text:
{gassBeingBluePhilosophical2014,
  langid =       {english},
  title =        {On {{Being Blue}}: {{A Philosophical Inquiry}}},
  isbn =         {978-1-59017-732-7},
  shorttitle =   {On {{Being Blue}}},
  abstract =     {On Being Blue is a book about everything blue—sex and sleaze
                  and sadness, among other things—and about everything else. It
                  brings us the world in a word as only William H. Gass, among
                  contemporary American writers, can do. ~ Gass writes: Of the
                  colors, blue and green have the greatest emotional range. Sad
                  reds and melancholy yellows are difficult to turn up. Among
                  the ancient elements, blue occurs everywhere: in ice and
                  water, in the flame as purely as in the flower, overhead and
                  inside caves, covering fruit and oozing out of clay. Although
                  green enlivens the earth and mixes in the ocean, and we find
                  it, copperish, in fire; green air, green skies, are rare. Gray
                  and brown and widely distributed, but there are no joyful
                  swatches of either, or any of exuberant black, sullen pink, or
                  acquiescent orange. Blue is therefore most suitable as the
                  color of interior life. Whether slick light sharp high bright
                  thin quick sour new and cool or low deep sweet dark soft slow
                  smooth heavy old and warm: blue moves easily among them all,
                  and all profoundly qualify our states of feeling.},
  pagetotal =    113,
  publisher =    {{New York Review of Books}},
  date =         {2014-03-18},
  keywords =     {Literary Criticism / American / General,Literary Collections /
                  Essays,Philosophy / Essays},
  author =       {Gass, William H.},
}

@online{bloomsbury.comCultureYellow,
  langid = {english},
  title = {The {{Culture}} of {{Yellow}}},
  url = {https://www.bloomsbury.com/us/the-culture-of-yellow-9781441169495/},
  abstract = {This is the first book to explore the cultural significance of the color yellow, showing how its psychological and aesthetic value marked and shaped many of the intellectual, political, and artistic currents of late modernity. It contends that yellow functions during this period primarily as a color of stigma and scandal.Yellow stigmatization has had a long history: it goes back to the Middle Ages when Jews and prostitutes were forced to wear yellow signs to emphasize their marginal status. Although scholars have commented on these associations in particular contexts, Sabine Doran offers the first overarching account of how yellow connects disparate cultural phenomena, such as turn-of-the-century decadence (the "yellow nineties"), the rise of mass media ("yellow journalism"), mass immigration from Asia ("the yellow peril"), and mass stigmatization (the yellow star that Jews were forced to wear in Nazi Germany). The Culture of Yellow combines cultural history with innovative readings of literary texts and visual artworks, providing a multilayered account of the unique role played by the color yellow in late nineteenth- and twentieth-century American and European culture.},
  journaltitle = {Bloomsbury Publishing},
  urldate = {2019-10-05},
  author = {Bloomsbury.com}
}

@book{demboConceptionsRealityModern1966,
  langid =       {english},
  location =     {{Berkeley}},
  title =        {Conceptions of Reality in Modern {{American}} Poetry,},
  publisher =    {{University of California Press}},
  date =         1966,
  author =       {Dembo, L. S},
  note =         {OCLC: 349109}
}

@incollection{mitchellImage1993,
  langid =       {english},
  title =        {Image},
  url =
                  {http://search.proquest.com/lion/docview/2137903296/citation/2EB9432172CE4682PQ/2},
  booktitle =    {The {{New Princeton Encyclopedia}} of {{Poetry}} and
                  {{Poetics}}},
  publisher =    {{Princeton University Press}},
  urldate =      {2019-10-05},
  date =         1993,
  keywords =     {Literature},
  author =       {Mitchell, W. J. T.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/44C284W3/Mitchell_1993_Image.pdf}
}

@book{demboConceptionsRealityModern1966a,
  location =     {{Berkeley}},
  title =        {Conceptions of Reality in Modern {{American}} Poetry},
  publisher =    {{University of California Press}},
  date =         1966,
  keywords =     {20th century,History and criticism,American poetry},
  author =       {Dembo, L. S.}
}

@article{mitchellWhatImage1984,
  title =        {What {{Is}} an {{Image}}?},
  volume =       15,
  issn =         {0028-6087},
  url =          {https://www.jstor.org/stable/468718},
  doi =          {10.2307/468718},
  number =       3,
  journaltitle = {New Literary History},
  urldate =      {2019-10-06},
  date =         1984,
  pages =        {503-537},
  author =       {Mitchell, W. J. T.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/HLK38JC8/Mitchell_1984_What
                  Is an Image.pdf}
}

@article{mitchellWittgensteinImageryWhat1988,
  title =        {Wittgenstein's {{Imagery}} and {{What It Tells Us}}},
  volume =       19,
  issn =         {0028-6087},
  url =          {https://www.jstor.org/stable/469342},
  doi =          {10.2307/469342},
  number =       2,
  journaltitle = {New Literary History},
  urldate =      {2019-10-06},
  date =         1988,
  pages =        {361-370},
  author =       {Mitchell, W. J. T.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/SPZJGADH/Mitchell_1988_Wittgenstein's
                  Imagery and What It Tells Us.pdf}
}

@book{richardsPhilosophyRhetoric1936,
  langid =       {english},
  title =        {The {{Philosophy}} of {{Rhetoric}}},
  isbn =         {978-0-19-500715-2},
  abstract =     {Our communication is limitedby misunderstanding. Rhetoric, as
                  Professor Richards defines it, is the study of
                  misunderstanding and its remedies. The conventional rules of
                  the old rhetoric and the formulations of scientific language
                  have narrow application to conversational speech; Professor
                  Richard's definition of rhetoric is based on a practical
                  question: how do words work in discourse? To answer this
                  question, he examines the interaction of words with each other
                  and with their contexts, showing how a continual synthesis of
                  meaning, or "principle of metaphor," gives life to discussion.
                  It is through comprehension of the way meaning changes in
                  discourse that we can better control and animate our use of
                  words, and so decrease misunderstanding.},
  pagetotal =    2,
  publisher =    {{Oxford University Press}},
  date =         1936,
  keywords =     {History / United States / Colonial Period (1600-1775)},
  author =       {Richards, I. A. and Richards, Ivor Armstrong and Dolch, Edward
                  William},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/UVC45SWK/Richards et
                  al_1936_The Philosophy of Rhetoric.pdf}
}

@book{barnsleyMaryBarnardAmerican2013,
  langid =       {english},
  title =        {Mary {{Barnard}}, {{American Imagist}}},
  isbn =         {978-1-4384-4857-2},
  abstract =     {Uncovers a new chapter in the story of American modernist
                  poetry.Perhaps best known for her outstanding translation of
                  Sappho, poet Mary Barnard (19092001) has until recently
                  received little attention for her own work. In this book,
                  Sarah Barnsley examines Barnards poetry and poetics in the
                  light of her plentiful correspondence with Ezra Pound, William
                  Carlos Williams, and others. Presenting Barnard as a late
                  Imagist, Barnsley links Barnards search for a poetry
                  grounded in native speech to efforts within American modernism
                  for new forms in the American grain. Barnsley finds that where
                  Pound and Williams began the campaign for a modern poetry
                  liberated from the heave of the iambic pentameter,
                  Barnard completed it through a spare but musical
                  aesthetic derived from her studies of Greek metric and
                  American speech rhythms, channeled through materials drawn
                  direct from the American local. The first book on Barnard, and
                  the first to draw on the Barnard archives at Yales
                  Beinecke Library, Mary Barnard, American Imagist unearths a
                  fascinating and previously untold chapter of twentieth-century
                  American poetry.Clearly structured and elegantly written,
                  Mary Barnard, American Imagist far exceeds any act of routine
                  scholarly recovery. In addition to giving full
                  recognition to Barnards superb skills as a translator of
                  Sappho, Sarah Barnsley also makes a convincing case for her
                  original poetic output and for her contribution to the
                  evolution of American free verse.  Peter Nicholls,
                  author of Modernisms: A Literary Guide, Second Edition},
  pagetotal =    198,
  publisher =    {{SUNY Press}},
  date =         {2013-12-01},
  keywords =     {Literary Criticism / Semiotics & Theory,Literary Criticism /
                  American / General,Literary Criticism / Poetry,Literary
                  Criticism / Women Authors},
  author =       {Barnsley, Sarah},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/VXW9GM8A/[Barnard,_Mary\;_Barnsley,_Sarah]_Mary_Barnard,_Ame(z-lib.org).pdf},
}

@book{conradPortableConrad2007,
  langid =       {english},
  title =        {The {{Portable Conrad}}},
  isbn =         {978-0-14-310511-4},
  abstract =     {A great novelist of the sea, a poet of the tropics, a critic
                  of empire and analyst of globalization, a harbinger of the
                  modern spy novel, an unparalleled observer of the moments in
                  which people are stripped of their illusions-Joseph Conrad is
                  one of the greatest writers of the twentieth century. This
                  revised edition of The Portable Conrad features the best known
                  and most enduring of Conrad's works, including The Secret
                  Agent, Heart of Darkness, and The Nigger of the "Narcissus,"
                  as well as shorter tales like "Amy Forster" and "The Secret
                  Sharer," a selection of letters, and his observations on the
                  sinking of the Titanic.},
  pagetotal =    756,
  publisher =    {{Penguin}},
  date =         2007,
  keywords =     {Literary Collections / European / English; Irish; Scottish;
                  Welsh,Fiction / Literary},
  author =       {Conrad, Joseph},
}

@book{ennsVibratoryModernism2013,
  langid =       {english},
  title =        {Vibratory {{Modernism}}},
  isbn =         {978-1-137-02725-2},
  abstract =     {Vibratory Modernism is a collection of original essays that
                  show how vibrations provide a means of bridging science and
                  art - two fields that became increasingly separate in the
                  nineteenth and early twentieth centuries.},
  pagetotal =    287,
  publisher =    {{Springer}},
  date =         {2013-07-19},
  keywords =     {Literary Criticism / General,Literary Criticism / Semiotics &
                  Theory,Literary Criticism / European / English; Irish;
                  Scottish; Welsh,Social Science / General,Social Science /
                  Anthropology / Cultural & Social,Performing Arts / Theater /
                  General,Performing Arts / Theater / History & Criticism,Art /
                  General},
  author =       {Enns, A. and Trower, S.},
}

@incollection{ennsVibrationSoundBirth2013,
  langid =       {english},
  title =        {Vibration, {{Sound}}, and the {{Birth}} of {{Conrad}}'s
                  {{Marlowe}}},
  isbn =         {978-1-137-02725-2},
  abstract =     {Vibratory Modernism is a collection of original essays that
                  show how vibrations provide a means of bridging science and
                  art - two fields that became increasingly separate in the
                  nineteenth and early twentieth centuries.},
  booktitle =    {Vibratory {{Modernism}}},
  publisher =    {{Springer}},
  date =         {2013-07-19},
  keywords =     {Literary Criticism / General,Literary Criticism / Semiotics &
                  Theory,Literary Criticism / European / English; Irish;
                  Scottish; Welsh,Social Science / General,Social Science /
                  Anthropology / Cultural & Social,Performing Arts / Theater /
                  General,Performing Arts / Theater / History & Criticism,Art /
                  General},
  author =       {Enns, A. and Trower, S.},
}

