,” Studies. in Romanticism, vol. 5, Autumn 1965, n° 1 : 1-15.
Hamou, Philippe. La Mutation du visible. Essai sur la portée épistémologique des instruments d’optique au XVIIe siècle. volume 1 : Du Sidereus Nuncius de Galilée à la Dioptrique cartésienne, Septentrion, 1999.  Volume II : Télescopes et microscopes en Angleterre, de Bacon à Hooke, Septentrion, 2001.
—— Voir et connaître à l’âge classique, PUF, 2002.
—— La Vision perspective, 1435-1740, l’art et la science du regard de la Renaissance à l’âge classique (textes choisis, introduits et annotés), Payot, 2007.

—— “Qualities and sensory perception”, in The Oxford Handbook of Philosophy in Early Modern Europe, Desmond M. Clarke and Catherine Wilson eds., OUP, 2011.

—— « La perspective des peintres et l’optique des Modernes », in L’Artiste et le philosophe : l’histoire de l’art à l’épreuve de la philosophie (Actes du colloque de l’INHA, septembre 2007), 2011.

—— « Ophtalmie, vision adamique, et rédemption sensorielle dans la pensée anglaise du XVIIe siècle », Le Temps Philosophique, Publidix, Nanterre, 9, 2003, p. 81-116.

—— « “Peindre comme l’œil voit” : le naturalisme optique à l’âge classique », Peinture et Musique, penser la vision, penser l’audition, éd. C. Kinstler, Septentrion, 2002.

Harvey, Elizabeth D. ed. Sensible Flesh: On Touch in Early Modern Culture, Penn, 2003.
Howes, David ed. The Varieties of Sensory Experience: A Sourcebook in the Anthropology of the Senses, Toronto: 1991.
Howes, David ed. Empire of the Senses: The Sensual Culture Reader, Berg, 2005.
--, Sensual Relations: Engaging the Senses in Culture and Social Theory, Ann Arbor, MI: University of Michigan Press, 2003.

Hunt, Arnold. The Art of Hearing: English Preachers and their Audiences, 1590-1640, Cambridge Studies in Early Modern British History, 2011.

Jutte, Robert. A History of the Senses: From Antiquity to Cyberspace, Oxford, 2003.
Kennedy, Colleen E. “Performing and Perfuming on the Early Modern Stage: A Study of William Lower’s The Phaenix in Her Flames”, Early English Studies, 4, 2011, p. 1-33.
Kivy, Peter. The Seventh Sense. Francis Hutcheson & Eighteenth-Century British Aesthetics, 2nd ed., Oxford: OUP, 2003.
Kormeyer, Carolyn. The Taste Culture Reader, Berg, 2005.
Lowe, Donald. History of Bourgeois Perception, Chicago, 1982.

Magnus, Laury & Walter W. Cannon eds. Who Hears in Shakespeare? Shakespeare’s Auditory World, Stage and Screen, Lexington Books, 2012.

Majid, Asifa & Stephen C. Levinson. “The Senses in Language and Culture”, Senses and Society, 6, 1, March 2011, p. 5-18.
McLuhan, Marshall, The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press, 1962.
McSweeney, Kerry. The Language of the Senses. Sensory-Perceptual Dynamics in Wordsworth, Coleridge, Thoreau, Whitman, and Dickinson, Montreal & Kingston; London; Buffalo: McGill-Queen’s University Press, 1998.
Milner, Matthew. The Senses and the English Reformation, Ashgate, 2011.
Mullan, John, Sentiment and Sociability :The Language of Feeling in the Eighteenth Century, Oxford : Clarendon Press, 1988.
Newhauser, Richard. “Foreword: The Senses in Medieval and Renaissance Intellectual History”, Senses and Society, 5, March 2010, p. 5-9.
Nichols, Stephen, Andreas Kablitz & Alison Calhoun eds. Rethinking the Medieval Senses: Heritage/Fascination/Frames, JHU, 2008.
NIicolson, Marjorie Hope, Newton demands the muse. Newton's Opticks and the eighteenth century poets, Princeton : Princeton University Press, 1946.
Nordenfalk, Carl. “The Five Senses in Late Medieval and Renaissance Art”, Journal of the Warburg and Courtauld Institutes, 48, 1985, p. 1-22.
O’Connell, Michael. “The Idolatrous Eye: Iconoclasm, Anti-Theatricalism, and the Image of the Elizabethan Theater”, ELH, 52, 2, Summer, 1985, p. 279–310.
—— The Idolatrous Eye. Iconoclasm and Theater in Early Modern England, OUP, 2000.
Ogée, Frédéric & Peter Wagner ed. Taste and the Senses in the Eighteenth Century, Trier, Wissenschaftlicher Verlag, 2012.
Ong, Walter, Orality and Literacy : The Technologizing of the Word, Londres et New York : Routledge, 1982.

