Minor final copyedits

00-introduction/introduction-v01.org

@@ -85,7 +85,7 @@ VI. Affective-volitional attitudes. (106-7)
 
 Although Richards's six-layer theory may read as old-fashioned to modern ears, perhaps more rooted in Richards's imagination than science, it gives a sense of the complexity of the cognitive and emotional processes involved with reading words that bear visual significance. Not everyone produces mental images, but images that readers produce are amalgamations of memories, emotions, attitudes, and sensations. Crucially, they are optic at their very root. Consider the resemblance of Richards's diagram to an illustration of retinal nerves, shown in Figure 2.
 
-#+CAPTION: Source: Rogers, /Perception/ [cite:@rogersPerceptionVeryShort2017]
+#+CAPTION: Cross-section of an optic nerve. [[https://commons.wikimedia.org/wiki/File:Visual_system_-_Retina_1_--_Smart-Servier.png][Credit: Laboratoires Servier. Creative Commons Attribution-Share Alike 3.0.]]
 #+LABEL: fig:optic-nerve
 [[file:/00-introduction/images/optic-nerve.png]]
 

01-colors/ch-1-v01.org

@@ -9,7 +9,7 @@ This dissertation chapter is a full-color, interactive document, originally form
 
 * Introduction
 
-Modernity is colorful. And literature of the early twentieth century, coincident with the modern, or modernist, period, is brighter, more colorful, and more visual than literature of the early nineteenth century: 91.5% more colorful. By this time, the fiction and poetry published in Britain, and by extension in much of the Anglophone world, contains more color words, more colorful objects, and more descriptions of color phenomena than it ever did, and measurably so. Color and visual phenomena become not only modes of description, ancillary to plot and narrative arc, but themselves become themes, subject matter, and organizing principles. By computationally modeling color in literature, in this chapter, and by contextualizing these results within the artistic and material history of the period, I will now only show the explosion of color with numeric precision, but I will show the workings of color in literature: it generic affiliations, its historical fluxuations, and its linguistic fingerprint. This chapter thus operates at the nexus of quantitative text analysis, color studies, and phenomenology.
+Modernity is colorful. And literature of the early twentieth century, coincident with the modern, or modernist, period, is brighter, more colorful, and more visual than literature of the early nineteenth century: 91.5% more colorful. By this time, the fiction and poetry published in Britain, and by extension in much of the Anglophone world, contains more color words, more colorful objects, and more descriptions of color phenomena than it ever did, and measurably so. Color and visual phenomena become not only modes of description, ancillary to plot and narrative arc, but themselves become themes, subject matter, and organizing principles. By computationally modeling color in literature, in this chapter, and by contextualizing these results within the artistic and material history of the period, I will not only show the explosion of color with numeric precision, but I will show the workings of color in literature: it generic affiliations, its historical fluxuations, and its linguistic fingerprint. This chapter thus operates at the nexus of quantitative text analysis, color studies, and phenomenology.
 
 Color has always been one of the most difficult subjects to study. It's a classic epistemological problem. On the one hand, colors appear to be a stable set of cognitive categories that we learn in primary school: basic properties of the things around us. Upon closer examination, however, various complicating phenomena reveal color to be so conceptually elusive that it ultimately forces us to challenge the basis of knowledge itself. These phenomena include optical illusions, perceptual differences between individuals and speakers of other languages, and the blurred boundaries between imagination, cognition, speech, and writing. What literature, and art, do to this soup of phenomena is only to complicate them further. These issues make computational analysis all the more difficult to perform, and to interpret.
 
@@ -21,7 +21,7 @@ The centerpiece of this study is a quantitative analysis of color, in British fi
 
 The study of color, imagery, and other visual effects in literature has a long history, a fact which is revealed in the breadth of several bibliographies. Sigmund Skard's 1946 /The Use of Color in Literature: a Survey of Research/ lists over a thousand works, in several European languages, which discuss textual color as it appears in literature [cite:@skard1946]. Skard lists works of psychology, philology, etymology, semasiology, religion, ethnology, folklore, classics, and modern literatures in a dozen or so languages. Robert Doak's 1974 /Color and Light Imagery: an Annotated Bibliography/ lists nearly five hundred works [cite:@doakCOLORLIGHTIMAGERY1974]. Doak's categories are similar, but he adds symbolism, heraldry, and proverbs to his collection. The writings about color more generally are even more numerous. My path will be to chart a narrow path through this area, to interrogate the boundary between word and color.
 