@book{dowdenJosephConradImaged1970,
  langid =       {english},
  title =        {Joseph {{Conrad}}; the Imaged Style},
  isbn =         {978-0-8265-1153-9},
  abstract =     {Analyzes the evolution of Conrad's style and vision of imagery
                  through a study of his novels and short stories},
  pagetotal =    202,
  publisher =    {{Vanderbilt University Press}},
  date =         1970,
  keywords =     {20th century,English language,Style,Literary Criticism /
                  European / English; Irish; Scottish; Welsh,Language Arts &
                  Disciplines / Rhetoric,Literary style,Conrad; Joseph,English
                  language/ 20th century/ Style,Figures of speech},
  author =       {Dowden, Wilfred Sellars},
}

@book{schnauderFreeWillDeterminism2009,
  langid =       {english},
  title =        {Free {{Will}} and {{Determinism}} in {{Joseph Conrad}}’s
                  {{Major Novels}}},
  isbn =         {978-90-420-2617-9},
  abstract =     {Although it has often been pointed out that the protagonists
                  of Joseph Conrad’s novels frequently fail in what they attempt
                  to achieve, the forces that oppose them have rarely been
                  examined systematically. Furthermore, no sustained attempts
                  have been made to rigorously address the central philosophical
                  issue the characters’ predicament raises: that of the
                  freedom-of-the-will. This interdisciplinary study seeks to
                  remedy this neglect by taking recourse not only to the
                  philosophical debate about free will and determinism but also
                  to the relevant historical, economic, scientific, and literary
                  discourses in the Victorian and Early-Modernist periods.
                  Against this background a paradigmatic analysis of three of
                  Conrad’s most significant novels – Heart of Darkness,
                  Nostromo, and The Secret Agent – investigates the writer’s
                  position in the free will and determinism debate by
                  identifying certain recurring themes in which the
                  freedom-of-the-will problem manifests itself. Light is thereby
                  also thrown on a central Conradian paradox: how Conrad can
                  insist on morality and moral responsibility, which presupposes
                  the existence of free will, in a materialist-deterministic
                  world, which denies it.},
  pagetotal =    269,
  publisher =    {{Rodopi}},
  date =         2009,
  keywords =     {Literary Criticism / General,Literary Criticism / European /
                  English; Irish; Scottish; Welsh},
  author =       {Schnauder, Ludwig},
}

@book{towneIndexguideLibraryWorld1899,
  langid =       {english},
  title =        {Index-Guide to {{Library}} of the {{World}}'s {{Best
                  Literature}}, {{Ancient}} and {{Modern}}},
  pagetotal =    584,
  publisher =    {{R.S. Peale and J.A. Hill}},
  date =         1899,
  author =       {Towne, Edward Cornelius},
}

@online{LiteraryImpressionismModernist,
  title = {Literary {{Impressionism}} and {{Modernist Aesthetics}}},
  url = {https://web-a-ebscohost-com.ezproxy.cul.columbia.edu/ehost/ebookviewer/ebook/ZTAyNXhuYV9fNzc4OTVfX0FO0?sid=6397f7b2-9713-4475-9b82-39a211e3a843@sessionmgr4008&vid=0&format=EB&rid=1},
  urldate = {2019-10-08},
  file = {/home/jon/Dokumentujo/Papers/zotero/storage/6Z3YSD5J/Literary Impressionism and Modernist Aesthetics.pdf}
}

@book{petersConradImpressionism2001,
  langid =       {english},
  location =     {{Cambridge}},
  title =        {Conrad and Impressionism},
  isbn =         {978-0-511-01884-8 978-0-511-04688-9 978-0-511-11902-6
                  978-0-521-79173-1 978-0-511-48524-4 978-1-280-15480-5},
  url =          {https://doi.org/10.1017/CBO9780511485244},
  abstract =     {John Peters investigates the impact of Impressionism on Conrad
                  and links this to his literary techniques as well as his
                  philosophical and political views. He investigates the sources
                  and implications of Conrad's impressionism in order to argue
                  for a consistent link between his literary technique,
                  philosophical presuppositions and socio-political views.},
  publisher =    {{Cambridge University Press}},
  urldate =      {2019-10-08},
  date =         2001,
  author =       {Peters, John G},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/L7JHU2FX/Peters_2001_Conrad
                  and impressionism.pdf},
  note =         {OCLC: 52472392}
}

@book{kimberKatherineMansfieldArt2015,
  langid =       {english},
  location =     {{London}},
  title =        {Katherine {{Mansfield}} and the {{Art}} of the {{Short
                  Story}}},
  isbn =         {978-1-137-48388-1 978-1-349-50327-8 978-1-322-55396-2},
  url =
                  {http://public.eblib.com/choice/publicfullrecord.aspx?p=1909825},
  abstract =     {This volume offers an introductory overview to the short
                  stories of Katherine Mansfield, discussing a wide range of her
                  most famous stories from different viewpoints. The book
                  elaborates on Mansfield's themes and techniques, thereby
                  guiding the reader - via close textual analysis - to an
                  understanding of the author's modernist techniques.},
  publisher =    {{Palgrave Macmillan UK : Imprint : Palgrave Macmillan}},
  urldate =      {2019-10-08},
  date =         2015,
  author =       {Kimber, Gerri},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/2NGP5LA9/Kimber_2015_Katherine
                  Mansfield and the Art of the Short Story.pdf},
  note =         {OCLC: 945800604}
}

@book{wilsonKatherineMansfieldLiterary2014,
  langid =       {english},
  title =        {Katherine {{Mansfield}} and {{Literary Modernism}}},
  isbn =         {978-1-4725-2497-3},
  abstract =     {Katherine Mansfield's arrival in London in 1908 marked the
                  start of her professional career as a writer and this study
                  marks a revival of her reputation as one of the foremost
                  practitioners of the short story. The international line-up of
                  contributors attests to Mansfield's global appeal. By
                  discussing her fiction in relation to her life, the
                  contributors to this critical work present reinterpretations
                  and readings. Enhanced by new transcriptions of manuscripts
                  and access to her diaries and letters, these readings combine
                  biographical approaches with critical-theoretical ones and
                  focus not only on philosophy and fiction, but class and
                  gender, biography/autobiography. The historical and aesthetic
                  studies of Mansfield's work all take place within a framework
                  of modernist literature, criticism and theory, thereby
                  expanding our understanding of what it means to be a Modernist
                  while allocating Mansfield a firm place in any current study
                  of Modernism.},
  pagetotal =    240,
  publisher =    {{Bloomsbury Academic}},
  date =         {2014-01-16},
  keywords =     {Literary Criticism / General},
  author =       {Wilson, Janet and Kimber, Gerri and Reid, Susan},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/ITYJ4I5F/Wilson et
                  al_2014_Katherine Mansfield and Literary Modernism.pdf},
}

@book{kimberCelebratingKatherineMansfield2011,
  langid =       {english},
  title =        {Celebrating {{Katherine Mansfield}}: {{A Centenary Volume}} of
                  {{Essays}}},
  isbn =         {978-0-230-27773-1},
  shorttitle =   {Celebrating {{Katherine Mansfield}}},
  abstract =     {A revisionist study of Mansfield as a profoundly colonial yet
                  daringly experimental writer, at the forefront of modernism.
                  The essays in this volume draw on the complete journals,
                  letters and stories, to reveal Mansfield as a modernist who
                  transcended her artistic influences through a supreme
                  understanding of voice, being and subjectivity.},
  pagetotal =    241,
  publisher =    {{Palgrave Macmillan UK}},
  date =         {2011-04-28},
  keywords =     {Literary Criticism / General,Literary Criticism / Semiotics &
                  Theory,Language Arts & Disciplines / Linguistics / Historical
                  & Comparative,Literary Criticism / European / English; Irish;
                  Scottish; Welsh,Fiction / General,Social Science /
                  General,Social Science / Anthropology / Cultural &
                  Social,Literary Criticism / Modern / 20th Century,Social
                  Science / Gender Studies},
  author =       {Kimber, G.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/F8CAIUV2/Kimber_2011_Celebrating
                  Katherine Mansfield.pdf},
}

@book{petersJosephConradCritical2013,
  langid =       {english},
  title =        {Joseph {{Conrad}}'s {{Critical Reception}}},
  isbn =         {978-1-107-03485-3},
  abstract =     {Throughout the twentieth and twenty-first centuries, Joseph
                  Conrad's novels and short stories have consistently figured
                  into - and helped to define - the dominant trends in literary
                  criticism. This book is the first to provide a thorough yet
                  accessible overview of Conrad scholarship and criticism
                  spanning the entire history of Conrad studies, from the 1895
                  publication of his first book, Almayer's Folly, to the
                  present. While tracing the general evolution of the commentary
                  surrounding Conrad's work, John G. Peters's careful analysis
                  also evaluates Conrad's impact on critical trends such as the
                  belles lettres tradition, the New Criticism, psychoanalysis,
                  structuralist and post-structuralist criticism, narratology,
                  postcolonial studies, gender and women's studies, and
                  ecocriticism. The breadth and scope of Peters's study make
                  this text an essential resource for Conrad scholars and
                  students of English literature and literary criticism.},
  pagetotal =    290,
  publisher =    {{Cambridge University Press}},
  date =         {2013-04-29},
  keywords =     {Literary Criticism / General,Literary Criticism / European /
                  English; Irish; Scottish; Welsh},
  author =       {Peters, John G.},
}

@book{geryImagismEssaysIts2013,
  title =        {Imagism: {{Essays}} on {{Its Initiation}}, {{Impact}} and
                  {{Influence}}},
  isbn =         {978-1-60801-113-1},
  url =          {https://www.jstor.org/stable/j.ctt1n2txhv},
  shorttitle =   {Imagism},
  abstract =     {This collection of new essays explores the well-known yet
                  rarely investigated movement of Imagist poets and poetics.
                  Launched in the British Museum tearoom by Ezra Pound with H.D.
                  and Richard Aldington in April 1912, Imagism was rooted in
                  earlier movements, yet its influence has reached across the
                  literary world. Framed by an introduction on Imagism’s
                  embattled cultural heritage and an afterword recording its
                  echoes as far off as China, this book offers a blueprint of
                  the historical, theoretical, and literary prevalence of
                  Imagism from its inception until now.},
  publisher =    {{University of New Orleans Press}},
  urldate =      {2019-10-08},
  date =         2013,
  editorb =      {Gery, John and Kempton, Daniel and Stoneback, H. R.},
  editorbtype =  {redactor}
}

