Il secretario , a sixteenth-century guide for princely secretaries, was, it seems, not written but plagiarized by Francesco Sansovino, son of Jacopo Sansovino, the Venetian architect. Francesco, “a printer, a rewrite man, a writer, and a popular izer,” had selectively excerpted and printed under his own name those portions of Il principe , a 1561 treatise on the train ing of princes by Giovan Battista Nicolucci (Il Pigna), esteemed secretary to Duke Alfonso II d’Este, pertaining specifically to the secretarial arts. 1 Sansovino printed Il secretario , the first of many such manuals that appeared during the Baroque period, in four volumes in 1564 and then seven in 1579, subsequent to which the work was issued in thirteen more editions through 1608. Perhaps the work’s popularity was due to its promise to those aspiring to serve as secretaries to princes and nobles, sequestered in rooms off to the side but with access to private apartments above, and exerting a quiet, mighty power, to “show and teach the way to write letters in proper fashion and with art on any subject whatsoever.” 2 Following detailed instructions on how to write to popes, kings, cardinals, as well as to one’s father, the treatise’s first book ends with instructions on folding and sealing letters to addressees of different social standing. 3 As Bernhard Siegert points out in Relays: Literature as an Epoch of the Postal System , the folding of letters dates to the widespread use of paper as an epistolary medium in the late medieval period, following which anything that circulated on unfoldable parch ment was in effect a public document, while anything that cir culated as a sealed letter was a possible source of courtly intrigue. According to Siegert, with the arrival of printing presses, what might have previously been a distinction between publicly legi ble parchment and privately enfolded royal instructions now divided into two paper-based techniques: typography and chi rography, or handwriting. Whence, a folded letter could follow its destiny to become, as Siegert puts it, an instance of what Michel Foucault calls, after his seventeenth-century sources, raison d’etat (state reason), or governmental rationality. 4 Some time ago, Gilles Deleuze showed that folding was

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展开，未打开：论伯恩哈德·西格特的文化技巧

Il Secretario 是 16 世纪的王公秘书指南，它似乎不是由威尼斯建筑师雅各布·桑索维诺的儿子弗朗切斯科·桑索维诺写的，而是抄袭的。弗朗切斯科，“一位印刷者，一位改写者，一位作家，以及一位受欢迎的创作者”，有选择地摘录并以自己的名义印刷了《原则》（Il Principe）的那些部分，这是一部 1561 年 Giovan Battista Nicolucci（Il Pigna )，阿方索二世德埃斯特公爵的受人尊敬的秘书，专门与秘书艺术有关。1 Sansovino 印刷了 Il Secretario，这是巴洛克时期出现的众多此类手册中的第一本，1564 年共分四卷，1579 年分七卷，此后到 1608 年又发行了 13 个版本。或许这部作品的受欢迎程度是因为它对那些渴望担任王子和贵族秘书的人承诺，他们被隔离在旁边的房间里，但可以进入上面的私人公寓，并发挥一种安静、强大的力量，“展示和教导以适当的方式和艺术写任何主题的信件的方式。” 2 在详细说明如何给教皇、国王、枢机主教以及父亲写信之后，该论文的第一本书以对不同社会地位的收件人折叠和密封信件的说明结束。3 正如伯恩哈德·西格特 (Bernhard Siegert) 在《中继：文学作为邮政系统的时代》中指出的那样，信件的折叠可以追溯到中世纪晚期广泛使用纸张作为书信媒介，此后，任何在可展开的羊皮纸上流通的东西实际上都是一份公共文件，而任何以密封信件形式流通的东西都可能是宫廷阴谋的来源。根据西格特的说法，随着印刷机的出现，以前可能是公开可读的羊皮纸和私人包裹的皇家指示之间的区别现在分为两种基于纸张的技术：排版和手稿或手写。因此，一封折叠的信件可以顺应其命运，如西格特所说，成为米歇尔·福柯根据其 17 世纪的资料来源，即存在理由（raison d'etat）（国家理性）或政府理性所称的一个实例。4 前段时间，吉尔·德勒兹 (Gilles Deleuze) 表明折叠是 根据西格特的说法，随着印刷机的出现，以前可能是公开可读的羊皮纸和私人包裹的皇家指示之间的区别现在分为两种基于纸张的技术：排版和手稿或手写。因此，一封折叠的信件可以顺应其命运，如西格特所说，成为米歇尔·福柯根据其 17 世纪的资料来源，即存在理由（raison d'etat）（国家理性）或政府理性所称的一个实例。4 前段时间，吉尔·德勒兹 (Gilles Deleuze) 表明折叠是 根据西格特的说法，随着印刷机的出现，以前可能是公开可读的羊皮纸和私人包裹的皇家指示之间的区别现在分为两种基于纸张的技术：排版和手稿或手写。因此，一封折叠的信件可以顺应其命运，如西格特所说，成为米歇尔·福柯根据其 17 世纪的资料来源，即存在理由（raison d'etat）（国家理性）或政府理性所称的一个实例。4 前段时间，吉尔·德勒兹 (Gilles Deleuze) 表明折叠是 正如西格特所说，折叠的信件可能会随着它的命运而成为米歇尔·福柯所称的一个实例，根据他 17 世纪的资料来源，存在理由（国家理性）或政府理性。4 前段时间，吉尔·德勒兹 (Gilles Deleuze) 表明折叠是 正如西格特所说，折叠的信件可能会随着它的命运而成为米歇尔·福柯所称的一个实例，根据他 17 世纪的资料来源，存在理由（国家理性）或政府理性。4 前段时间，吉尔·德勒兹 (Gilles Deleuze) 表明折叠是