-In modernist studies, there have been a number of notable monographs dealing with textual color. Karen Jacobs's /The Eye's Mind: Literary Modernism and Visual Culture/ explores "new kinds of visual relations" in American, British, and French modernist texts [cite:@jacobs2018eye]. Jacobs historices ocularity in modernism, citing "newly skeptical philosophical discourses of vision in the first half of the twentieth century ... which led to what Martin Jay hs called a 'crisis in ocularcentrusm'"; the impact of "visual technologies" like photography and film; and the emergence of anthropology and sociology as academic disciplines.
+In modernist studies, there have been a number of notable monographs dealing with textual color. Karen Jacobs's /The Eye's Mind: Literary Modernism and Visual Culture/ explores "new kinds of visual relations" in American, British, and French modernist texts [cite:@jacobs2018eye]. Jacobs historices ocularity in modernism, citing "newly skeptical philosophical discourses of vision in the first half of the twentieth century ... which led to what Martin Jay hs called a 'crisis in ocularcentrism'"; the impact of "visual technologies" like photography and film; and the emergence of anthropology and sociology as academic disciplines.
 Jack Stewart's /Color, Space, and Creativity/ deals with the interaction of its eponymous concerns, in Virginia Woolf, D.H. Lawrence, Lawrence Durrell, Joyce Cary, and A.S. Byatt. Stewart argues, as I do here, that "Verbal equivalents of color and space are no mere adjuncts to narrative. They are means by which writers build imagined worlds and focalize characters' sensibilities" [cite:@stewart2008color 15]. Among Stewart's primary interlocutors are visual artists like Van Gogh and Kandinsky, who compile new theories of the interactions of color.
 David Batchelor's /Chromophobia/ charts what he sees as an aversion to strong colors, among American writers of this era, leading to monochromatics in works such as /Heart of Darkness/ and /Moby Dick/. His wide-ranging study includes correspondences with architecture and psychedelics, as in Aldous Huxley's /Doors of Perception/ [cite:@batchelor2000chromophobia].
 Another monograph with a coinage for a title is /Chromographia/, by Nicholas Gaskill, who studies "inscriptions of color in writing" [cite:@gaskill18_chrom 7]. Gaskill argues that, "whereas traditional empiricism casts chromatic qualities as deceitful overlays cloaking the real world, the combined efforts of psychologists, philosophers, dyers, and paint manufacturers promoted a view of colors as relational phenomena that cut across the reigning categories of subject and object, inside and outside, nature and culture" [cite:@gaskill18_chrom 8]. (This view, of color complicating dichotomies like subject and object, is also that of May Sinclair, as we shall see below.) My work continues that of these scholars, although focused more on the difficulties of translating between text and imagination.
@@ -70,7 +70,7 @@ In her oft-cited essay from 1924, "Mr Bennett and Mrs Brown," Virginia Woolf fam
 
 The phrase "in/on or about December, 1910" appears over 1,192 times in publications since 1924,[fn::[[https://books.google.com/ngrams/graph?content=on+or+about+December+1910&year_start=1800&year_end=2019&corpus=26&smoothing=3][Mostly since 1980]]. I derive this total from [[http://storage.googleapis.com/books/ngrams/books/20200217/eng/5-15724-of-19423.gz][raw data from this 5-grams archive, via Google Books]].] and is the title of a monograph on the early Bloomsbury group [cite:@stansky1996or]. In it, Peter Stansky cites a number of epoch-making events that straddle 1910. Among them are: the death of King Edward VII, signaling the end of the Edwardian era; Roger Fry's London exhibition, "Manet and the Post-Impressionists"; and the passing, in early 1910, of Halley's Comet. Each of these is worth addressing, not just as significant events of the new decade, but as events which contributed to the change in the literary ocularities that we see manifested in the figures above.
 
