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The Attractions and Operations of Social Networks. Submitte A Continuum from Medieval Literary Networks to Modern Counterparts: The Attractions and Operations of Social Networks. Submitted by Peter James Knowles to the University of Exeter as a thesis for the degree of Doctor of Philosophy in French In February 2016 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract While the benefits of analysing social networks within the wider humanities are becoming more accepted, very little work of this kind has been done in medieval studies. This thesis seeks to begin to fill this lacuna by considering the advantages of examining historical moments through the lens of ‘network’. Focusing on the later medieval world (in particular c.1300-1520), but also drawing on parallel evidence from the modern day, it demonstrates how the paradigm of ‘network’ allows a more nuanced reading of, predominantly literary, historical moments, which in turn reveals a deeper understanding of collective social thinking and behaviour. This new methodological approach is threefold, drawing on analytic tools from various disciplines. It blends historical contextual investigation with literary analysis, and frames the results in the sociological and anthropological theories of belonging, exchange, and play. The thesis is structured around four case studies, each of which demonstrates a particular form of network formation, and also shows how far these networks reflect their respective cultural milieus and influences. Three medieval chapters focus on what I term ‘literary networks’, a concept ripe for network analysis thanks to the highly participatory nature of medieval literature, and thus theoretically comparable to modern networks based around information exchange. Across the thesis, instances of formal, informal, and virtual networks are considered from medieval France and England, as well as the twenty-first century West. This combination of interdisciplinary method and structure allows innovative new readings of underappreciated sources, whilst also highlighting a transhistorical continuum of universal appeals to social networks: namely, the satisfaction of the human need to belong, the facilitation of competitive play, and the opportunity to acquire social capital and build reputations. This investigative synthesis between medieval material and more modern network evidence reveals that, while realised through unrecognisably altered technologies and experiencing some resultant disruptions, these fundamental appeals of social network membership, in part, remain constant between the two periods. 2 Acknowledgements I have a list of people to thank here that is so long I think even the most gushing of Oscar winners would probably baulk at the sight of it. While there are countless individuals, institutions, and even complete strangers who have helped me bring this piece of work to fruition in some way, I have to start with Emma Cayley. I’m sure most doctoral students say this, but in having Emma as a lead supervisor I really don’t think I could have been any more fortunate. Right from the beginning, Emma has unwaveringly believed in me and supported my ideas for the project – and given that her only prior experience of me was as a Masters student who scrawled questionable Latin puns on the whiteboard each week, that’s no mean feat. Working with Emma these past three years has been a total joy: she is incredibly generous with her time; has gotten me involved in everything from designing Anglo-Saxon iPad apps to showing Scottish wine critics around Exeter Cathedral; and has helped me craft a thesis which is far from traditional, and which I am incredibly proud of. Of everyone here, I unashamedly want to thank Emma most: for being a fantastic supervisor, but also for becoming a true friend. Someone who has had equal impact on the content of my thesis is Elliot Kendall. Considering this project draws on such a diverse range of disciplines and methodologies, I count myself very lucky to have had such a sharp second supervisor who just ‘got it’ from the very beginning. It’s no exaggeration to define Elliot’s advice and guidance as invaluable: without it, this thesis would not be half as coherent as (I hope) it has ended up being. Our regular GPCs were the most academically stimulating aspects of my doctoral study, and his feedback on my work was always generous, astute, and gratefully received. The final member of my supervisory team, Adam Watt, also deserves special mention here. The role of mentor is a tricky one to define, and I was lucky enough not to have any major crises that called for support beyond that of my supervisors, but Adam was a consistently reassuring presence across the three years. Always enthusiastic about my work and genuinely interested in my progress, Adam is someone else I am particularly lucky to have had on side as a colleague and friend, and to whom I am very grateful. There are many other academics who have supported me professionally, socially, and personally during my PhD. Sarah Hamilton and Jane Whittle not only 3 provided me with the references I needed for my application, but are also responsible for engaging me so well at Undergraduate and Masters level that I considered doctoral study in the first place. Nick Kaye, Andrew Thorpe, and Gert Vonhoff have all been, in different ways and at different moments, valued friends to me and supporters of my project. Many others have provided me with valuable insights and advice along the way. Adrian Armstrong has, on several occasions, discussed my work with me, and also provided me with a microfilm manuscript copy without which my second chapter would be far less rich. Tom Hinton, Julia Boffey, David Inglis, and Whitney Phillips have all offered advice on various aspects of my research. I must further thank Adrian, and also Fabrizio Nevola, for agreeing to be my examiners. My viva was one of the most genuinely enjoyable experiences of the whole research process, and their comments on the thesis were hugely valued. Exeter University has been the most amazing place to study these past seven years, and in particular I have to thank the Modern Languages PGR community, the Humanities Graduate Office, and all the library staff – particularly Janet and Sue in the Old Library, for always greeting me with a warm smile on my way to the office. And on the topic of my office, was there ever a better pairing of officemates than Anna-Marie Linnell and Izzy Cosgrave? I shouldn’t think so. My PhD also took me out of the academic institution, in a collaboration with Antenna International which proved just as engaging and enjoyable as my traditional written research. Special thanks go to REACT, who funded the project, and also to Jessica Taylor of Antenna, who took a chance on an untested collaborative formula and was instrumental in partnering with Exeter for my project. The months I spent in Antenna’s Great Eastern Street offices were among the best of my PhD, and it was an incredible opportunity for a humanities research student to have. While everyone in the Digital Media department made me feel incredibly welcome (and I’m now lucky enough to call them my colleagues), I have to give special recognition to Michelle, Giles, Jet, and Tom, for the time and effort they put into working with me across my placements. Other institutions and their staff I have to thank here are the National Archives (and Sim Canetty-Clarke who let me borrow her camera there) and Exeter Cathedral – in particular Ellie, Peter, and Anne. They say you should save the best till last, so to an extent that’s what I’ve done. I couldn’t have written this thesis without the support and love of my friends and family, of which there are far too many to thank in person here (if this were the 4 Oscars they’d be playing the music and ushering me off stage by now, for sure) but I have to pick out a special few. Harry McCarthy, who has been in my life pretty much exactly as long as I’ve been working on this project, has helped me in more ways than I care to go into here, so I’ll keep it brief. Thank you for being you, Harry, and far more importantly thank you for proof-reading each and every word of this thesis multiple times. I appreciated it more than I probably ever let on, especially when you pointed out that I was actually going to need some evidence in the first half of chapter four. And finally to Mum, Dad, and Laura. I’d like to think you all know how important you’ve been to me these past three years (and for a good few before that) without having to say it here, but I will anyway. Your support means everything to me, and I couldn’t have done it – any of it – without you all. Thank you. 5 List of Contents Introduction ..............................................................................................................9 Chapter One: Formal Networks: The London Puy in its Cultural Context ............... 40 Chapter Two: Informal Networks: Court Poets Writing For Louis XII ...................... 82 Part One: Réseaux, Rhétoriqueurs, and a Royal Rivalry ............................. 82 Part Two: The Heroic Epistles In-depth ........................................................103 Chapter Three: Virtual
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