@book{henrySelectedTales2001,
  langid =       {english},
  title =        {Selected {{Tales}}},
  isbn =         {978-0-14-190535-8},
  abstract =     {Throughout his life, Henry James was drawn to the short story
                  form for the freedom and variety it offered. The nineteen
                  stories in this selection span James's career, from brief
                  tales to longer works, all exploring his concerns with the old
                  world and the new, money, fame and art. 'Daisy Miller', the
                  work that first brought him fame, depicts a bold,
                  unsophisticated American girl abroad, and 'In the Cage'
                  portrays a young telegraphist's romantic fantasies about
                  customers who send telegrams from her post office. In 'The
                  Birthplace' a Stratford tour guide embellishes the Shakespeare
                  legend, while in the late masterpiece 'The Jolly Corner', an
                  elderly American returns from Europe and encounters a strange
                  apparition. Haunting, witty and beautifully drawn, James's
                  tales are as complex and resonant as his novels.},
  pagetotal =    906,
  publisher =    {{Penguin UK}},
  date =         {2001-07-26},
  keywords =     {Fiction / Classics,Fiction / Short Stories (single author)},
  author =       {Henry, James},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/H2X6GZZC/[James_Henry]_Selected_Tales(z-lib.org).epub},
}

@book{jamesArtNovelCritical1934,
  langid =       {english},
  location =     {{New York}},
  title =        {The {{Art}} of the {{Novel}}: {{Critical Prefaces}}},
  shorttitle =   {The {{Art}} of the {{Novel}}},
  pagetotal =    348,
  publisher =    {{C. Scribner's Sons}},
  date =         1934,
  author =       {James, Henry},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/69UPU6PP/James_1934_The
                  Art of the Novel.pdf},
}

@book{jamesTerminations1895,
  langid =       {english},
  title =        {Terminations},
  url =          {http://archive.org/details/terminations00jame},
  abstract =     {First edition. Cf. Edel and Laurence; "The first two of these
                  tales were originally published in 'The yellow book', the
                  third in 'Scribner's magazine'. The last appears for the first
                  time"--Note on leaf following t.p; The death of the lion --
                  The Coxon fund -- The middle years -- The altar of the dead;
                  Edel \& Laurence. Henry James},
  pagetotal =    294,
  publisher =    {{London : W. Heinemann}},
  urldate =      {2019-10-09},
  date =         1895,
  author =       {James, Henry},
  editora =      {{University of Illinois Urbana-Champaign}},
  editoratype =  {collaborator}
}

@book{machAnalysisSensationsRelation1914,
  langid =       {english},
  title =        {The {{Analysis}} of {{Sensations}}, and the {{Relation}} of
                  the {{Physical}} to the {{Psychical}}},
  pagetotal =    410,
  publisher =    {{Open Court Publishing Company}},
  date =         1914,
  keywords =     {Senses and sensation},
  author =       {Mach, Ernst},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/36U8NLDV/Mach_1914_The
                  Analysis of Sensations, and the Relation of the Physical to
                  the Psychical.pdf},
}

@online{flochPetitesMythologieOeil,
  title = {Petites Mythologie[s] de l'oeil et de l'esprit: {{Pour}} Une Semiotique Plastique},
  url = {https://b-ok.cc/book/2472323/ce751e},
  urldate = {2019-10-10},
  author = {Floch, Jean-Marie},
  file = {/home/jon/Dokumentujo/Papers/zotero/storage/9BH5FWLI/[Jean-Marie_Floch]_Petites_mythologie[s]_de_l'oeil(z-lib.org).pdf;/home/jon/Dokumentujo/Papers/zotero/storage/W79W635C/ce751e.html}
}

@book{OeilEsprit1964,
  location =     {{Paris}},
  title =        {L'oeil et {{L}}'esprit},
  url =
                  {http://pm.nlx.com.ezproxy.cul.columbia.edu/xtf/view?docId=merleau-ponty_fr/merleau-ponty_fr.06.xml;chunk.id=div.pdf;toc.depth=2;toc.id=div.pdf;hit.rank=0;brand=default#page/8/mode/2up},
  publisher =    {{Éditions Gallimard}},
  urldate =      {2019-10-10},
  date =         1964,
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/YFLHDH5K/view.html}
}

@online{EstrangementeffectOxfordReference,
  langid = {english},
  title = {Estrangement-Effect - {{Oxford Reference}}},
  url = {http://www.oxfordreference.com/view/10.1093/oi/authority.20110803095758798},
  abstract = {Bertolt Brecht's term (also sometimes translated as alienation-effect) for the moment in a work of art when that which used to appear natural suddenly appears historical, when that which was thought of as timeless and eternal is seen as deliberately caused and altered across time. Its purpose is political because it aims to overturn the paralysing sense that things have always been ‘this way’ and therefore that there is nothing that can be done to change them. Brecht's principal means of doing this was to stage theatre in such a way that the viewer is denied the habitual comfort of forgetting that they are watching a play and becoming (what psychoanalytic film critics call) sutured into the events on stage. Thus he would discourage actors from ‘becoming’ their characters and using that to elicit the empathy of the audience, preferring that they create a sense of ‘distance’ between themselves and their character that would put the audience in two minds about what they were watching (Brecht's ideal manner of viewing, he famously said, was that of the sports fan evaluating a boxing match). French cultural critic Roland Barthes deployed this principal in Mythologies (1957), translated as Mythologies (1972), which is a spirited attack on everything that appears ‘natural’ in modern life in the era of late capitalism. See also cognitive estrangement; ostranenie.Further Reading:F. Jameson Brecht and Method (1998).},
  urldate = {2019-10-10},
  doi = {10.1093/oi/authority.20110803095758798}
}

@article{maoWoolfHulmeWilliam2013,
  langid =       {english},
  title =        {Woolf, {{T}}. {{E}}. {{Hulme}}, {{William James}}, and the
                  {{Unseen}}},
  volume =       0,
  issn =         {2268-4522},
  url =
                  {http://letourcritique.u-paris10.fr/index.php/letourcritique/article/view/24},
  abstract =     {This essay observes that Virginia Woolf followed
                  nineteenth-century writers in using “the unseen” to adumbrate
                  a realm of spirit divided from, yet profoundly close to, the
                  sphere of ordinary experience. It argues that Woolf’s uses of
                  “unseen” indicate a philosophical position resonant with that
                  of William James, who speculated that what mediated between
                  the unseen (for him, the source of all religious feeling) and
                  conscious experience was what he called the subconscious. It
                  argues in addition that Woolf’s position puts her starkly at
                  odds with T. E. Hulme and T. S. Eliot, who insisted on a
                  radical separation between the vital and human, on the one
                  hand, and the absolute with which religion is concerned, on
                  the other.},
  number =       2,
  journaltitle = {Le Tour critique},
  urldate =      {2019-10-11},
  date =         {2013-04-11},
  pages =        {391-406-406},
  keywords =     {Religion,James,William,Browning,Eliot,Elisabeth
                  Barrett,Hulme,T. E.,T. S.,Unseen,Virginia,Woolf},
  author =       {Mao, Douglas},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/G6UPCIFR/Mao_2013_Woolf,
                  T.pdf}
}

@article{licieckiSortMetaphorDynamic2015,
  title =        {"{{A Sort}} of {{Metaphor}}": {{Dynamic Figurative Language}}
                  in {{Nietzsche}}, {{Pound}}, and {{H}}. {{D}}.},
  volume =       22,
  url =
                  {https://search-proquest-com.ezproxy.cul.columbia.edu/docview/1707489917?pq-origsite=summon},
  number =       2,
  journaltitle = {Modernism/modernity},
  urldate =      {2019-10-11},
  date =         {2015-04},
  author =       {Liciecki, Chet},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/M2AFES4G/1707489917.html}
}

@article{skaffPoundImagismSurreal1985b,
  title =        {Pound's {{Imagism}} and the {{Surreal}}},
  volume =       12,
  issn =         {0022-281X},
  url =          {https://www.jstor.org/stable/3831319},
  number =       2,
  journaltitle = {Journal of Modern Literature},
  urldate =      {2019-10-11},
  date =         1985,
  pages =        {185-210},
  author =       {Skaff, William},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/M6AD5ZWR/3831319.pdf}
}

@article{firchowEzraPoundImagism1981a,
  title =        {Ezra {{Pound}}'s {{Imagism}} and the {{Tradition}}},
  volume =       18,
  issn =         {0010-4132},
  url =          {https://www.jstor.org/stable/40246277},
  number =       3,
  journaltitle = {Comparative Literature Studies},
  urldate =      {2019-10-11},
  date =         1981,
  pages =        {379-385},
  author =       {Firchow, P. E.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/GD6FSIMK/Firchow_1981_Ezra
                  Pound's Imagism and the Tradition.pdf}
}

@article{bellewMercyEditorialSelection2017a,
  title =        {“{{At}} the {{Mercy}} of {{Editorial Selection}}”: {{Amy
                  Lowell}}, {{Ezra Pound}}, and the {{Imagist Anthologies}}},
  volume =       40,
  issn =         {0022-281X},
  url =          {https://www.jstor.org/stable/10.2979/jmodelite.40.2.02},
  doi =          {10.2979/jmodelite.40.2.02},
  shorttitle =   {“{{At}} the {{Mercy}} of {{Editorial Selection}}”},
  abstract =     {Even though at the height of her career she was a celebrated
                  poet and central authority in the field modern verse,
                  throughout much of the twentieth century Amy Lowell has been
                  known simply as the woman who stole control of the
                  quintessential school of modern poetry—Imagism —from the
                  movement's founder, Ezra Pound. Analyzing the exploding market
                  for and controversial role of poetry anthologies in the
                  modernist period, I show that the struggle between Pound and
                  Lowell was more than a simple personality conflict. It was
                  truly a battle over the central question of what modernism
                  ought to be: in Pound's estimation, a small and hierarchized
                  sliver of literary elite vying for central control over
                  literary production and its audience or, in Lowell's project,
                  a collective approach to literature in which authors work
                  collaboratively to generate widespread popularity for
                  modernist poetry.},
  number =       2,
  journaltitle = {Journal of Modern Literature},
  urldate =      {2019-10-11},
  date =         2017,
  pages =        {22-40},
  author =       {Bellew, Paul Bradley},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/3WX49FFT/Bellew_2017_“At
                  the Mercy of Editorial Selection”.pdf}
}

@article{piettePoundGardenModernist2008a,
  title =        {Pound's '{{The Garden}}' as {{Modernist Imitation}}:
                  {{Samain}}, {{Lowell}}, {{H}}. {{D}}.},
  volume =       17,
  issn =         {0968-1361},
  url =          {https://www.jstor.org/stable/40340082},
  shorttitle =   {Pound's '{{The Garden}}' as {{Modernist Imitation}}},
  number =       1,
  journaltitle = {Translation and Literature},
  urldate =      {2019-10-11},
  date =         2008,
  pages =        {21-46},
  author =       {Piette, Adam},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/DN7QNEL4/40340082.pdf}
}