Palazzo, Eric. « Les cinq sens au Moyen Âge : état de la question et perspectives de recherche », Cahiers de civilisation médiévale, Xe-XIIe siècles, 55, 2012, p. 339-366.

Pastourau, Michel. L'Étoffe du Diable. Une histoire des rayures et des tissus rayés, Seuil, 1991.
—— Bleu. Histoire d'une couleur, Seuil, 2000.
—— Noir. Histoire d'une couleur, Seuil, 2008.
Paterson, Mark. “Seeing with the Hands, Touching with the Eyes: Vision, Touch, and the Enlightenment Spatial Imaginary”, Senses and Society, 1, July 2006, p. 225-242.

Robson, Mark. “Swansongs: Reading voice in the poetry of Lady Hester Pulter”, English Manuscript Studies, 1100-1700, 9, 2000, p. 238-256.

—— “Looking with ears, hearing with eyes: Shakespeare and the ear of the early modern”, Early Modern Literary Studies, 7.1/Special Issue 8, May 2001,10.1-23.

Sanger, Alice E. & Siv Tove Kulbrandstad Walker eds. Sense and the Senses in Early Modern Art and Cultural Practices, Ashgate, 2012.
Serres, Michel. Les cinq sens, Grasset, 1985.
Smith, Bruce R. The Acoustic World of Early Modern England. Attending to the O-Factor, The University of Chicago Press, 1999.
Smith, Mark M. Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History, UC Press, 2007.
Smith, Mark M. ed. Hearing History. A Reader, U. of Georgia Press, 2004.
Stoller, Paul. The Taste of Ethnographic Things: The Senses in Anthropology, Penn, 1989.
STUART, Matthew, “Locke’s Colors”, The Philosophical Review, vol. 112, n° 1, Jan. 2003: 57-96.
Vinge, Louise. The Five Senses. Studies in a Literary Tradition, Berlingska Boktryckeriet, 1975.
Von Hoffmann, Viktoria. Goûter le monde. Pour une histoire culturelle du goût à l'époque moderne, Peter Lang, coll. "L’Europe Alimentaire”, 2013.

Votava, Jennie M. The "Other" Senses: Mediating Mind and Matter on the Early Modern English Stage, ProQuest, UMI Dissertations Publishing, 2012.

Vredeveld, Harry. “ ‘Deaf as Ulysses to the Siren’s Song’: The Story of a Forgotten Topos”, Renaissance Quarterly, 54, 3, Autumn, 2001, p. 846-882.
Wolfe, Charles T. “Early modern epistemologies of the senses: from the nobility of sight to the materialism of touch”, Paper presented at the AULLA conference, University of Sydney, February 2009, organized on early modern epistemologies of the senses (online:
Wolfe, Charles T. & Ofer Gal eds. The Body as Object and Instrument of Knowledge. Embodied Empiricism in Early Modern Science, Springer, 2010.
Woolgar, C. M. The Senses in Late Medieval England, Yale, 2007.

