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BEGIN:VEVENT
DTSTAMP:20260504T073754Z
DTSTART;VALUE=DATE-TIME:20190220T120000
DTEND;VALUE=DATE-TIME:20190220T140000
SUMMARY:Book Workshop with Nicholas Gaskill
TZID:Europe/London
UID:20190220-8a1785d766c4e1b10166cab9f9574867@warwick.ac.uk
CREATED:20190129T153719Z
DESCRIPTION:Professor Nicholas Gaskill (University of Oxford) will be lea
 ding a workshop on his new book\, Chromographia: American Literature and
  the Modernization of Color (Minnesota\, 2018). Staff and graduate stude
 nts are encouraged to come. In Chromographia\, Gaskill tells the story o
 f how color became modern and how literature\, by engaging with modern c
 olor\, became modernist. The only study of modern color in U.S. literatu
 re\, Chromographiapresents a new reading of perception in literature and
  a theory of experience that uses color to move beyond the usual divisio
 ns of modern thought. If you'd like to participate in the workshop\, ple
 ase send Jonathan Schroeder an email letting him know you'd like to come
  and he'll put you down on the list. In the workshop\, will be discussin
 g the introduction and a chapter or two from Nick Lawrence's recently pu
 blished book\, Chromographia: American Literature and the Modernization 
 of Color . Here are two of the most important passages on the philosophi
 cal\, historical\, and material histories that the book recovers: [I]n t
 he early twentieth century color emerged as a privileged sign of moderni
 ty. The new synthetic dyes that unleashed chromatic and linguistic chaos
  altered the very stuff of color\, its materials no less than the econom
 ic networks that brought it to consumers. Educational and scientific end
 eavors to organize these brilliant\, chemical colorants generated dynami
 c accounts of color perception that unseated long-held philosophical bel
 iefs about the feeling body and the sensory world. Color at once changed
  the perceptual feel of modernity and provided a paradigm for its most d
 istinctive philosophical and artistic formulations. [This book] bring[s]
  into view the multiform and overlapping concerns that made color an ess
 ential part of what it meant to feel and be modern—or\, by contrast\, "p
 rimitive"—in the United States in the decades between 1880 and 1930. In 
 other words\, the book addresses three major topics: [T]he emergence of 
 a relational model of color experience\, made explicit in psychology and
  philosophy but on display in a range of color practices\; the prolifera
 tion of synthetic dyes and their impact on the materials and meanings of
  color\; and the formulations of a distinct 'color sense' that could be 
 enhanced through training or diminished through neglect\, a distinctive 
 faculty for feeling colors that many believed marked a perceiver as 'pri
 mitive' or 'civilized.'
LOCATION:Social Sciences 0.19
CATEGORIES:Arts Faculty,Research seminar,Arts,Global 19th century studies
 ,CoRAL,Faculty of Arts,Contemporary Literature,Faculty of Social Science
 s,Critical Environments,American Literature
LAST-MODIFIED:20190129T153719Z
ORGANIZER;CN=Jonathan Schroeder:
END:VEVENT
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