j
16 years ago
commit
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<!DOCTYPE html> |
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<html> |
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<head> |
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<script type="text/javascript" src="jquery.js"></script> |
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<script type="text/javascript" src="jquery.srt.js"></script> |
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<style> |
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body { |
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color: #000; |
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background-color: #eee; |
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font: 14px verdana, sans-serif; |
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margin-left: 16px; |
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} |
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h1 { |
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margin-bottom: 0; |
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} |
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h2 { |
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margin-top: 0; |
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margin-left: 68px; |
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} |
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#left { |
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float:left; |
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width: 550px; |
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} |
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#example { |
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padding-top: 56px; |
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} |
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code { |
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background-color: #eee; |
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width: 580px; |
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} |
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.srt { |
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font-size: 16px; |
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padding-left: 550px; |
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width: 512px; |
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} |
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</style> |
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</head> |
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<body> |
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|
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<div id="left"> |
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<p> |
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<h2>jquery.srt.js</h2> |
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<p> |
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play srt subtitles together with your <video> element |
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</p> |
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<p> |
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<b>Example:</b> |
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<pre><code> |
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<video src="http://example.com/video.ogv" id="video" controls> |
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<div class="srt" data-video="video" |
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data-srt="http://example.com/video.srt" /> |
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</code></pre> |
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jquery.srt.js will try to load subtitles in all elements with 'srt' class.<br> |
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'data-video' atribute is used to link to the related video,<br> |
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if not data-srt is provided, the contents of the div is parsed as srt. |
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</p> |
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<p> |
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<b>Download:</b> <a href="jquery.srt.js">jquery.srt.js</a> |
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</p> |
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</div> |
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<div id="example"> |
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<p> |
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<video src="http://footage.stealthisfilm.com/stream/Robert%20Darnton%20-%20Two%20Information%20Systems%20at%20War%2C%20in%2018th%20Century%20France.ogg" id="video" autplay controls> |
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</p> |
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<div class="srt" data-video="video" data-srt="sample.srt"> |
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</div> |
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</div> |
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|
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</body> |
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</html> |
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/* |
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* jQuery srt |
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* |
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* version 0.1 (November 28, 2008) |
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* |
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* Dual licensed under the MIT and GPL licenses: |
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* http://www.opensource.org/licenses/mit-license.php
|
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* http://www.gnu.org/licenses/gpl.html
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*/ |
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/* |
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usage: |
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<video src="myvideo.ogg" id="myvideo" /> |
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<div id="subtitles" class="srt" data-video="myvideo" data-srt="myvideo.srt"></div> |
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|
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all elements with class 'srt' that have a data-video atribute, |
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referencing the related video, if not data-srt is provided, |
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the contents of the div is parsed as srt. |
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*/ |
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|
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$(document).ready(function() { |
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function toSeconds(t) { |
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var s = 0.0 |
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if(t) { |
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var p = t.split(':'); |
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for(i=0;i<p.length;i++) |
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s = s * 60 + parseFloat(p[i].replace(',', '.')) |
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} |
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return s; |
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} |
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function strip(s) { |
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return s.replace(/^\s+|\s+$/g,""); |
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} |
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function playSubtitles(subtitleElement) { |
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var videoId = subtitleElement.attr('data-video'); |
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var srt = subtitleElement.text(); |
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subtitleElement.text(''); |
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srt = srt.replace('\r\n|\r|\n', '\n') |
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|
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var subtitles = {}; |
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srt = strip(srt); |
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var srt_ = srt.split('\n\n'); |
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for(s in srt_) { |
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st = srt_[s].split('\n'); |
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if(st.length >=2) { |
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n = st[0]; |
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i = strip(st[1].split(' --> ')[0]); |
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o = strip(st[1].split(' --> ')[1]); |
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t = st[2]; |
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if(st.length > 2) { |