@book{diepeveenDifficultiesModernism2013,
  langid =       {english},
  title =        {The {{Difficulties}} of {{Modernism}}},
  isbn =         {978-1-135-37455-6},
  abstract =     {First published in 2003. Routledge is an imprint of Taylor \&
                  Francis, an informa company.},
  pagetotal =    338,
  publisher =    {{Routledge}},
  date =         {2013-10-18},
  keywords =     {Literary Criticism / General,Literary Criticism / Semiotics &
                  Theory},
  author =       {Diepeveen, Leonard},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/Q5Y5LILX/[Leonard_Diepeveen]_The_Difficulties_of_Modernism(z-lib.org).epub},
}

@book{lakoffWomenFireDangerous2008,
  langid =       {english},
  title =        {Women, {{Fire}}, and {{Dangerous Things}}},
  isbn =         {978-0-226-47101-3},
  abstract =     {"Its publication should be a major event for cognitive
                  linguistics and should pose a major challenge for cognitive
                  science. In addition, it should have repercussions in a
                  variety of disciplines, ranging from anthropology and
                  psychology to epistemology and the philosophy of science. . .
                  . Lakoff asks: What do categories of language and thought
                  reveal about the human mind? Offering both general theory and
                  minute details, Lakoff shows that categories reveal a great
                  deal."—David E. Leary, American Scientist},
  pagetotal =    633,
  publisher =    {{University of Chicago Press}},
  date =         {2008-08-08},
  keywords =     {Language Arts & Disciplines / Linguistics / General,Language
                  Arts & Disciplines / General},
  author =       {Lakoff, George},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/TE3L55UD/Lakoff_2008_Women,
                  Fire, and Dangerous Things.pdf},
}

@book{lakoffMetaphorsWeLive2008,
  langid =       {english},
  title =        {Metaphors {{We Live By}}},
  isbn =         {978-0-226-47099-3},
  abstract =     {The now-classic Metaphors We Live By changed our understanding
                  of metaphor and its role in language and the mind. Metaphor,
                  the authors explain, is a fundamental mechanism of mind, one
                  that allows us to use what we know about our physical and
                  social experience to provide understanding of countless other
                  subjects. Because such metaphors structure our most basic
                  understandings of our experience, they are "metaphors we live
                  by"—metaphors that can shape our perceptions and actions
                  without our ever noticing them. In this updated edition of
                  Lakoff and Johnson's influential book, the authors supply an
                  afterword surveying how their theory of metaphor has developed
                  within the cognitive sciences to become central to the
                  contemporary understanding of how we think and how we express
                  our thoughts in language.},
  pagetotal =    258,
  publisher =    {{University of Chicago Press}},
  date =         {2008-12-19},
  keywords =     {Language Arts & Disciplines / Linguistics / General,Language
                  Arts & Disciplines / General,Philosophy / Mind & Body,Science
                  / Cognitive Science},
  author =       {Lakoff, George and Johnson, Mark},
}

@book{kovecsesMetaphorCultureUniversality2005,
  langid =       {english},
  title =        {Metaphor in {{Culture}}: {{Universality}} and {{Variation}}},
  isbn =         {978-1-139-44461-3},
  shorttitle =   {Metaphor in {{Culture}}},
  abstract =     {To what extent and in what ways is metaphorical thought
                  relevant to an understanding of culture and society? More
                  specifically: can the cognitive linguistic view of metaphor
                  simultaneously explain both universality and diversity in
                  metaphorical thought? Cognitive linguists have done important
                  work on universal aspects of metaphor, but they have paid much
                  less attention to why metaphors vary both interculturally and
                  intraculturally as extensively as they do. In this book,
                  Zoltán Kövecses proposes a new theory of metaphor variation.
                  First, he identifies the major dimension of metaphor
                  variation, that is, those social and cultural boundaries that
                  signal discontinuities in human experience. Second, he
                  describes which components, or aspects of conceptual metaphor
                  are involved in metaphor variation, and how they are involved.
                  Third, he isolates the main causes of metaphor variation.
                  Fourth Professor Kövecses addresses the issue to the degree of
                  cultural coherence in the interplay among conceptual
                  metaphors, embodiment, and causes of metaphor variation.},
  pagetotal =    336,
  publisher =    {{Cambridge University Press}},
  date =         {2005-02-07},
  keywords =     {Language Arts & Disciplines / Linguistics / General,Social
                  Science / Anthropology / General,Psychology /
                  General,Psychology / Ethnopsychology},
  author =       {Kövecses, Zoltán},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/MK83VSI4/Kövecses_2005_Metaphor
                  in Culture.pdf},
}

@book{lakoffMoreCoolReason2009,
  langid =       {english},
  title =        {More than {{Cool Reason}}: {{A Field Guide}} to {{Poetic
                  Metaphor}}},
  isbn =         {978-0-226-47098-6},
  shorttitle =   {More than {{Cool Reason}}},
  abstract =     {"The authors restore metaphor to our lives by showing us that
                  it's never gone away. We've merely been taught to talk as if
                  it had: as though weather maps were more 'real' than the
                  breath of autumn; as though, for that matter, Reason was
                  really 'cool.' What we're saying whenever we say is a theme
                  this book illumines for anyone attentive." — Hugh Kenner,
                  Johns Hopkins University "In this bold and powerful book,
                  Lakoff and Turner continue their use of metaphor to show how
                  our minds get hold of the world. They have achieved nothing
                  less than a postmodern Understanding Poetry, a new way of
                  reading and teaching that makes poetry again important." —
                  Norman Holland, University of Florida},
  pagetotal =    243,
  publisher =    {{University of Chicago Press}},
  date =         {2009-07-27},
  keywords =     {Language Arts & Disciplines / Linguistics / General,Language
                  Arts & Disciplines / General},
  author =       {Lakoff, George and Turner, Mark},
}

@online{NetsModernismHenry,
  title = {The {{Nets}} of {{Modernism}} : {{Henry James}}, {{Virginia Woolf}}, {{James Joyce}}, and {{Sigmu}}...: {{EBSCOhost}}},
  url = {https://web-a-ebscohost-com.ezproxy.cul.columbia.edu/ehost/detail/detail?vid=0&sid=8d22393e-0541-4a73-9d93-10ce0d482944%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=347878&db=e025xna},
  urldate = {2019-10-12},
  file = {/home/jon/Dokumentujo/Papers/zotero/storage/3IFPVJHF/detail.html}
}

@book{ellmannNetsModernismHenry2010,
  langid =       {english},
  location =     {{Cambridge}},
  title =        {The {{Nets}} of {{Modernism}} : {{Henry James}}, {{Virginia
                  Woolf}}, {{James Joyce}}, and {{Sigmund Freud}}},
  isbn =         {978-0-521-86256-1},
  url =
                  {https://ezproxy.cul.columbia.edu/login?qurl=https%3a%2f%2fsearch.ebscohost.com%2flogin.aspx%3fdirect%3dtrue%26db%3dnlebk%26AN%3d347878%26site%3dehost-live%26scope%3dsite},
  shorttitle =   {The {{Nets}} of {{Modernism}}},
  abstract =     {One of the finest literary critics of her generation, Maud
                  Ellmann synthesises her work on modernism, psychoanalysis and
                  Irish literature in this important new book. In sinuous
                  readings of Henry James, James Joyce and Virginia Woolf, she
                  examines the interconnections between developing technological
                  networks in modernity and the structures of modernist fiction,
                  linking both to Freudian psychoanalysis. The Nets of Modernism
                  examines the significance of images of bodily violation and
                  exchange - scar, bite, wound, and their psychic equivalents -
                  showing how these images correspond to'vampirism'and related
                  obsessions in early twentieth-century culture. Subtle,
                  original and a pleasure to read, this 2010 book offers a fresh
                  perspective on the inter-implications of Freudian
                  psychoanalysis and Anglophone modernism that will influence
                  the field for years to come.},
  publisher =    {{Cambridge University Press}},
  urldate =      {2019-10-12},
  date =         2010,
  keywords =     {Modernism (Literature),American fiction--20th century--History
                  and criticism,English fiction--20th century--History and
                  criticism,LITERARY CRITICISM / European / English; Irish;
                  Scottish; Welsh,Modernism (Literature)--Great
                  Britain,Psychoanalysis and literature,Psychological
                  fiction--History and criticism},
  author =       {Ellmann, Maud},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/EY9AKI84/Ellmann_2010_The
                  Nets of Modernism.pdf}
}

@book{snowdenColorPrejudiceAncient1983,
  langid =       {english},
  title =        {Before {{Color Prejudice}}: {{The Ancient View}} of
                  {{Blacks}}},
  isbn =         {978-0-674-06381-5},
  shorttitle =   {Before {{Color Prejudice}}},
  abstract =     {In this richly illustrated account of black-white contacts
                  from the Pharaohs to the Caesars, Frank Snowden demonstrates
                  that the ancients did not discriminate against blacks because
                  of their color. For three thousand years Mediterranean whites
                  intermittently came in contact with African blacks in commerce
                  and war, and left a record of these encounters in art and in
                  written documents. The blacks--most commonly known as
                  Kushites, Ethiopians, or Nubians--were redoubtable warriors
                  and commanded the respect of their white adversaries. The
                  overall view of blacks was highly favorable. In science,
                  philosophy, and religion color was not the basis of theories
                  concerning inferior peoples. And early Christianity saw in the
                  black man a dramatic symbol of its catholic mission. This book
                  sheds light on the reasons for the absence in antiquity of
                  virulent color prejudice and for the difference in attitudes
                  of whites toward blacks in ancient and modern societies.},
  pagetotal =    228,
  publisher =    {{Harvard University Press}},
  date =         1983,
  keywords =     {History / Ancient / General},
  author =       {Snowden, Frank M.}
}

@online{sakiHaiku,
  title = {Haiku},
  url = {https://search-proquest-com.ezproxy.cul.columbia.edu/lion/docview/2137908360/A02720917F5B46EDPQ/2?accountid=10226},
  urldate = {2019-10-15},
  author = {Saki, Hiroaki},
  file = {/home/jon/Dokumentujo/Papers/zotero/storage/VHWHDCL9/Saki_HAIKU - Literature Online - ProQuest.pdf;/home/jon/Dokumentujo/Papers/zotero/storage/ZDG8STAA/2.html}
}

@online{CLASSICISMLiteratureOnline,
  title = {{{CLASSICISM}} - {{Literature Online}} - {{ProQuest}}},
  url = {https://search-proquest-com.ezproxy.cul.columbia.edu/lion/docview/2137915687/A02720917F5B46EDPQ/13?accountid=10226},
  urldate = {2019-10-15},
  file = {/home/jon/Dokumentujo/Papers/zotero/storage/XHUJ3Z94/13.html}
}

