The invention of aniline and other synthetic dyes in the second half of the nineteenth century is the beginning of a new epoch. The new colors produced by the fledgling chemical industry are not only brighter than most of the traditional dyestuffs, but also much cheaper. They change the appearance of women on the streets of the modern city. Among the first media to notice and document this revolution are fashion magazines, realist novels, and Impressionist paintings. I argue that the (...) bright colors on the new palette of Impressionist painters are a direct effect of the chemical industry. _German_ Die Erfindung von Anilin und anderen synthetischen Farbstoffen in der zweiten Hälfte des neunzehnten Jahrhunderts ist der Beginn einer neuen Epoche. Die von der noch jungen chemischen Industrie produzierten neuen Farben sind nicht nur leuchtender als die meisten der traditionellen Farbstoffe, sondern auch viel billiger. Sie verändern das Aussehen von Frauen auf den Straßen der modernen Stadt. Unter den ersten Medien, die diese Revolution bemerken und dokumentieren, sind Modezeitschriften, realistische Romane und impressionistische Gemälde. Der Beitrag zeigt, dass die strahlenden Farben der neuen Palette der impressionistischen Maler ein direkter Effekt der chemischen Industrie sind. (shrink)

Paul Signac and Color in Neo-Impressionism is a groundbreaking examination of the artistic technique of "divisionism" in terms of modern scientific theory of color. Truly interdisciplinary in his approach, Floyd Ratliff treats the evolution of both color theory and artistic practice in an integrated way. Signac was the principal advocate for the new movement launched by Georges Seurat in the 1880s. The book is handsomely illustrated with both Neo-Impressionist paintings and scientific drawings and diagrams. Ratliff's five-part essay provides an (...) extended introduction to a translation of Signac's monograph, From Eugene Delacroix to Neo-Impressionism, widely regarded as the basic document of the movement, but never before available in English. This will be an invaluable reference for scholars in art and design, as well as students of the psychology and neurophysiology of color vision and those interested in the relation between the arts and the sciences. Its clarity of style also makes it accessible to the general reader interested in art history, painting, or the perception of color, particularly with its glossary of technical and art terms, index, and bibliography. (shrink)

My basic supposition is that the destruction of the little Jew's face and hands in Vandover and the Brute images the irruption of mere materiality within the scene of writing-that instead of Crane's double process of eliciting and repressing that materiality, what is figured in the shipwreck scene is a single, unstoppable process of materialization, involving both the act of representation and the marking tool and actual page , the result of which can only be the defeat of the very (...) possibility of writing .Here it might be objected that such a reading derives whatever plausibility it has from the comparison with Crane, and in a sense this is true: my claim is precisely that it's only against the background of Crane's seemingly bizarre but, in this regard, normative or centric enterprise that the wider problematic of late nineteenth- and early twentieth-century literary "impressionism" can be made out. In another sense, however, the comparison with Crane involves an appeal to issues—notably that of materialism—which have long been basic to Norris criticism and which the recent work of Walter Benn Michaels has brought to a new level of conceptual sophistication and historical refinement. Specifically, the title essay in Michaels's book, The Gold Standard and the Logic of Naturalism, interprets both McTeague and Vandover and the Brute in terms of a conflict between materiality and representation that found contemporary expression both in the debates over the gold and silver standards versus paper money and in the vogue for trompe l'oeil painting ." In this regard a crucial moment in Vandover's regression from man to beast is his discovery that, as a painter, he has lost the ability to represent nature three-dimensionally; Michaels treats this development as equivalent to "replac[ing] the painting with nature itself" , and goes on to remark: "But this ... is ultimately a distinction without a difference. Vandover the artist can so easily devolve into Vandover the brute precisely because both artist and brute are already committed to a naturalist ontology—in money, to precious metals; in art, to three-dimensionality. The moral of Vandover's regression, from this standpoint, is that it can only take place because . . . it has already taken place. Discovering that man is a brute, Norris repeats the discovery that paper money is just paper and that a painting of paper money is just paint" . My reading of the shipwreck passage would thus be consistent with what Michaels calls Norris's "trompe l'oeil materialism" , though the nearly sadomasochistic violence of that passage may be taken to imply that materialism's consequences for writing threaten to be even more disastrous than they are for painting. But rather than analyze the role of writing as such in Vandover, which would involve an intricate discussion not just of that novel and McTeague but also of Michaels's essay, I want to turn to another, lesser-known book by Norris, in which a thematic of writing plays a conspicuous and more nearly univocal role: A Man's Woman . Michael Fried is J. R. Herbert Boone Professor of Humanities and director of the Humanities Center at the Johns Hopkins University. His most recent book is Courbet's Realism . He is currently at work on a book to be titled Manet's Modernism. (shrink)

Gustave Caillebotte not only depicted the 19th-century Paris of Haussmann, but also painted landscapes, still lifes, portraits and interiors. Today, he has taken his place as one of the most outstanding French Impressionists. His avant-garde approach to perspective and composition anticipated pictorial forms of 20th-century photography. The work of Caillebotte added a new dimension to French Impressionist painting. His radical and modern designs with a photographic quality inspired a new kind of perception and anticipated the dynamism and abstraction of photography (...) which was in the process of being developed. Selected photographs by André Kertész, Wols and László Moholy-Nagy, among others, demonstrate a strong affinity with the work of Caillebotte. (shrink)

The invention of aniline and other synthetic dyes in the second half of the nineteenth century is the beginning of a new epoch.