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for(j=3; j<st.length;j++) |
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t += '\n'+st[j]; |
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} |
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is = toSeconds(i); |
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os = toSeconds(o); |
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subtitles[is] = {i:i, o: o, t: t}; |
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} |
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} |
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var currentSubtitle = -1; |
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var ival = setInterval(function() { |
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currentTime = document.getElementById(videoId).currentTime; |
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subtitle = -1; |
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for(s in subtitles) { |
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if(s > currentTime) |
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break |
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subtitle = s; |
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} |
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if(subtitle > 0) { |
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if(subtitle != currentSubtitle) { |
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subtitleElement.html(subtitles[subtitle].t); |
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currentSubtitle=subtitle; |
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} else if(subtitles[subtitle].o < currentTime) { |
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subtitleElement.html(''); |
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} |
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} |
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}, 100); |
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} |
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$('.srt').each(function() { |
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subtitleElement = $(this); |
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var videoId = subtitleElement.attr('data-video'); |
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if(!videoId) return; |
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var srtUrl = subtitleElement.attr('data-srt'); |
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if(srtUrl) { |
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$(this).load(srtUrl, function (responseText, textStatus, req) { playSubtitles(subtitleElement)}) |
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} else { |
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playSubtitles(subtitleElement); |
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} |
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}); |
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|
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}); |
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0 |
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00:00:01,120 --> 00:00:04,520 |
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1 |
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00:00:05,000 --> 00:00:07,440 |
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In most countries |
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on the continent |
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|
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2 |
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00:00:08,000 --> 00:00:12,720 |
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There were princes, |
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they were absolute regimes, |
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3 |
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00:00:13,160 --> 00:00:16,480 |
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The degree of absolutism was |
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relative to a particular setting, |
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|
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4 |
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00:00:17,000 --> 00:00:21,480 |
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But If you take France as the most important |
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central, most populace country, |
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5 |
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00:00:22,000 --> 00:00:27,320 |
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you had a very elaborate system of |
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censorship, but in addition to that, |
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6 |
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00:00:27,680 --> 00:00:32,160 |
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you had a monopoly of production |
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in the bookseller's guild in Paris, |
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7 |
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00:00:32,560 --> 00:00:34,040 |
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it had police powers |
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8 |
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00:00:34,240 --> 00:00:38,040 |
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and then the police itself had |
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specialised inspectors of the book trade |
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9 |
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00:00:38,520 --> 00:00:40,080 |
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so you put all of that together |
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10 |
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00:00:40,440 --> 00:00:44,760 |
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and the state was very powerful |
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in its attempt to control the printed word. |
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|
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11 |
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00:00:45,200 --> 00:00:48,040 |
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By the time you time you get |
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to the age of the Enlightenment |
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|
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12 |
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00:00:48,200 --> 00:00:53,320 |
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there's a highly organised |
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administration of the book trade, |
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13 |
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00:00:53,680 --> 00:00:58,320 |
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so in principle anything that appears in print |
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has to pass the censorship |
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14 |
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00:00:58,680 --> 00:01:00,720 |
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and be registered, |
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15 |
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00:01:01,120 --> 00:01:03,320 |
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to go through an elaborate process, |
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16 |
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00:01:03,800 --> 00:01:05,920 |
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and of course this didn't work |
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17 |
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00:01:06,600 --> 00:01:09,160 |
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that the directions set, |
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18 |
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00:01:10,000 --> 00:01:15,600 |
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the organisation set up |
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by the state was so elaborate, |
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19 |
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00:01:16,000 --> 00:01:18,040 |
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so baroque in its bureaucracy |
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20 |
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00:01:18,440 --> 00:01:20,680 |
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that in a sense it was |
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counterproductive. |