@book{prattHomageImagism1992,
  langid =       {english},
  title =        {Homage to Imagism},
  isbn =         {978-0-404-61590-1},
  pagetotal =    208,
  publisher =    {{AMS Press}},
  date =         1992,
  keywords =     {Literary Criticism / Poetry,English-speaking countries,English
                  poetry,American poetry,Imagist poetry,American poetry - 20th
                  century - History and criticism,American poetry/ 20th century/
                  History and criticism,English poetry - 20th century - History
                  and criticism,English poetry/ 20th century/ History and
                  criticism,English-speaking countries - Intellectual life -
                  20th century,Imagist poetry - History and criticism,Imagist
                  poetry/ History and criticism,Poetry / English; Irish;
                  Scottish; Welsh},
  author =       {Pratt, William and Richardson, Robert},
}

@book{dowdenJosephConradImaged1970a,
  langid =       {english},
  title =        {Joseph {{Conrad}}; the Imaged Style},
  isbn =         {978-0-8265-1153-9},
  abstract =     {Analyzes the evolution of Conrad's style and vision of imagery
                  through a study of his novels and short stories},
  pagetotal =    202,
  publisher =    {{Vanderbilt University Press}},
  date =         1970,
  keywords =     {20th century,English language,Style,Literary Criticism /
                  European / English; Irish; Scottish; Welsh,Language Arts &
                  Disciplines / Rhetoric,Literary style,Conrad; Joseph,English
                  language/ 20th century/ Style,Figures of speech},
  author =       {Dowden, Wilfred Sellars},
}

@book{fordJosephConradPersonal1965,
  langid =       {english},
  title =        {Joseph {{Conrad}}: A Personal Remembrance},
  shorttitle =   {Joseph {{Conrad}}},
  pagetotal =    298,
  publisher =    {{Octagon Books}},
  date =         1965,
  keywords =     {Literary Criticism / European / English; Irish; Scottish;
                  Welsh},
  author =       {Ford, Ford Madox},
}

@book{maoSolidObjectsModernism1998,
  langid =       {english},
  title =        {Solid {{Objects}}: {{Modernism}} and the {{Test}} of
                  {{Production}}},
  isbn =         {978-1-4008-2270-6},
  shorttitle =   {Solid {{Objects}}},
  abstract =     {In this provocative and wide-ranging study, Douglas Mao argues
                  that a profound tension between veneration of human production
                  and anxiety about production's dangers lay at the heart of
                  literary modernism. Focusing on the work of Virginia Woolf,
                  Wyndham Lewis, Ezra Pound, and Wallace Stevens, Mao shows that
                  modernists were captivated by physical objects, which,
                  regarded as objects, seemed to partake of a utopian serenity
                  beyond the reach of human ideological conflicts. Under a
                  variety of historical pressures, Mao observes, these writers
                  came to revere the making of such things, and especially the
                  crafting of the work of art, as the surest guarantee of
                  meaning for an individual life. Yet they also found troubling
                  contradictions here, since any kind of making, be it
                  handicraft or mass production, could also be understood as a
                  violation of the nonhuman world by an increasingly predatory
                  and imperialistic subjectivity. If modernists began by
                  embracing production as a test of meaning, then they
                  frequently ended by testing production itself and finding it
                  wanting.To make this case, Mao interweaves social and
                  political history with readings in literature, the visual
                  arts, philosophy, and economics. He explores modernism's
                  relation to aestheticism, existentialism, and the culture of
                  consumption, joining current debates on the politics of
                  engagement and the social meanings of art. And he shows
                  conclusively, in this elegantly written and consistently
                  surprising work, that we cannot understand the theories and
                  practices of modernism without addressing the question of the
                  object and production's ambivalent allure.},
  pagetotal =    321,
  publisher =    {{Princeton University Press}},
  date =         {1998-09-28},
  keywords =     {Literary Criticism / General,Literary Criticism / European /
                  English; Irish; Scottish; Welsh},
  author =       {Mao, Douglas},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/8GLRDXSX/Mao_1998_Solid
                  Objects.pdf},
}

@book{jamesonModernistPapers2016,
  langid =       {english},
  title =        {The {{Modernist Papers}}},
  isbn =         {978-1-78478-347-1},
  abstract =     {Cultural critic Fredric Jameson, renowned for his incisive
                  studies of the passage of modernism to postmodernism, returns
                  to the movement that dramatically broke with all tradition in
                  search of progress for the first time since his acclaimed A
                  Singular Modernity .The Modernist Papers is a tour de froce of
                  anlysis and criticism, in which Jameson brings his dynamic and
                  acute thought to bear on the modernist literature of the
                  nineteenth and twentieth centuries. Jameson discusses
                  modernist poetics, including intensive discussions of the work
                  of Baudelaire, Rimbaud, Mallarmé, Wallace Stevens, Joyce,
                  Proust, and Thomas Mann. He explores the peculiarties of the
                  American literary field, taking in William Carlos Williams and
                  the American epic, and examines the language theories of
                  Gertrude Stein. Refusing to see modernism as simply a Western
                  phenomenon he also pays close attention to its Japanese
                  expression; while the complexities of a late modernist
                  representation of twentieth-century politics are articulated
                  in a concluding section on Peter Weiss’s novel The Aesthetics
                  of Resistance.Challenging our previous understanding of the
                  literature of this pperiod, this monumental work will come to
                  be regarded as the classic study of modernism.},
  pagetotal =    558,
  publisher =    {{Verso Books}},
  date =         {2016-03-08},
  keywords =     {Literary Criticism / Semiotics & Theory,Literary Criticism /
                  European / General,Literary Criticism / Comparative
                  Literature},
  author =       {Jameson, Fredric},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/SARTGBT9/Jameson_2016_The
                  Modernist Papers.pdf},
}

@book{matzLiteraryImpressionismModernist2001,
  langid =       {english},
  title =        {Literary {{Impressionism}} and {{Modernist Aesthetics}}},
  isbn =         {978-0-521-80352-6},
  abstract =     {Jesse Matz examines the writing of such modernists as Henry
                  James, Joseph Conrad and Virginia Woolf, who used the word
                  'impression' to describe what they wanted their fiction to
                  present. Matz redefines literary Impressionism, focusing on
                  the way that impressions destroy standard perceptual
                  distinctions between thinking and sensing, believing and
                  suspecting. He argues that these writers favoured not
                  immediate subjective sense, but rather a mode that would
                  mediate perceptual distinctions. Just as impressions fall
                  somewhere between thought and sense, Impressionist fiction
                  occupies the middle ground between opposite ways of engaging
                  with the world. Matz also argues that the resulting confusion
                  becomes a basic plot feature of modernist fiction. This
                  wide-ranging 2001 study addresses the problems of perception
                  and representation that occupied writers in the early decades
                  of the twentieth century.},
  pagetotal =    292,
  publisher =    {{Cambridge University Press}},
  date =         {2001-08-02},
  keywords =     {Literary Criticism / Semiotics & Theory,Literary Criticism /
                  European / English; Irish; Scottish; Welsh,Literary
                  Collections / Ancient & Classical},
  author =       {Matz, Jesse and Matz, Chair Department of English Jesse},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/MIQVDDZH/Matz_Matz_2001_Literary Impressionism and Modernist Aesthetics.pdf},
}

@book{saidJosephConradFiction2008,
  langid =       {english},
  title =        {Joseph {{Conrad}} and the {{Fiction}} of {{Autobiography}}},
  isbn =         {978-0-231-14005-8},
  abstract =     {Edward W. Said locates Joseph Conrad's fear of personal
                  disintegration in his constant re-narration of the past. Using
                  the author's personal letters as a guide to understanding his
                  fiction, Said draws an important parallel between Conrad's
                  view of his own life and the manner and form of his stories.
                  The critic also argues that the author, who set his fiction in
                  exotic locations like East Asia and Africa, projects political
                  dimensions in his work that mirror a colonialist preoccupation
                  with "civilizing" native peoples. Said then suggests that this
                  dimension should be considered when reading all of Western
                  literature. First published in 1966, Said's critique of the
                  Western self's struggle with modernity signaled the beginnings
                  of his groundbreaking work, Orientalism, and remains a
                  cornerstone of postcolonial studies today.},
  pagetotal =    252,
  publisher =    {{Columbia University Press}},
  date =         2008,
  keywords =     {Literary Criticism / European / English; Irish; Scottish;
                  Welsh,Literary Collections / Letters,Literary Criticism /
                  European / Eastern},
  author =       {Said, Edward W.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/D2PB35A4/[Edward_Said\;_Andrew_N._Rubin_(ed.)]_Joseph_Conrad(z-lib.org).epub},
}

@book{gunsterenKatherineMansfieldLiterary1990,
  langid =       {english},
  title =        {Katherine {{Mansfield}} and {{Literary Impressionism}}},
  isbn =         {978-90-5183-199-3},
  pagetotal =    284,
  publisher =    {{Rodopi}},
  date =         1990,
  keywords =     {Social Science / Sociology / General},
  author =       {van Gunsteren, Julia},
}

@book{aubryJosephConradLife1927,
  langid =       {english},
  title =        {Joseph {{Conrad}}: {{Life}} and {{Letters}}},
  url =          {https://archive.org/details/josephconradlife0000conr/page/268},
  shorttitle =   {Joseph {{Conrad}}},
  pagetotal =    {book},
  publisher =    {{Doubleday, Page, Garden City}},
  date =         1927,
  author =       {Aubry, Georges Jean},
}

@book{joyceChamberMusic1918,
  langid =       {english},
  title =        {Chamber {{Music}}},
  pagetotal =    58,
  publisher =    {{B.W. Huebsch, Incorporated}},
  date =         1918,
  author =       {Joyce, James},
}

@book{derridaGrammatology2016,
  langid =       {english},
  title =        {Of {{Grammatology}}},
  isbn =         {978-1-4214-1995-4},
  abstract =     {Jacques Derrida’s revolutionary approach to phenomenology,
                  psychoanalysis, structuralism, linguistics, and indeed the
                  entire European tradition of philosophy—called
                  deconstruction—changed the face of criticism. It provoked a
                  questioning of philosophy, literature, and the human sciences
                  that these disciplines would have previously considered
                  improper. Forty years after Of Grammatology first appeared in
                  English, Derrida still ignites controversy, thanks in part to
                  Gayatri Chakravorty Spivak’s careful translation, which
                  attempted to capture the richness and complexity of the
                  original. This fortieth anniversary edition, where a mature
                  Spivak retranslates with greater awareness of Derrida’s
                  legacy, also includes a new afterword by her which supplements
                  her influential original preface. Judith Butler has added an
                  introduction. All references in the work have been updated.
                  One of contemporary criticism’s most indispensable works, Of
                  Grammatology is made even more accessible and usable by this
                  new release.},
  pagetotal =    561,
  publisher =    {{JHU Press}},
  date =         {2016-01-29},
  keywords =     {Literary Criticism / Semiotics & Theory,Philosophy / Movements
                  / Deconstruction},
  author =       {Derrida, Jacques and Butler, Judith},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/G5GFN556/Derrida_Butler_2016_Of
                  Grammatology.pdf},
}

