A Defence Of Dr Middleton S Free Enquiry Against Mr Dodwell S Free Answer

It is too often assumed that religious heterodoxy before the Enlightenment led inexorably to intellectual secularisation. Challenging that assumption, this book expands the scope of the enquiry, hitherto concentrated on the relation between heterodoxy and natural philosophy, to include political thought, moral philosophy and the writing of history. Individual chapters are devoted to Grotius, the Dutch Remonstrants and Socinianism, to Hobbes, Robert Boyle, Robert Hooke, Dutch Collegiants and English Unitarians, Giambattista Vico, Conyers Middleton, and David Hume. In their opening essay the editors argue that the critical problems for both Protestants and Catholics arose from destabilising the relation between the spheres of Nature and Revelation, and the adoption of an increasingly historical approach both to natural religion and to the Scriptual basis of Revelation. Contributors include: Hans Blom, Justin Champion, Jonathan Israel, Martin Mulsow, Enrico Nuzzo, William Poole, Sami-Juhani Savonius, Richard Serjeantson, and Brian Young.

Why can none of us hear our own recorded voice without wincing? Why is the telephone still full of such spookiness and erotic possibility? Why does the metaphor of ventriloquism, the art of 'seeming to speak where one is not', speak so resonantly to our contemporary technological condition? These are the kind of questions which impel Steven Connor's wide-ranging, restlessly inquisitive history of ventriloquism and the disembodied voice. He tracks his subject from its first recorded beginnings in ancient Israel and Greece, through the fulminations of early Christian writers against the unholy (and, they believed, obscenely produced) practices of pagan divination, the aberrations of the voice in mysticism, witchcraft and possession, and the strange obsession with the vagrant figure of the ventriloquist, newly conceived as male rather than female, during the Enlightenment. He retrieves the stories of some of the most popular and versatile ventriloquists and polyphonists of the nineteenth century, and investigates the survival of ventriloquial delusions and desires in spiritualism and the 'vocalic uncanny' of technologies like telephone, radio, film, and internet. Learned but lucid, brimming with anecdote and insight, this is much more than an archaeology of one of the most regularly derided but tenaciously enduring of popular arts. It is also a series of virtuoso philosophical and psychological reflections on the problems and astonishments, the raptures and absurdities of the unhoused voice.