The Key of Green: Passion and Perception in Renaissance by Bruce R. Smith

By Bruce R. Smith

From Shakespeare’s “green-eyed monster” to the “green inspiration in a eco-friendly color” in Andrew Marvell’s “The Garden,” the colour eco-friendly was once interestingly widespread and resonant in English tradition of the 16th and 17th centuries. between different issues, eco-friendly was once the most typical colour of loved ones items, the urged wall colour opposed to which to view work, the hue that used to be imagined to seem in alchemical techniques in the meanwhile base steel became to gold, and the colour most often linked to human passions of every type. a distinct cultural background, The Key of Green considers the importance of the colour within the literature, visible arts, and pop culture of early smooth England.

Contending that colour is an issue of either sensation and emotion, Bruce R. Smith examines Renaissance fabric culture—including tapestries, garments, and stonework, between others—as good as track, theater, philosophy, and nature throughout the lens of feel belief and aesthetic excitement. whilst, Smith bargains a hugely refined meditation at the nature of cognizance, conception, and emotion that would resonate with scholars and students of the early glossy interval and past. just like the key to a map, The Key of Green presents a advisor for having a look, listening, examining, and considering that restores the classy issues to feedback which were lacking for too long.

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Touch, as Sedgwick and Frank observe, undermines the binary between active and passive on which poststructuralist protocols depend. , I), from whence the more abstract meaning “to perceive, be conscious” (II) was derived. ” “You see how this world goes,” Lear taunts the blinded Gloucester. 143–45). The contrast here between seeing and feeling points up the 40 chapter one quasi-active quasi-passive quality of “feel,” a quality that is registered in the dictionary’s third meaning (“To be felt as having a specified quality; to produce a certain impression on the senses [esp.

Do we sense only what we say? Or do we somehow do both, say what we sense and sense what we say? Such language games point us to the second reason for studying color. Color makes it impossible to separate subject from object. Is color a property of the object? ) A quality in the subject’s perception? ) Or a function of both? ) Derek Jarman, in the first of the three epigraphs to this book, imagines green as a primal experience: “Were Adam’s eyes the green of paradise? Did they open on the vivid green of the Garden of Eden?

Postmodern models of interpretation are ill equipped to address sensations like these. Deconstruction, new historicism, even Lacanian psychoanalytical theory are tools for analyzing markings of difference, regimes of power, the tyranny of signifiers in fine, structures of thought. Thus Rei Terada, in Feeling in Theory: Emotion after the “Death of the Subject,” presents emotion as a function of textuality. S ≠ s: Ferdinand de Saussure’s formula for representing the arbitrariness of language, where S = Signifier and s = signified, becomes for Terada a formula for locating emotion in the gap between language and the language user.

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