@book{brookerGeographiesModernism2007,
  langid =       {english},
  title =        {Geographies of {{Modernism}}},
  isbn =         {978-1-134-32911-3},
  abstract =     {One of the most pivotal developments in contemporary literary
                  and cultural studies is the investigation of space and
                  geography, a trend which is proving particularly important for
                  modernist studies. This volume explores the interface between
                  modernism and geography in a range of writers, texts and
                  artists across the twentieth century. Cross-disciplinary
                  essays test and extend a variety of methodological approaches
                  and reveal the reach of this topic into every corner of
                  modernist scholarship. From Imagist poetry and the Orient to
                  teashops and modernism in London, or from mapping and
                  belonging in James Joyce or Joseph Conrad to the space of new
                  media artists, this remarkable volume offers fresh,
                  invigorating research that ranges across the field of
                  modernism. It also serves to identify the many exciting new
                  directions that future studies may take. With groundbreaking
                  essays from an international team of highly-regarded scholars,
                  Geographies of Modernism is an important step forward in
                  literary and cultural studies.},
  pagetotal =    193,
  publisher =    {{Routledge}},
  date =         {2007-05-07},
  keywords =     {Art / General,Literary Criticism / American / General,Literary
                  Criticism / European / English; Irish; Scottish;
                  Welsh,Literary Criticism / General,Literary Criticism /
                  Semiotics & Theory,Political Science / Globalization},
  author =       {Brooker, Peter and Thacker, Andrew},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/A4CR8NEP/Brooker_Thacker_2007_Geographies
                  of Modernism.pdf}
}

@article{hiroakiHaiku2012,
  title =        {Haiku},
  url =
                  {https://search-proquest-com.ezproxy.cul.columbia.edu/lion/docview/2137908360/D5D1C312C6B9412FPQ/2?accountid=10226},
  journaltitle = {The Princeton Encyclopedia of Poetry and Poetics},
  urldate =      {2019-10-18},
  date =         2012,
  author =       {Hiroaki, Sato},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/FHK63TUK/2.html}
}

@book{poundRipostesEzraPound1912,
  langid =       {english},
  title =        {Ripostes of {{Ezra Pound}}},
  url =          {http://archive.org/details/ripostesofezrapo00pounrich},
  pagetotal =    76,
  publisher =    {{London : S. Swift and co., ltd.}},
  urldate =      {2019-10-18},
  date =         1912,
  keywords =     {Hulme; T. E. (Thomas Ernest); 1883-1917},
  author =       {Pound, Ezra},
  editora =      {{University of California Libraries}},
  editoratype =  {collaborator}
}

@book{rogersPerceptionVeryShort2017,
  langid =       {english},
  title =        {Perception: {{A Very Short Introduction}}},
  isbn =         {978-0-19-879100-3},
  shorttitle =   {Perception},
  abstract =     {Perception is one of the oldest and most deeply investigated
                  topics in the field of psychology, and it also raises some
                  profound philosophical questions. It is concerned with how we
                  use the information reaching our senses to guide and control
                  our behavior as well as to create our particular, subjective
                  experiences of the surrounding world. In this Very Short
                  Introduction, Brian J. Rogers discusses the philosophical
                  question of what it means to perceive, as well as describing
                  how we are able to perceive the particular characteristics of
                  objects and scenes such as their lightness, color, form,
                  depth, and motion. What we perceive, however, does not always
                  correspond to what exists in the world and, as Rogers shows,
                  the study of illusions can be useful in telling us something
                  about the nature and limitations of our perceptual processes.
                  Rogers also explores perception from an evolutionary
                  perspective, explaining how evolutionary pressures have shaped
                  the perceptual systems of humans and other animals. He shows
                  that perception is not necessarily a separate and independent
                  process but rather part of a "perceptual system," involving
                  both the extraction of perceptual information and the control
                  of action. Rogers goes on to cover the significant progress
                  made recently in the understanding of perception through the
                  use of precise and controlled psychophysical methods, single
                  cell recordings, and imaging techniques. There have also been
                  many insights from attempts to model perceptual processes in
                  artificial systems. As Rogers shows, these attempts have
                  revealed how difficult it is to program machines to perform
                  even the most simple of perceptual tasks that we take for
                  granted. ABOUT THE SERIES: The Very Short Introductions series
                  from Oxford University Press contains hundreds of titles in
                  almost every subject area. These pocket-sized books are the
                  perfect way to get ahead in a new subject quickly. Our expert
                  authors combine facts, analysis, perspective, new ideas, and
                  enthusiasm to make interesting and challenging topics highly
                  readable.},
  pagetotal =    185,
  publisher =    {{Oxford University Press}},
  date =         2017,
  keywords =     {PSYCHOLOGY / Cognitive Psychology & Cognition},
  author =       {Rogers, Brian J.},
}

@book{dhaenRoutledgeConciseHistory2013,
  langid =       {english},
  title =        {The {{Routledge Concise History}} of {{World Literature}}},
  isbn =         {978-1-136-63571-7},
  abstract =     {This remarkably broad and informative book offers an
                  introduction to and overview of World Literature. Tracing the
                  term from its earliest roots and situating it within a number
                  of relevant contexts from postcolonialism to postmodernism,
                  Theo D’haen examines: the return of the term "world
                  literature" and its changing meaning Goethe’s concept of
                  Weltliteratur and how this relates to current debates theories
                  and theorists who have had an impact on world literature
                  non-canonical and less-known literatures from around the globe
                  the possibility and implications of a definition of world
                  literature. This book is the ideal guide to an increasingly
                  popular and important term in literary studies. It is
                  accessible and engaging and will be invaluable to students of
                  world literature, comparative literature, translation and
                  postcolonial studies and anyone with an interest in these or
                  related topics.},
  pagetotal =    217,
  publisher =    {{Routledge}},
  date =         {2013-03},
  keywords =     {Literary Criticism / Comparative Literature,Literary Criticism
                  / General},
  author =       {D'haen, Theo},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/VDIQUGFA/D'haen_2013_The
                  Routledge Concise History of World Literature.pdf}
}

@book{saidOrientalism2014,
  langid =       {english},
  title =        {Orientalism},
  isbn =         {978-0-8041-5386-7},
  abstract =     {More than three decades after its first publication, Edward
                  Said's groundbreaking critique of the West's historical,
                  cultural, and political perceptions of the East has become a
                  modern classic.In this wide-ranging, intellectually vigorous
                  study, Said traces the origins of "orientalism" to the
                  centuries-long period during which Europe dominated the Middle
                  and Near East and, from its position of power, defined "the
                  orient" simply as "other than" the occident. This entrenched
                  view continues to dominate western ideas and, because it does
                  not allow the East to represent itself, prevents true
                  understanding. Essential, and still eye-opening, Orientalism
                  remains one of the most important books written about our
                  divided world.},
  pagetotal =    434,
  publisher =    {{Knopf Doubleday Publishing Group}},
  date =         {2014-10-01},
  keywords =     {Political Science / Colonialism & Post-Colonialism,Social
                  Science / Ethnic Studies / General,Social Science / Regional
                  Studies},
  author =       {Said, Edward W.},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/V7NWQ2HE/Said_2014_Orientalism.pdf},
}

@book{shihBookChinesePoetry1891,
  title =        {The Book of {{Chinese}} Poetry,},
  url =          {http://hdl.handle.net/2027/mdp.39015031896999},
  publisher =    {{London,}},
  date =         1891,
  author =       {Shih, Ching}
}

@incollection{olkVaguenessVisionVeil2007,
  langid =       {english},
  title =        {Vagueness, {{Vision}}, and the {{Veil}}: {{Perceptual
                  Indeterminacy}} in {{Modernist Fiction}}},
  isbn =         {978-3-931606-30-5},
  booktitle =    {Visual {{Culture Revisited}}: {{German}} and {{American
                  Perspectives}} on {{Visual Culture}}(s)},
  publisher =    {{Herbert von Halem Verlag}},
  date =         2007,
  author =       {Olk, Claudia},
  url =
                  {https://books.google.com/books?hl=en&lr=&id=YZoJRCsePY0C&oi=fnd&pg=PA153}
}

@book{olkVirginiaWoolfAesthetics2014,
  langid =       {english},
  title =        {Virginia {{Woolf}} and the {{Aesthetics}} of {{Vision}}},
  isbn =         {978-3-11-034023-5},
  abstract =     {The category of vision is significant for Modernist texts as
                  well as for the unfolding discourse of Modernism itself.
                  Within the general Modernist fascination with the artistic and
                  experimental possibilities of vision and perception this study
                  looks at Virginia Woolf’s novels and her critical writings and
                  examines the relation between visuality and aesthetics. An
                  aesthetics of vision, as this study argues, becomes a
                  productive principle of narrative. The visual is not only
                  pertinent to Woolf’s processes of composition, but her works
                  create a kind of vision that is proper to the text itself – a
                  vision that reflects on the experience of seeing and
                  renegotiates the relation between the reader and the text. The
                  study investigates key dimensions of aesthetic vision. It
                  addresses vision in the context of theories of aesthetic
                  experience and identifies a semantics of seeing. It analyses
                  functions of symbolic materiality in the presentation of
                  boundaries of perception, modes of temporality and poetic
                  potentialities. In exploring the connections between vision
                  and language, it seeks to provide new perspectives for a
                  reassessment of what occurs in Modernism's relation to
                  vision.},
  pagetotal =    212,
  publisher =    {{Walter de Gruyter GmbH \& Co KG}},
  date =         {2014-08-19},
  keywords =     {Language Arts & Disciplines / Linguistics / General,Literary
                  Criticism / European / English; Irish; Scottish;
                  Welsh,Literary Criticism / General,Literary Criticism /
                  Semiotics & Theory},
  author =       {Olk, Claudia},
}

@online{clarkeSuffragismImagismCosmic2016,
  langid = {english},
  title = {Suffragism, {{Imagism}}, and the “{{Cosmic Poet}}”: {{Scientism}} and {{Spirituality}} in {{The Freewoman}} and {{The Egoist}}},
  url = {https://www.taylorfrancis.com/},
  shorttitle = {Suffragism, {{Imagism}}, and the “{{Cosmic Poet}}”},
  abstract = {The little magazines Dora Marsden brought into being between 1911 and 1919-The
Freewoman, The New Freewoman, and The Egoist-function as a kind of critical},
  journaltitle = {Little Magazines \& Modernism},
  urldate = {2019-10-19},
  date = {2016-12-05},
  author = {Clarke, Bruce},
  doi = {10.4324/9781315250380-19}
}

@article{riddelNeoNietzscheanClatterSpeculation1981,
  title =        {"{{Neo}}-{{Nietzschean Clatter}}"-{{Speculation}} and the
                  {{Modernist Poetic Image}}},
  volume =       {9/10},
  issn =         {0190-3659},
  url =          {https://www.jstor.org/stable/303121},
  doi =          {10.2307/303121},
  journaltitle = {boundary 2},
  urldate =      {2019-10-19},
  date =         1981,
  pages =        {209-239},
  author =       {Riddel, Joseph},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/CCJJUI2T/303121.pdf}
}

