Drawing insights from the ethnographies in the natural sciences, which have focused on the role of technical instruments in laboratory practices, this article asks, “What role do technical instruments play in the humanities?” Editions of La Comédie humaine, written by Honoré de Balzac, are taken as a case study. Primarily based on ethnographic research with Balzac scholars, this article traces the evolution of Balzac's text from a unified and unadorned text in the 1930s, to a single annotated text in the critical edition of the 1970s, and to a searchable electronic format of different versions. The author shows that the different schools of interpretation in Balzac criticism (traditional, semioticians, socio-critics) constructed these diverse editing technologies to influence the evolution of literary theories. For instance, traditional scholars' theory of authorship entertains en elective affinity with the critical edition of La Comédie humaine. Sociocritics challenged its assumptions and constructed electronic editions to develop their own theories, particularly on the genesis and reception of Balzac's texts. By focusing on the epistemic cultures in which research practices are embedded, this case study complements purely institutionalist perspectives on knowledge-production in the academic field and highlights the presence of diverse epistemic cultures in literary criticism.
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