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21 |
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00:01:21,680 --> 00:01:23,080 |
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Censorship, you know, |
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22 |
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varies from regime to regime. |
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23 |
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00:01:26,200 --> 00:01:27,040 |
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We think we know |
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what censorship is, |
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24 |
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00:01:27,960 --> 00:01:33,200 |
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but i would argue that it's a |
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different thing under different systems, |
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25 |
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00:01:34,000 --> 00:01:37,560 |
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so the basic idea of censorship |
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in 18th century france |
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26 |
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00:01:38,360 --> 00:01:40,000 |
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is the concept of privilege |
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or private law, |
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27 |
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00:01:40,960 --> 00:01:44,000 |
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a publisher gets the right to publish |
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a particular text |
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28 |
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that is denied to others, |
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29 |
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00:01:46,160 --> 00:01:47,760 |
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so he has that privilege. |
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30 |
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00:01:48,000 --> 00:01:51,560 |
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that's different from censorship |
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under stalin, say, or hitler |
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31 |
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00:01:52,520 --> 00:01:59,560 |
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There is a monopoly of what's called |
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the booksellers guild of paris. |
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32 |
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00:02:00,000 --> 00:02:02,200 |
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it has police power; |
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33 |
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00:02:02,680 --> 00:02:08,840 |
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its syndics and aguane are |
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obliged to inspect |
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34 |
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00:02:09,800 --> 00:02:11,360 |
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all of the printing houses in paris |
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35 |
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00:02:12,000 --> 00:02:16,320 |
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and printers are officially limited |
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to 36 printing shops. |
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36 |
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00:02:17,000 --> 00:02:19,760 |
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And so the guild is supposed to go |
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around from shop to shop |
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37 |
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00:02:20,000 --> 00:02:22,000 |
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and find out what |
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they're printing, |
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38 |
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00:02:22,680 --> 00:02:24,560 |
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make sure there are no illegal |
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books being printed. |
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39 |
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00:02:25,520 --> 00:02:28,560 |
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No books that |
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contravene privileges |
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40 |
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00:02:29,280 --> 00:02:34,040 |
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the equivalent of copyright in a sense etc. |
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So yes they have powers |
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41 |
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00:02:35,000 --> 00:02:37,920 |
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and they also inspect every single book |
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which is shipped into paris. |
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42 |
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00:02:38,120 --> 00:02:41,080 |
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the books are stopped at the wall |
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which surrounds paris |
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43 |
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00:02:42,000 --> 00:02:45,560 |
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and any ship which is |
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marked 'libri' books |
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44 |
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00:02:46,440 --> 00:02:50,080 |
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is sent to a special |
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large hall |
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45 |
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00:02:51,000 --> 00:02:54,440 |
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where the booksellers guild and inspector |
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of police will inspect it. |
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46 |
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00:02:54,760 --> 00:02:57,000 |
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Essentially what you have |
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47 |
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00:02:57,680 --> 00:03:01,280 |
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is a centralised administration for |
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controlling the book trade |
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48 |
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00:03:02,000 --> 00:03:05,120 |
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using censorship and |
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also using the monopoly |
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49 |
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00:03:06,000 --> 00:03:07,680 |
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of the established publishers |
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50 |
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00:03:08,000 --> 00:03:10,280 |
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against that you've got |
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publishing houses, |
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51 |
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00:03:11,000 --> 00:03:13,040 |
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print presses that |
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surround france |
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52 |
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00:03:14,000 --> 00:03:16,000 |
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in what i call a |
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'fertile crescent' |
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53 |
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00:03:16,720 --> 00:03:19,040 |