@incollection{brookerEzraPoundImagism2007,
  langid =       {english},
  title =        {Ezra {{Pound}}, {{Imagism}}, and the {{Geography}} of the
                  {{Orient}}},
  isbn =         {978-1-134-32911-3},
  abstract =     {One of the most pivotal developments in contemporary literary
                  and cultural studies is the investigation of space and
                  geography, a trend which is proving particularly important for
                  modernist studies. This volume explores the interface between
                  modernism and geography in a range of writers, texts and
                  artists across the twentieth century. Cross-disciplinary
                  essays test and extend a variety of methodological approaches
                  and reveal the reach of this topic into every corner of
                  modernist scholarship. From Imagist poetry and the Orient to
                  teashops and modernism in London, or from mapping and
                  belonging in James Joyce or Joseph Conrad to the space of new
                  media artists, this remarkable volume offers fresh,
                  invigorating research that ranges across the field of
                  modernism. It also serves to identify the many exciting new
                  directions that future studies may take. With groundbreaking
                  essays from an international team of highly-regarded scholars,
                  Geographies of Modernism is an important step forward in
                  literary and cultural studies.},
  booktitle =    {Geographies of {{Modernism}}},
  publisher =    {{Routledge}},
  date =         {2007-05-07},
  keywords =     {Literary Criticism / General,Literary Criticism / Semiotics &
                  Theory,Literary Criticism / American / General,Literary
                  Criticism / European / English; Irish; Scottish; Welsh,Art /
                  General,Political Science / Globalization},
  author =       {Brooker, Peter and Thacker, Andrew},
  file =
                  {/home/jon/Dokumentujo/Papers/zotero/storage/WGTG3B63/Brooker_Thacker_2007_Ezra
                  Pound, Imagism, and the Geography of the Orient.pdf}
}

@book{qianOrientalismModernismLegacy1995,
  langid =       {english},
  title =        {Orientalism and {{Modernism}}: {{The Legacy}} of {{China}} in
                  {{Pound}} and {{Williams}}},
  isbn =         {978-0-8223-1669-5},
  url =
                  {https://read-dukeupress-edu.ezproxy.cul.columbia.edu/books/book/1786/Orientalism-and-ModernismThe-Legacy-of-China-in},
  shorttitle =   {Orientalism and {{Modernism}}},
  abstract =     {Chinese culture held a well-known fascination for modernist
                  poets like Ezra Pound and William Carlos Williams. What is
                  less known but is made fully clear by Zhaoming Qian is the
                  degree to which oriental culture made these poets the
                  modernists they became. This ambitious and illuminating study
                  shows that Orientalism, no less than French symbolism and
                  Italian culture, is a constitutive element of
                  Modernism.Consulting rare and unpublished materials, Qian
                  traces Pound's and Williams's remarkable dialogues with the
                  great Chinese poets—Qu Yuan, Li Bo, Wang Wei, and Bo
                  Juyi—between 1913 and 1923. His investigation reveals that
                  these exchanges contributed more than topical and thematic
                  ideas to the Americans' work and suggests that their
                  progressively modernist style is directly linked to a steadily
                  growing contact and affinity for similar Chinese styles. He
                  demonstrates, for example, how such influences as the ethics
                  of pictorial representation, the style of ellipsis, allusion,
                  and juxtaposition, and the Taoist/Zen–Buddhist notion of
                  nonbeing/being made their way into Pound's pre-Fenollosan
                  Chinese adaptations, Cathay, Lustra, and the Early Cantos, as
                  well as Williams's Sour Grapes and Spring and All. Developing
                  a new interpretation of important work by Pound and Williams,
                  Orientalism and Modernism fills a significant gap in accounts
                  of American Modernism, which can be seen here for the first
                  time in its truly multicultural character.},
  pagetotal =    250,
  publisher =    {{Duke University Press}},
  date =         1995,
  keywords =     {Poetry / American / General},
  author =       {Qian, Zhaoming},
}

@online{TimeTravel2015,
  title = {Time Travel},
  url = {https://www.1843magazine.com/places/cartophilia/time-travel},
  abstract = {An isochronic map shows where to go, how long it took to get there – and what changes were on the way},
  journaltitle = {1843},
  urldate = {2019-10-19},
  date = {2015-09-23T14:35:07+01:00}
}

@online{giaimoTravelingBackTime400,
  langid = {english},
  title = {Traveling {{Back}} in {{Time With Colorful Isochrone Maps}}},
  url = {http://www.atlasobscura.com/articles/isochrone-maps-color-time},
  abstract = {Journey-based charts from the past can help us track the progression of transportation technology.},
  journaltitle = {Atlas Obscura},
  urldate = {2019-10-19},
  year = {17:45:00 -0400},
  author = {Giaimo, Cara}
}

@article{carr2000imagism,
  title =        {Imagism and Empire},
  journaltitle = {Modernism and Empire},
  date =         2000,
  pages =        {64-92},
  author =       {Carr, Helen},
  publisher =    {{Manchester University Press Manchester}}
}

@book{nichollsModernismsLiteraryGuide2008,
  langid =       {english},
  title =        {Modernisms: {{A Literary Guide}}, {{Second Edition}}},
  isbn =         {978-1-137-11492-1},
  shorttitle =   {Modernisms},
  abstract =     {Peter Nicholls provides original analytic accounts of the main
                  Modernist movements. Close readings of key texts monitor the
                  histories of Futurism, Expressionism, Cubism, Dadaism and
                  Surrealism. This expanded and updated new edition includes a
                  new chapter on African-American Modernisms.},
  pagetotal =    420,
  publisher =    {{Macmillan International Higher Education}},
  date =         {2008-11-18},
  keywords =     {Literary Collections / General,Literary Criticism / General},
  author =       {Nicholls, Peter},
}

@article{rossNiggerNarcissusModernist2011,
  title =        {"{{The Nigger}} of the" "{{Narcissus}}" "and {{Modernist
                  Haunting}}"},
  volume =       44,
  issn =         {0029-5132},
  url =          {https://www.jstor.org/stable/41289248},
  number =       2,
  journaltitle = {NOVEL: A Forum on Fiction},
  urldate =      {2019-10-19},
  date =         2011,
  pages =        {268-291},
  author =       {ROSS, STEPHEN},
  file =         {/home/jon/Dokumentujo/Papers/zotero/storage/DQTBP7FK/41289248.pdf}
}

@incollection{butlerJoyceModernist2004,
  title =        {Joyce the {{Modernist}}},
  url =
                  {https://books.google.com/books?hl=en&lr=&id=gSXpYeqt2AYC&oi=fnd&pg=PR7&dq=cambridge+ulysses&ots=SpzgQkYOs4&sig=65fE2GSiicFLbnqbOFFyJyHJ_y0},
  booktitle =    {The {{Cambridge Companion}} to {{James Joyce}}},
  publisher =    {{Cambridge University Press}},
  urldate =      {2016-12-02},
  date =         2004,
  author =       {Butler, Christopher}
}

@article{bruceProjectionLuminousObjects1898,
  langid =       {english},
  title =        {The {{Projection}} of {{Luminous Objects}} in {{Space}}},
  journaltitle = {Journal of the Royal Society of Arts},
  date =         1898,
  author =       {Bruce, Eric Stuart},
}

@book{neumeyerOxfordHandbookFilm2014,
  langid =       {english},
  title =        {The {{Oxford Handbook}} of {{Film Music Studies}}},
  isbn =         {978-0-19-532849-3},
  abstract =     {The Oxford Handbook of Film Music Studies charts the
                  interdisciplinary activity around music in visual media,
                  addressing the primary areas of inquiry: history, genre and
                  medium, analysis and criticism, and interpretation. Chapters
                  in Part I cover the range most broadly, from the relations of
                  music and the soundtrack to opera and film, textual
                  representation of film sound, film music as studied by
                  cognitive scientists, and Hanns Eisler's work as film composer
                  and co-author of the foundational text Composing for the Films
                  (1947). Part II addresses genre and medium with chapters
                  focusing on cartoons and animated films, the film musical,
                  music in arcade and early video games, and the interplay of
                  film, music, and recording over the past half century. The
                  chapters in Part III offer case studies in interpretation
                  along with extended critical surveys of theoretical models of
                  gender, sexuality, and subjectivity as they impinge on music
                  and sound. The three chapters on analysis in Part IV are
                  diverse: one systematically models harmonies used in recent
                  films, a second looks at issues of music and film temporality,
                  and a third focuses on television. Chapters on history (Part
                  V) cover topics including musical antecedents in
                  nineteenth-century theater, the complex issues in
                  sychronization of music in performance of early (silent)
                  films, international practices in early film exhibition, and
                  the symphony orchestra in film.},
  pagetotal =    697,
  publisher =    {{OUP USA}},
  date =         2014,
  keywords =     {Music / History & Criticism,Music / Instruction & Study /
                  Theory,Music / Printed Music / Opera & Classical
                  Scores,Performing Arts / Film / Direction &
                  Production,Performing Arts / Film / History & Criticism},
  author =       {Neumeyer, David},
}

@book{herbartHerbartSenseperceptionMinor1896,
  langid =       {english},
  title =        {Herbart's {{A B C}} of {{Sense}}-Perception: {{And Minor
                  Pedagogical Works}}},
  shorttitle =   {Herbart's {{A B C}} of {{Sense}}-Perception},
  pagetotal =    350,
  publisher =    {{D. Appleton}},
  date =         1896,
  author =       {Herbart, Johann Friedrich},
}

@article{baronFlaubertJoyceVision2008,
  langid =       {english},
  title =        {Flaubert, {{Joyce}}: {{Vision}}, {{Photography}}, {{Cinema}}},
  volume =       54,
  issn =         {1080-658X},
  url =          {https://muse.jhu.edu/article/257623},
  doi =          {10.1353/mfs.0.1567},
  shorttitle =   {Flaubert, {{Joyce}}},
  abstract =     {Much attention has been paid in recent years to the influence
                  of the emerging medium of film on modernist literary
                  experimentation. This essay, while acknowledging the
                  importance of this relationship across the art forms,
                  considers the importance of Flaubert’s development of
                  cinematographic techniques of writing as a crucial literary
                  antecedent to Joyce’s adoption and elaboration of such
                  techniques. The essay considers Flaubert and Joyce’s often
                  analogous views of vision and photography and examines Joyce’s
                  attitudes to the cinema before looking in detail at examples
                  from both authors’ works which suggest an extensive technical
                  intertextuality between the two oeuvres.},
  number =       4,
  journaltitle = {MFS Modern Fiction Studies},
  urldate =      {2019-10-20},
  date =         2008,
  pages =        {689-714},
  author =       {Baron, Scarlett}
}

