Secrecy And Surveillance In Medieval And Early Modern England

This volume explores practices of secrecy and surveillance in medieval and early modern England. The ten contributions by Swiss and international scholars (including Paul Strohm, Sylvia Tomasch, Karma Lochrie, and Richard Wilson) address in particular the intersections of secrecy and surveillance with gender and identity, public and private spheres, religious practices, and power structures. Covering a wide range of English literary texts from Old English riddles to medieval romances, the Book of Margery Kempe, and the plays and poems of Shakespeare, these essays seek to contribute to our understanding of the practices of secrecy, exclusion, and disclosure as well as to the much-needed historicisation of Surveillance Studies called for in the opening article by Sylvia Tomasch. ---

What did it mean to keep a secret in early medieval England? It was a period during which the experience of secrecy was intensely bound to the belief that God knew all human secrets, yet the secrets of God remained unknowable to human beings. In Bonds of Secrecy, Benjamin A. Saltzman argues that this double-edged conception of secrecy and divinity profoundly affected the way believers acted and thought as subjects under the law, as the devout within monasteries, and as readers before books. One crucial way it did so was by forming an ethical relationship between the self and the world that was fundamentally different from its modern reflex. Whereas today the bearers of secrets might be judged for the consequences of their reticence or disclosure, Saltzman observes, in the early Middle Ages a person attempting to conceal a secret was judged for believing he or she could conceal it from God. In other words, to attempt to hide from God was to become ensnared in a serious sin, but to hide from the world while deliberately and humbly submitting to God's constant observation was often a hallmark of spiritual virtue. Looking to law codes and religious architecture, hagiographies and riddles, Bonds of Secrecy shows how legal and monastic institutions harnessed the pervasive and complex belief in God's omniscience to produce an intense culture of scrutiny and a radical ethics of secrecy founded on the individual's belief that nothing could be hidden from God. According to Saltzman, this ethics of secrecy not only informed early medieval notions of mental activity and ideas about the mind but also profoundly shaped the practices of literary interpretation in ways that can inform our own contemporary approaches to reading texts from the past.

Selected by Choice magazine as an Outstanding Academic Book In Covert Operations, Karma Lochrie brings the categories and cultural meanings of secrecy in the Middle Ages out into the open. Isolating five broad areas—confession, women's gossip, medieval science and medicine, marriage and the law, and sodomitic discourse—Lochrie examines various types of secrecy and the literary texts in which they are played out. She reads texts as central to Middle English studies as the "Parson's Tale," the "Miller's Tale," the Secretum Secretorum, and Sir Gawain and the Green Knight as well as a broad range of less familiar works, including a gynecological treatise and a little-known fifteenth-century parody in which gossip and confession become one. As she does so she reveals a great deal about the medieval past—and perhaps just as much about the early development of the concealments that shape the present day.

"Marianne is Watching" presents a history of the institutionalization of professional intelligence and counterintelligence services in France from 1870 to 1914. As the practice of secret politics, once exclusive to the domain of royal authority, gave way to calls for greater transparency in the nineteenth century, the acceptable exercise of state secrecy shifted from leadership to professional surveillance teams. This process, which notably took place during a period of peace, not war, highlights the enduring tension between surveillance, secrecy and national defense within an ostensibly open, democratic society. Interrogating these concerns in the French case, the Third Republic appears as a regime that ultimately valued security over transparency and other freedoms. Led by the army's administration, with contributions from services within the police and the Ministry of Foreign Affairs, espionage and counterespionage teams became an integral part of the French state. They carved out important roles in determining France's international policy, in policing domestic populations, and in regulating speech and expression. What began as a reconnaissance service to achieve military parity with enemies like Germany thus grew to be a professional domestic surveillance apparatus with considerable autonomy in identifying threats to the nation. The embedding of institutions devoted to secrecy had a significant effect on French fin-de-siécle society and culture by contributing to fears of competition, weakness, and decline, as well as popular ideas of citizenship and belonging. The atmosphere created by the perceived presence of foreign spies in turn gave rise to a shared mindset of desperation, paranoia, and yearning for honor and heroism. As understandings of the reality of international espionage changed, views of spies changed, facilitating the popular acceptance of the notion of raison d'état, or the idea that the state has the right to act by whatever means necessary. This study of the origins of bureaucratized intelligence shows the extent to which regimes rely on the perception of real or imagined enemies to justify the establishment of legal and social structures that permit secret state actions, even in the most open society.