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dozens and dozens of them producing |
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books which are smuggled |
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54 |
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00:03:20,000 --> 00:03:21,040 |
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across the french borders |
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55 |
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00:03:22,000 --> 00:03:25,040 |
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and distributed everywhere in the kingdom |
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by an underground system, |
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56 |
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00:03:25,920 --> 00:03:29,920 |
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so in effect you've got two systems |
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at war with one another. |
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57 |
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00:03:30,560 --> 00:03:33,200 |
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And it's the system of production |
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outside france |
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58 |
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00:03:34,040 --> 00:03:36,440 |
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that is crucial for the |
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enlightenment, |
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59 |
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00:03:37,040 --> 00:03:40,320 |
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virtually all of the works that we associate |
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with the french enlightenment |
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60 |
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00:03:41,040 --> 00:03:43,840 |
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are published in Amsterdam, |
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in the Hague, |
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61 |
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00:03:44,280 --> 00:03:47,600 |
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in Brussels in Geneva, |
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in Neuchatel, in Basel |
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62 |
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00:03:48,560 --> 00:03:50,920 |
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these are the places where |
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Rosseau, Voltaire |
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63 |
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00:03:51,400 --> 00:03:53,800 |
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and company get |
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themselves printed, |
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64 |
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00:03:54,480 --> 00:03:57,000 |
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but these printers also |
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produce other things |
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65 |
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00:03:57,960 --> 00:04:00,840 |
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because they're in it not simply |
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to spread enlightenment, |
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66 |
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00:04:01,720 --> 00:04:04,360 |
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many of them are sympathetic |
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to the enlightenment |
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67 |
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00:04:05,000 --> 00:04:08,400 |
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they're in it to make money. So |
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they will satisfy demand, |
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68 |
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00:04:09,000 --> 00:04:10,760 |
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whatever the demand might be... |
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69 |
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00:04:11,240 --> 00:04:13,200 |
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the pirates had agents in paris |
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70 |
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00:04:14,000 --> 00:04:16,840 |
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and everywhere else, who were sending |
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them sheets of new books |
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71 |
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00:04:17,400 --> 00:04:18,680 |
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which they think will sell well, |
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72 |
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00:04:19,320 --> 00:04:24,400 |
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the pirates are systematically |
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doing market research |
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73 |
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00:04:25,480 --> 00:04:32,560 |
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in hundreds and thousands of letters, |
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they are sounding the market, |
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74 |
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00:04:33,160 --> 00:04:34,840 |
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they want to know |
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what demand is |
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75 |
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00:04:35,520 --> 00:04:40,880 |
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the reaction of publishers at the centre |
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is of course extremely hostile, |
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76 |
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00:04:41,760 --> 00:04:43,000 |
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I've read a lot of their letters; |
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77 |
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00:04:43,480 --> 00:04:45,320 |
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they're full of expressions |
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like buccaneer |
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78 |
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00:04:46,240 --> 00:04:50,800 |
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and private and people without |
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shame or morality etc. |
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79 |
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00:04:51,920 --> 00:04:55,720 |
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in actual fact many of these pirates |
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were good bourgeois, |
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80 |
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00:04:56,320 --> 00:04:58,920 |
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in Lausanne or, Geneva |
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or, Amsterdam |
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81 |
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00:04:59,560 --> 00:05:02,560 |
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and they thought, that they were |
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just 'doing business'. |
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82 |
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00:05:03,200 --> 00:05:06,280 |
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after all there was no |
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international copyright law |
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83 |
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00:05:07,120 --> 00:05:10,240 |
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and they were satisfying demand. |
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If the demand hapend to be in france |
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84 |
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00:05:11,000 --> 00:05:12,960 |