The Senses and Society Journal, Berg (blog)


- Toulouse 2 : « Penser les cinq sens au Moyen Âge : poétique, esthétique, éthique » du 13 mai 2013 au 15 mai 2013 (Colloque National du laboratoire PLH ELH)

- « Les cinq sens au Moyen Âge (II) ». 29, 30 et 31 mai 2013. Poitiers Médiathèque François-Mitterrand & UFR SHA

- “The Five Senses in Medieval and Early Modern Cultures: Literature and Language, University of Bern, English Department, 7-8 June 2013

- Dijon en 2011
- “Visual Cultures in Early Modern Europe”, The Princeton Münster Oxford Workshop in Early Modern History, St John’s College, Oxford, 15 & 16 March 2011

- Bordeaux 3 : « Le débat des cinq sens au Moyen Âge et à la Renaissance », mars 2012

- “Early Modern Colour Practices, 1450-1650”, September 20/21 2013, Max Planck Institute for the History of Science, Berlin (Organisers: Sven Dupré Max Planck Research Group Director, Karin Leonhard, Max Planck Institute for the History of Science)

- « L'expérience de la ville. Les cinq sens du citadin, du Moyen Âge à l’époque contemporaine. Contribution à une anthropologie historique urbaine », Organisateurs : Robert Beck et Ulrike Krampl, Université François-Rabelais de Tours/CeRMAHVA (France)

- “Sense as a Ratio: Early Modern Proportional Analogies in Visual Art”, Annual AAH Conference, Royal College of Art, London, 10 - 12 April 2014
- “The Senses and Early Modern Visual Culture

The primacy granted to the sense of sight in the Renaissance has led to the Early Modern period being viewed as "ocularcentric.” However, as is well known, while the sense of sight was crucial to the development of artistic theory and empirical methods in natural philosophy, sight was also the sense that excited the most profound skepticism. In more recent scholarship on the Renaissance, sight is no longer granted an implicit historical primacy, especially in light of renewed interest in how the "bodily” senses were understood to inform the production and reception of both literature and art. Recent studies of the senses in the Renaissance have shifted focus both to the social networks within which the senses were understood to work as signs of discernment, disgust or experimentation and to pre-modern conceptions of the corporeal sensorium and synaesthesia. The purpose of this panel is to examine elements of early modern visual culture in terms of the ongoing interdisciplinary reconceptualization of corporeality and the senses. Beyond the allegorical depiction of the senses to which an iconographical art history pays homage, the study of visual culture entails scrutiny of conditions of affect and response, as well as space and narrative, all of which call attention to and question the varied sensorial faculties that are addressed in varied media including painting, print, sculpture and architecture. Papers exploring links between visual culture and any aspect of the senses are welcome. Please send abstract and CV to Lyle Massey, Associate Professor of Art History and Visual Culture, University of California, Irvine (

- “Noise in Early Modern England”, RSA meeting, March 2014

Scholarship on the senses has discussed the importance of hearing in early modern England, especially the significance to early modern Protestants of hearing the Word preached. So that the faithful could better hear the Word, canon law addressed ways to improve the acoustic environment, including by restricting activities that could make noise. At the same time, in the theaters, characters on stage defined some sounds as acceptable and others as noise. One thinks, for example, of Cloten in Shakespeare’s Cymbeline2.3, who declares that the singer’s music will be "better” if Imogen responds to it, but "a vice in her ears” if she ignores it. In the legal realm, the 1595 Lawes of the Market defined certain sounds as off-limits in London after nine at night.

How do early modern English writers define noise? What is acceptable sound, what is unacceptable, and who gets to decide? At what point does a sound that citizens generally tolerate in a given soundscape become transgressive noise, and why? In addition, how does the genre of a text affect the depiction of sound?

I welcome papers on hearing and sound that explore noise and the edges and boundaries of acceptable sound in early modern England.
- “The Visual Arts and Music in Renaissance Europe c 1400-1650”, Second Annual Postgraduate Renaissance Symposium, CALL FOR PAPERS, Deadline 4 November 2013, Event to take place: Saturday 18 January 2014, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN


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