'The History of Espionage' recounts the fascinating story of spies and spying from the cloak-and-dagger machinations of the ancient Greeks and Romans to the high-tech surveillance operations of the post 9/11 world.

Secrecy and the Media is the first book to examine the development of the D-Notice system, which regulates the UK media's publication of British national security secrets. It is based on official documents, many of which have not previously been available to a general audience, as well as on media sources. From Victorian times, British governments have consistently seen the need, in the public interest, to prevent the media publishing secret information which would endanger national security. The UK media have meanwhile continuously resisted official attempts to impose any form of censorship, arguing that a free press is in the public interest. Both sides have normally seen the pitfalls of attempting to resolve this sometimes acrimonious conflict of interests by litigation, and have together evolved a system of editorial self-regulation, assisted by day-to-day independent expert advice, known colloquially as the D-Notice System. The book traces the development of this system from nineteenth-century colonial campaigns, through two world wars, to modern operations and counter-terrorism in the post-Cold War era, up to the beginning of the Labour government in 1997. Examples are drawn from media, political and official sources (some not yet open), and cover not only defence issues (including Special Forces), but also the activities of the secret intelligence services MI5, MI6 and GCHQ. These cases relate principally to the UK, but also to American and other allies’ interests. The story of how this sometimes controversial institution now operates in the modern world will be essential reading for those in the media and government departments, and for academics and students in the fields of security, defence and intelligence, as well as being an accessible exposé for the general reader. Nicholas Wilkinson served in the Royal Navy 1959-98, and from 1999 to 2004 he ran the independent Defence, Press and Broadcasting Advisory Committee. He was a Press Complaints Commissioner from 2005 to 2008, and is a Cabinet Office Historian.

Looking at how British membership of the European Union may affect the relationship between the state, the citizen and secrecy, the author claims that until a greater understanding of what is happening is achieved, the British state is destined to remain undemocratic in many vital respects.

The aim of this book is to investigate the delicate relationship between female sanctity and madness, in a time-frame extending from medieval until contemporary times. Constellated by visions, ecstatic raptures, morbid rituals, stigmata and obsessions, the complex phenomenology of female mysticism appears in fact to be articulated and polymorphous, traversed by 'representations' that it seems possible to link to the wide spectrum of mental disorders, as well to the hagiographic stereotypes and anthropological implications. Male and female scholars from different disciplines (from history to philology, from anthropology to art history, from theology to literary criticism, from psychiatry to psychoanalysis) try to outline a thematic and problematic itinerary, intended to examine, step by step, potential pathological aspects and contexts of reference for the purpose of attempting to reconstruct the complex evolutionary trajectory of female mystical language.

Serial storytelling has the advantage of unlocking rather than simplifying the complexities of digital culture. With their worldbuilding potential, TV series open up new artistic horizons, particularly for the dystopian genre. Situated at the nexus of dystopia, complex TV, and a metamodern cultural logic, Dystopia on Demand: Technology, Digital Culture, and the Metamodern Quest in Complex Serial Dystopias offers readers novel insights into the dynamics of serial dystopias in the contemporary streaming landscape. Introducing the term 'complex serial dystopias' to describe series that allow audiences to engage with the dystopian premise from multiple angles, the book examines four Anglo-American series, including Black Mirror, Mr. Robot, Westworld, and Kiss Me First. The in-depth analyses trace the variety of ways in which these series offer critical reflections on the human-technology entanglement in digital culture.