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well, that's a problem |
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for the french, |
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85 |
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00:05:13,560 --> 00:05:15,200 |
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but not for the |
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dutch or the swiss |
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86 |
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00:05:15,840 --> 00:05:17,760 |
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I must admit, |
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I always hesitate |
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87 |
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00:05:18,360 --> 00:05:20,520 |
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to pronounce on |
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world historical trends. |
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88 |
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00:05:21,480 --> 00:05:24,400 |
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But i've spend a lot |
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of time in the archives |
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89 |
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00:05:25,360 --> 00:05:27,840 |
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and you can at least |
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glimpse something, |
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90 |
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00:05:28,200 --> 00:05:30,920 |
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that might look world |
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historical from time to time, |
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91 |
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00:05:31,360 --> 00:05:33,400 |
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as you go through |
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various bits of old paper. |
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92 |
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00:05:34,480 --> 00:05:37,680 |
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What is clear is that |
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during the 18th century |
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93 |
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00:05:38,640 --> 00:05:42,800 |
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that the printed word as a |
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force is expanding everywhere |
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94 |
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00:05:43,760 --> 00:05:45,960 |
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and we can go into a |
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lots of detailed studies |
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95 |
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00:05:46,680 --> 00:05:48,840 |
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to find out why an |
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how that this happened |
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96 |
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00:05:49,800 --> 00:05:53,760 |
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The population is increasing, the |
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educational institutions are spreading, |
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|
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97 |
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00:05:54,360 --> 00:05:59,040 |
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literacy is going up and there is this |
|||
new thing we call 'public opinion'. |
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|
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98 |
|||
00:06:00,000 --> 00:06:02,840 |
|||
The phrase itself is first used in |
|||
the middle of the 18th century, |
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|
|||
99 |
|||
00:06:03,720 --> 00:06:05,760 |
|||
I think the phenomenon |
|||
existed earlier, |
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|
|||
100 |
|||
00:06:06,560 --> 00:06:08,600 |
|||
but for the last half |
|||
of the 18th century |
|||
|
|||
101 |
|||
00:06:09,240 --> 00:06:13,240 |
|||
there is a public that is |
|||
fascinated with public affairs, |
|||
|
|||
102 |
|||
00:06:14,200 --> 00:06:17,840 |
|||
now the mechanism |
|||
for controlling the media |
|||
|
|||
103 |
|||
00:06:18,600 --> 00:06:20,840 |
|||
if you want to use that expression |
|||
notably the print media |
|||
|
|||
104 |
|||
00:06:21,800 --> 00:06:25,000 |
|||
is simply not adequate to |
|||
controlling this demand. |
|||
|
|||
105 |
|||
00:06:25,960 --> 00:06:29,480 |
|||
So everywhere around france, |
|||
even within france, |
|||
|
|||
106 |
|||
00:06:30,440 --> 00:06:35,720 |
|||
there are entrepreneurs who take it |
|||
upon themselves to satisfy this demand |
|||
|
|||
107 |
|||
00:06:36,560 --> 00:06:39,400 |
|||
and this can be in the form of clandestine manuscript newsletters, |
|||
|
|||
108 |
|||
00:06:40,360 --> 00:06:45,080 |
|||
it can be in a form of fully printed |
|||
books and there are many other forms |
|||
|
|||
109 |
|||
00:06:46,040 --> 00:06:49,120 |
|||
the one that I find most |
|||
interesting is songs. |
|||
|
|||
110 |
|||
00:06:49,840 --> 00:06:54,840 |
|||
It turns out that everyone in the |
|||
18th century, if you take paris, |
|||
|
|||
111 |
|||
00:06:55,680 --> 00:06:59,760 |
|||
had a repertory of tunes in his |
|||
or her had, as we do today. |
|||
|
|||
112 |
|||
00:07:00,680 --> 00:07:02,840 |
|||
most of my tunes come |
|||
from commercials actually |
|||
|
|||
113 |
|||
00:07:03,800 --> 00:07:05,720 |
|||
People would improvise |
|||
|
|||
114 |
|||
00:07:06,680 --> 00:07:09,640 |
|||
new words to old tunes, |
|||
everyday. |
|||
|
|||
115 |
|||
00:07:10,600 --> 00:07:13,800 |
|||
And these would be sung |
|||
in the streets of paris, |
|||
|
|||
116 |
|||
00:07:14,680 --> 00:07:17,640 |
|||
sometimes by professionals, |
|||
who had hurdy-gurdys |
|||
|
|||
117 |
|||
00:07:18,600 --> 00:07:23,760 |
|||
and would simply belt out the last |
|||
verse tune that everyone knew. |
|||
|
|||
118 |
|||
00:07:24,720 --> 00:07:26,320 |
|||
And it could be about |
|||
the kings mistress, |
|||
|
|||
119 |
|||
00:07:27,000 --> 00:07:29,120 |
|||
it could be about a minister |
|||
who is abusing power, |
|||
|
|||
120 |
|||
00:07:30,120 --> 00:07:33,600 |
|||
it could be on a whole variety |
|||
of quite political subjects. |
|||
|
|||
121 |
|||
00:07:34,560 --> 00:07:38,760 |
|||
This new verse is then picked up |
|||
because it is a great mnemonic device |
|||
|
|||
122 |
|||
00:07:39,720 --> 00:07:42,880 |
|||
and the song is been song throughout |
|||
the streets of paris. |
|||
|
|||
123 |
|||
00:07:43,600 --> 00:07:47,920 |
|||
I imagine the street of paris - it is just |
|||
echoing everywhere with songs. |
|||
|
|||
124 |
|||
00:07:48,880 --> 00:07:53,480 |
|||
So that is a good example of how |
|||
in the absence of news media |
|||
|
|||
125 |
|||
00:07:54,440 --> 00:08:00,600 |
|||
of proper newspaper, a new |
|||
kind of medium developed, |
|||
|
|||
126 |
|||
00:08:01,280 --> 00:08:03,240 |
|||
that actually does |
|||
the job of newspapers |
|||
|
|||
127 |
|||
00:08:04,200 --> 00:08:09,280 |
|||
I've studied hundreds of these songs and I would say, they were sung newspapers. |
|||
|
|||
128 |
|||
00:08:10,240 --> 00:08:14,520 |
|||
There's no way that an |
|||
absolutist political system |
|||
|
|||
129 |
|||
00:08:15,200 --> 00:08:17,040 |
|||
can totally suppress the |
|||
spread of information |
|||
|
|||
130 |
|||
00:08:18,000 --> 00:08:21,040 |
|||
new media adapt themselves |
|||
to these circumstances, |
|||
|
|||
131 |
|||
00:08:22,000 --> 00:08:26,240 |
|||
and often they can become even more |
|||
effective because of the repression. |
|||
|
|||
132 |
|||
00:08:27,200 --> 00:08:30,680 |
|||
It's a fascinating process |
|||
and it culminates frankly |
|||
|
|||
133 |
|||
00:08:31,560 --> 00:08:34,400 |
|||
right on the eve of the france |
|||
revolution, so that i would argue, |
|||
|
|||
134 |
|||
00:08:35,000 --> 00:08:38,040 |
|||
Not only did this new media system |
|||
spread the enlightenment |
|||
|
|||
135 |
|||
00:08:39,000 --> 00:08:41,920 |
|||
but, I won't use the word |
|||
'prepared', the way for the revolution |
|||
|
|||
136 |
|||
00:08:42,880 --> 00:08:46,280 |
|||
it indicted the old regim |
|||
|
|||
137 |
|||
00:08:47,120 --> 00:08:50,560 |
|||
that this power, public opinion, |
|||
became crucial |
|||
|
|||
138 |
|||
00:08:51,520 --> 00:08:55,560 |
|||
in the collapse of |
|||
the government 1787-1788. |
|||
|
Loading…
Reference in new issue