-First, let us consider the end of the Edwardian era. The death of the "rich and vulgar" Edward VII, in May 1910, along with the coronation of George V in 1911, while less culturally significant than other events, nonetheless provided for many Brits a useful shorthand for circumscribing an era of extravagance [cite:@stansky1996or 1].[fn:: Paul Thompson's study of the Edwardians finds that "the top 1 per cent of Edwardians ... owned 69 percent of the national capital," a wealth, and an inequality, which "was the highest in modern British history and probably then the highest in the western world" [cite:@thompson1975the 2]. We will return to this later, when dealing with material conditions of commercial pigmentation.]
+First, let us consider the end of the Edwardian era. The death of the "rich and vulgar" Edward VII, in May 1910, along with the coronation of George V in 1911, while less culturally significant than other events, nonetheless provided for many Britons a useful shorthand for circumscribing an era of extravagance [cite:@stansky1996or 1].[fn:: Paul Thompson's study of the Edwardians finds that "the top 1 per cent of Edwardians ... owned 69 percent of the national capital," a wealth, and an inequality, which "was the highest in modern British history and probably then the highest in the western world" [cite:@thompson1975the 2]. We will return to this later, when dealing with material conditions of commercial pigmentation.]
 Woolf's essay begins by dividing early twentieth century writers along these lines: "Mr. Wells, Mr. Bennett, and Mr. Galsworthy I will call the Edwardians; Mr. Forster, Mr. Lawrence, Mr. Strachey, Mr. Joyce, and Mr. Eliot I will call the Georgians" [cite:@woolf1966collected 320].
 Woolf's list of British writers is very nearly in chronological order, by date of birth. The most senior of the "Edwardians," H. G. Wells, was born in 1866, quickly followed by Arnold Bennett and John Galsworthy in 1867, while the "Georgian" E. M. Forster was born a decade later in 1879, followed by Lytton Strachey in 1880, James Joyce in 1882 (as with Woolf herself), D. H. Lawrence in 1885, and T. S. Eliot in 1888.
 
@@ -80,7 +80,7 @@ Woolf's concern for "character in itself" and "the book in itself" hearkens back
 
 In comparing Wells, Bennett, and Galsworthy, by imagining the way each novelist would treat Mrs. Brown, Woolf's train car neighbor, Woolf uses visual and ocular metaphors to contrast their writing styles: Wells would "project a vision on the window-pane" of a utopian world without Mrs. Brown. "And what would Mr. Galsworthy see?", Woolf asks [cite:-@woolf1966collected 327]. (Crucially, this is not "what would Mr. Galsworthy /write/," but what would he /see/.) He would see a symptom of a failing society, she replies. Bennett, however, "would keep his eyes in the carriage" [cite:-@woolf1966collected 328]. Later, in describing Strachey's "against the grain" biography /Queen Victoria/, Woolf argues that "Mr. Strachey has had to open our eyes before he has made us see" [cite:-@woolf1966collected 335].
 
-This "make us see" is the very same which Conrad identifies as his goal, in the preface of /The Nigger of the Narcissus/, which I quote in the introduction. It is the goal of the novelist, according to Conrad, and to Woolf. In fact, Woolf acknowledges Conrad, in this essay, as one of the only exemplary writers available to the 1910 generation, most likely for his vision—that is, for his prose treatment of visual phenomena.
+This "make us see" is the very same which Conrad identifies as his goal, in the preface of /The Nigger of the Narcissus/, which I quote in the introduction. It is the goal of the novelist, according to Conrad, and to Woolf. In fact, Woolf acknowledges Conrad, in this essay, as one of the only exemplary writers available to the 1910 generation, for his vision—that is, for his prose treatment of visual phenomena.
 
 As Woolf sees it, the Georgians distinguish themselves through their sight—their eyes are "in the carriage" with Mrs. Brown, rather than lost in utopias, or concerned with grand societal problems. They see Mrs. Brown in detail, but they are not carried away with detail itself, and do not attempt to paint a complete picture. It is no coincidence that "Mrs. Brown"—Woolf's invented name for this real person—is also the name of a color. Woolf's description of her lists things that are likely brown, without needing to use the word: she is "threadbare," and wears "clean little boots" [cite:-@woolf1966collected 323]. Her appearance suggested to Woolf "extreme poverty" without needing "rags or dirt." Her only line of dialogue is, "can you tell me if an oak tree dies when the leaves have been eaten for two years in succession by caterpillars?"—a scene again full of brown things, like dead trees. In contrast, the villain of this story, Mr. Smith, is considerably richer, sporting "blue serge."
 
@@ -177,7 +177,7 @@ Rouge, of course, is the cosmetic product, usually worn on the lips and face, an
 
 For Beerbohm, and many other contributors to /The Yellow Book/, modernity meant bright colors: yellow books, yellow paintings, and red lipstick. "The era of rouge is upon us," he wrote. "The good combinations of line and colour are nearly numberless ... No monotony will be" [cite:@BeardsleyYellowBook1894 78].
 
-/The Yellow Book/ was, depending on who you talk to, either a "Victorian precursor" to the modernist "little magazine," or one of its first exemplars. Either way, there's no question that "the boom in yellow" became a boom in all colors, shortly after the '90s came to a close.
+/The Yellow Book/ was, depending on who you talk to, either a Victorian precursor to the modernist little magazine, or one of its first exemplars. Either way, there's no question that "the boom in yellow" became a boom in all colors, shortly after the '90s came to a close.
 