Seen through the quest for a new metaphysics, the visual arts were interpreted in the framework of the particular sense of progress that the generation of György Lukács developed in the first decade of the twentieth century. They saw Impressionism as the veritable symptom of the deficiencies of their age and dreamed of a great, solid, lasting new Hungarian culture which would transcend the fragmentariness, sociological interests, and ethereality of Impressionism. Although exhibitions of contemporary modernist art were organized (...) in Budapest and the Nagybánya artists' colony was in contact with the living French art, the nascent aesthetic theory, first of all that of Lukács, based the appreciation of Post-Impressionism on ideological considerations rather than the artistic particularities of the artists. Central to this aesthetic was the notion of greatness and a sense of metaphysics derived from German idealist philosophy and applied to the art of Cézanne, Gauguin, and the Budapest group The Seekers (founded in 1909, renamed, in 1911, as The Eight), all of whom were appreciated for features pointing in the direction of a new Classicism. (shrink)

The best example of a Saturday Night Live (SNL) impressionist who goes beyond "spot on" to offer a creative impression is Dana Carvey. Just consider his impression of George H.W. Bush. Carvey performed Bush in cold opens and other sketches, developing a character that was not, in the ordinary sense of the term, spot on. To better understand the difference between creative representations and spot on representations, readers should consider for a moment the subject of music, and specifically the phenomenon (...) of tribute bands. A tribute band is one that attempts, as accurately as possible, to represent a famous band to a concert audience. Some might argue that Darrell Hammond was one of SNL's greatest impressionists, but the author argues that he was much like a tribute band. Hammond was available to offer a spot on impression of whomever the show might need for a given sketch. (shrink)

Beyond impressionistic observations, little is known about the role and influence of scientific societies on research conduct. Acknowledging that the influence of scientific societies is not easily disentangled from other factors that shape norms and practices, this article addresses how best to study the promotion of research integrity generally as well as the role and impact of scientific societies as part of that process. In setting forth the parameters of a research agenda, the article addresses four issues: (1) how to (...) conceptualize research on scientific societies and research integrity; (2) challenges and complexities in undertaking basic research; (3) strategies for undertaking basic research that is attentive to individual, situational, organizational, and environmental levels of analysis; and (4) the need for evaluation research as integral to programmatic change and to assessment of the impact of activities by scientific societies. (shrink)

Recently there has been a lively revival of interest in implicatures, particularly scalar implicatures. Building on the resulting literature, our main goal in the present paper is to establish an empirical generalization, namely that SIs can occur systematically and freely in arbitrarily embedded positions. We are not so much concerned with the question whether drawing implicatures is a costly option (in terms of semantic processing, or of some other markedness measure). Nor are we specifically concerned with how implicatures come about (...) (even though, to get going, we will have to make some specific assumptions on this matter). The focus of our discussion is testing the claim of the pervasive embeddability of SIs in just about any context, a claim that remains so far controversial. While our main goal is the establishment of an empirical generalization, if we succeed, a predominant view on the division of labor between semantics and pragmatics will have to be revised. A secondary goal of this paper is to hint at evidence that a revision is needed on independent grounds. But let us first present, in a rather impressionistic way, the reasons why a revision would be required if our main generalization on embedded SIs turns out to be correct. In the tradition stemming from Grice (1989), implicatures are considered a wholly pragmatic phenomenon and SIs are often used as paramount examples. Within such a tradition, 㳊 semantics is taken to deal with the compositional construction of sentence meaning (a term which we are using for now in a loose, non technical way), while pragmatics deals with how sentence meaning is actually put to use (i.e. enriched and possibly modified through reasoning about speakers’ intentions, contextually relevant information, etc.). Simply put, on this view pragmatics takes place at the level of complete utterances and pragmatic enrichments are a root phenomenon (something that happens globally to sentences) rather than a compositional one.. (shrink)

Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications (...) in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, _Downcast Eyes_ will consolidate Jay's reputation as one of today's premier cultural and intellectual historians. (shrink)

Henry James criticized the impressionism movement, yet time and again used the word 'impressio' to represent his characters's consciousness, as well as the work of the literary artist. This book explores this anomaly, placing James's work within the wider cultural history of impressionism.

This is an impressionistic and informal essay written near the end of a novelist’s Australia Research Council funded research project: ‘Developing narratives from language and stories indigenous to the south coast of Western Australia’, and informed by how that research project morphed into an emphasis on revitalization of Noongar language, and the attempt to restore connections between a particular Creation Story and landscape in an area regarded as ‘massacre territory’. A sympathetic reader might think of the topic as ‘The Wirlomin (...) Noongar Language and Stories Project meets The Barren Ranges’. (shrink)

Let me begin with a reminder of the crude but intuitive distinction from which the relativistic impulse springs. Any of the following claims would be likely to find both supporters and dissenters: That snails are delicious That cockroaches are disgusting That marital infidelity is alright provided nobody gets hurt That a Pacific sunset trumps any Impressionist canvas and perhaps That Philosophy is pointless if it is not widely intelligible That the belief that there is life elsewhere in the universe is (...) justified That death is nothing to fear Disputes about such claims may or may not involve quite strongly held convictions and attitudes. Sometimes they may be tractable disputes: there may be some other matter about which one of the disputing parties is mistaken or ignorant, where such a mistake or ignorance can perhaps be easily remedied, with the result of a change of heart about the original claim; or there may be a type of experience of which one of the disputing parties is innocent, and such that the effect of initiation into that experience is, once again, a change of view. (shrink)