 ** Materialities of Color at the Turn of the century
 :PROPERTIES:
@@ -280,7 +280,7 @@ Here again, textual colors are the vectors along which visual associations take
 
 When we examine the incidence of colors along the narrative time of the novel, as in [cite:@fig:lighthouseNarrativeTime] with the x-axis representing ten sections from the novel's beginning to its end, we see an overview of its narrative-descriptive arc.
 
-#+CAPTION: Colors in /To the Lighthouse/, plotted in narrative time. For an interactive plot, [[./includes/lighthouse.htm][refer to this explorer.]]
+#+CAPTION: Colors in /To the Lighthouse/, plotted in narrative time. For an interactive plot, [[./includes/lighthouse.html][refer to this explorer.]]
 #+LABEL: fig:lighthouseNarrativeTime
 [[./images/lighthouse-narrative-time.png]]
 
@@ -297,7 +297,7 @@ Compared to Woolf and /To the Lighthouse/, /Portrait/ has comparatively little c
 
 Elizabeth Switaj's /James Joyce's Teaching Life and Methods/ reads /Portrait/ through Joyce's pedagogical practices, and has a chapter on /Portrait/ [cite:@switaj2016language]. Switaj explains the color terminology used in /Portrait/ through the lens of the Berlitz method, from which Joyce was teaching, in his day-job as an English teacher. In /Method for Teaching Modern Languages/, for example, the Berlitz Textbook he used, colors are on the very first page of instructional material. "Colours:" it reads, "red, blue, yellow, green, black, white, gray, brown. The pencil is green, the book is blue, the ruler is yellow, the necktie is red, the boot is black, the coat is gray, the hat is brown" [cite:@berlitz1919method 18]. (Note: /orange/ and /violet/ are conspicuously absent. What would one of Joyce's students have said, had they been looking at an orange book, or a purple coat?) Switaj argues that Stephen's vocabulary of color words, like much of the rest of his vocabulary, follows the vocabulary of the Berlitz textbook [cite:@switaj2016language 52].
 
-David Kastan, a professor of English who collaborates with a visual artist in the treatise /On Color/, begins with the first page of /Portrait/, however, the page of which features young Stephen's refracted sensory impressions [cite:@kastan18 2]. Kastan notes that young Stephen's observation that "you could not have a green rose" violates the aphorism that "roses are red."
+David Kastan, a professor of English who collaborates with a visual artist in the treatise /On Color/, begins with the first page of /Portrait/, however, the page of which features young Stephen's refracted sensory impressions [cite:@kastan18 2]. Kastan notes that young Stephen's observation that "you could not have a green rose" is predicated on the aphorism that "roses are red."
 
 The first page of /Portrait/ is what Derek Attridge calls "one of the most revolutionary pages in the history of fiction" [cite:@attridgeJoyceJames]. Among them is his lisped, misremembered version of his father's apparent bowdlerization of H.S. Thompson's song, "Lily Dale":
 

02-shapes/ch-2-v01.org

@@ -70,7 +70,7 @@ Similarly, William James, in a chapter of his 1890 /Principles of Psychology/ ca
 Another well-known change is when we look at a landscape with our head upside down. Perception is to a certain extent baffled by this manoeuvre; gradations of distance and other space-determinations are made uncertain; the reproductive or associative processes, in short, decline; and, simultaneously with their diminution, the colors grow richer and more varied, and the contrasts of light and shade more marked. The same thing occurs when we turn a painting bottom upward. We lose much of its meaning, but to compensate for the loss, we feel more freshly the value of the mere tints and shadings, and become  aware of any lack of purely sensible harmony or balance which they may show. [cite:@william_james_principles_1922 81]
 #+end_quote
 
-This experiment, of turning a painting on his head, is found in a different form a decade later, in the literary theory of Viktor Shklovsky. In his 1925 theory of defamiliarization, or estrangement, which underpins his theory of descriptions in Tolstoy and other writers, he emphasizes that fresh aesthetic experience of an object happens in negative correlation to its conventional telos, its name, and its taxonomy:
+This experiment, of turning a painting on his head, is found in a different form a decade later, in the literary theory of Viktor Shklovsky. In his 1917 theory of defamiliarization, or estrangement, which underpins his theory of descriptions in Tolstoy and other writers, he emphasizes that fresh aesthetic experience of an object happens in negative correlation to its conventional telos, its name, and its taxonomy:
 
 #+begin_quote
 The devices by which Tolstoi estranges his material may be boiled down to the following: he does not call a thing by its name, that is, he describes it as if it were perceived for the first time. In addition, he foregoes the conventional names of the various parts of a thing, replacing them instead with the names of corresponding parts in other things. [cite:@shklovsky_theory_1990 6]