@book{yeatsWindingStairOther2012,
  langid =       {english},
  title =        {The {{Winding Stair}} and {{Other Poems}}: {{A Facsimile
                  Edition}}},
  isbn =         {978-1-4516-7374-6},
  shorttitle =   {The {{Winding Stair}} and {{Other Poems}}},
  abstract =     {An exact facsimile of the 1933 first edition of W.B. Yeats’s
                  The Winding Stair and Other Poems, a famously beautiful,
                  elegant volume intended as a companion to The Tower—with an
                  Introduction and notes by the eminent Yeats scholar George
                  Bornstein. Published in 1933 when W.B. Yeats was sixty-eight,
                  The Winding Stair and Other Poems is his longest stand-alone
                  volume of verse. Previously unavailable as a single volume,
                  this beautiful edition will appeal to both general readers and
                  textual scholars. Featuring sixty-four poems from the late
                  1920s and early 1930s, among them such masterpieces as “Blood
                  and the Moon,” “Byzantium,” the Coole Park poems,
                  “Vacillation,” and two separately titled long sequences
                  including the Crazy Jane poems and ending with the exquisite
                  lyric “From the ‘Antigone,’” this edition also includes an
                  Introduction and notes by celebrated Yeats scholar George
                  Bornstein. These poems amply justify T. S. Eliot’s contention
                  that Yeats was one of the few poets “whose history is the
                  history of their own time, who are a part of the consciousness
                  of an age which cannot be understood without them.”},
  pagetotal =    179,
  publisher =    {{Simon and Schuster}},
  date =         {2012-03-13},
  keywords =     {Poetry / European / English; Irish; Scottish; Welsh,Poetry /
                  General},
  author =       {Yeats, William Butler},
}

@book{joyceOccasionalCriticalPolitical2000,
  langid =       {english},
  title =        {Occasional, {{Critical}}, and {{Political Writing}}},
  isbn =         {978-0-19-283353-2},
  abstract =     {'I may not be the Jesus Christ I once fondly imagined myself,
                  but I think I must have a talent for journalism'James Joyce's
                  non-fictional writings address diverse issues: aesthetics, the
                  functions of the press, censorship, Irish cultural history,
                  England's literature and empire. This collection includes
                  newspaper articles, reviews, lectures, and propagandizing
                  essays that are consciously public, direct,and communicative.
                  It covers forty years of Joyce's life and maps important
                  changes in his opinions about politics, especially Irish
                  politics, about the relationship of literature to history, and
                  about writers who remained important to him such as Mangan,
                  Blake, Defoe, Ibsen, Wilde, and Shaw.These pieces also clarify
                  and illuminate the transformations in Joyce's fiction, from
                  Dubliners and A Portrait of the Artist as a Young Man to the
                  first drafts of Ulysses. Gathering together more than fifty
                  essays, several of which have never been available in an
                  English edition, this volume isthe most complete and the most
                  helpfully annotated collection.},
  pagetotal =    420,
  publisher =    {{Oxford University Press}},
  date =         2000,
  keywords =     {Literary Criticism / European / English; Irish; Scottish;
                  Welsh},
  author =       {Joyce, James},
}

@inreference{Cathay,
  langid = {british},
  title = {Cathay, n.},
  url = {https://www-oed-com.ezproxy.cul.columbia.edu/view/Entry/28931},
  booktitle = {{{OED Online}}},
  publisher = {{Oxford University Press}},
  urldate = {2019-10-21}
}

@inreference{PhanopoeiaPhanopeia,
  langid = {british},
  title = {Phanopoeia | Phanopeia, n.},
  url = {https://www-oed-com.ezproxy.cul.columbia.edu/view/Entry/142175},
  booktitle = {{{OED Online}}},
  publisher = {{Oxford University Press}},
  urldate = {2019-10-21}
}

@article{walterImageScreenVisual2008,
  title =        {From Image to Screen: {{H}}.{{D}}. and the Visual Origins of
                  Modernist Impersonality},
  volume =       22,
  issn =         {0950-236X},
  url =          {https://doi.org/10.1080/09502360802045007},
  doi =          {10.1080/09502360802045007},
  shorttitle =   {From Image to Screen},
  number =       2,
  journaltitle = {Textual Practice},
  urldate =      {2019-10-22},
  date =         {2008-06-01},
  pages =        {291-313},
  author =       {Walter, Christina}
}

@book{connorImage2004,
  langid =       {english},
  title =        {H.{{D}}. and the {{Image}}},
  isbn =         {978-0-7190-6122-6},
  abstract =     {H.D. and the Image is the only book-length study to explore
                  how H.D.'s involvement with the moving image--from her
                  appearance in avant-garde films, to her experience of film
                  editing and her discursive writing on cinema--informs the
                  textual practice of her poetry and prose. Focusing on the
                  eclecticism of H.D.'s intellectual pursuits and drawing on a
                  broad theoretical framework, which includes gender, film and
                  cultural theory, the book makes a significant contribution to
                  the increasingly multidisciplinary field of transatlantic
                  modernist studies.},
  pagetotal =    170,
  publisher =    {{Manchester University Press}},
  date =         2004,
  keywords =     {Literary Criticism / Women Authors,Performing Arts / Film /
                  History & Criticism},
  author =       {Connor, Rachel},
}

@Book{bowler16_liter,
  author =       {Bowler, Rebecca},
  title =        {Literary impressionism : vision and memory in Dorothy
                  Richardson, Ford Madox Ford, H.D., and May Sinclair},
  year =         2016,
  publisher =    {Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc},
  address =      {London New York},
  isbn =         1474269060,
}

@Book{matz01_liter,
  author =       {Matz, Jesse},
  title =        {Literary impressionism and modernist aesthetics},
  year =         2001,
  publisher =    {Cambridge University Press},
  address =      {Cambridge, U.K. New York},
  isbn =         0521803527,
}

@Book{gunsteren90_kather_mansf,
  author =       {Gunsteren, Julia},
  title =        {Katherine Mansfield and literary impressionism},
  year =         1990,
  publisher =    {Rodopi},
  address =      {Amsterdam},
  isbn =         9051831994,
}

@inbook{symons74_from_impres_writin,
  DATE_ADDED =   {Sat Nov 9 16:23:35 2019},
  author =       {Arthur Symons},
  booktitle =    {Arthur Symons: Selected Writings},
  doi =          {10.1093/oseo/instance.00249576},
  pages =        {nil},
  publisher =    {Oxford University Press},
  series =       {Arthur Symons: Selected Writings},
  title =        {From 'Impressionistic Writing'},
  url =          {https://doi.org/10.1093/oseo/instance.00249576},
  year =         1974,
}

@book{ford1939march,
  title =        {The March of Literature: From Confucius to Modern Times},
  author =       {Ford, F.M.},
  url =          {https://books.google.com/books?id=v46FvwEACAAJ},
  year =         1939,
  publisher =    {G. Allen and Unwin, Limited}
}

@article{10.1093/llc/fqz072,
  author =       {Sula, Chris Alen and Hill, Heather V},
  title =        "{The early history of digital humanities: An analysis of
                  Computers and the Humanities (1966–2004) and Literary and
                  Linguistic Computing (1986–2004)}",
  journal =      {Digital Scholarship in the Humanities},
  year =         2019,
  month =        11,
  abstract =     "{Most commentators locate the origin of digital humanities
                  (DH) in computational text analysis of the mid-twentieth
                  century, beginning in 1946 with Roberto Busa’s plans for the
                  Index Thomisticus, a massive attempt to encode nearly 11
                  million words of Thomas Aquinas’ writings on IBM punch cards.
                  This event (and the narrative that follows) is found
                  throughout the literature, leading some to believe that early
                  DH work ‘concentrated, perhaps somewhat narrowly, on text
                  analysis (such as classification systems, mark-up, text
                  encoding, and scholarly editing)’ (Presner, 2010, p. 6).
                  Others seem convinced that DH is still only text analysis or
                  too dominated by it (Meeks, 2013)—and misguided in its
                  approach (Fish, 2012). Meanwhile, Underwood (2017) has
                  recently made a case for disentangling distant reading methods
                  from DH generally, noting that the former predates and does
                  not depend on digital technology.This article presents an
                  empirical perspective on the early history of DH by tracing
                  publications in two foundational journals (Computers and the
                  Humanities (CHum), established in 1966, and Literary and
                  Linguistic Computing (LLC), established in 1986), with
                  particular emphasis on media types, authors’ disciplines and
                  locations, and teaching and learning. In doing so, we examine
                  the extent to which early DH work focused on text analysis as
                  well as broader trends in the early history of the field.}",
  issn =         {2055-7671},
  doi =          {10.1093/llc/fqz072},
  url =          {https://doi.org/10.1093/llc/fqz072},
  note =         {fqz072},
  eprint =
                  {http://oup.prod.sis.lan/dsh/advance-article-pdf/doi/10.1093/llc/fqz072/30383075/fqz072.pdf},
}

@article{gius19_forew_to_special_issue_ae,
  author =       {Evelyn Gius and Nils Reiter and Marcus Willand},
  title =        {Foreword To the Special Issue "A Shared Task for the Digital
                  Humanities: Annotating Narrative Levels"},
  journal =      {Journal of Cultural Analytics},
  volume =       {nil},
  number =       {nil},
  pages =        {nil},
  year =         2019,
  doi =          {10.22148/16.047},
  url =          {https://doi.org/10.22148/16.047},
  DATE_ADDED =   {Mon Nov 11 12:29:17 2019},
}

@book{fielding2005history,
  title =        {The History of Tom Jones},
  author =       {Fielding, H. and Wakely, A. and Keymer, T.},
  isbn =         9780141907680,
  series =       {Penguin classics},
  url =          {https://books.google.com/books?id=iz70ULmzbOUC},
  year =         2005,
  publisher =    {Penguin Books Limited}
}

@Book{parsons07_theor,
  author =       {Parsons, Deborah},
  title =        {Theorists of the modernist novel : James Joyce, Dorothy
                  Richardson and Viriginia Woolf},
  year =         2007,
  publisher =    {Routledge},
  address =      {London},
  isbn =         1134451326,
}

@Book{williams96,
  author =       {Williams, Raymond},
  title =        {The politics of modernism : against the new conformists},
  year =         1996,
  publisher =    {Verso},
  address =      {London England New York},
  isbn =         1859841619,
}

@book{wittgenstein1922tractatus,
  title =        {Tractatus Logico-philosophicus},
  author =       {Wittgenstein, L.},
  lccn =         23006615,
  series =       {International library of psychology, philosophy, and
                  scientific method},
  url =          {https://books.google.com/books?id=w-PWAAAAMAAJ},
  year =         1922,
  publisher =    {Harcourt, Brace, Incorporated}
}

@book{ogden1972meaning,
  title =        {The Meaning of Meaning: A Study of the Influence of Language
                  Upon Thought and of the Science of Symbolism},
  author =       {Ogden, C.K. and Richards, I.A.},
  series =       {Harvest book},
  url =          {https://books.google.com/books?id=3zdrxgEACAAJ},
  year =         1972,
  publisher =    {Harcourt, \& Brace}
}

@Book{james86,
  author =       {James, Henry},
  title =        {The art of criticism : Henry James on the theory and the
                  practice of fiction},
  year =         1986,
  publisher =    {University of Chicago Press},
  address =      {Chicago},
  isbn =         0226391973,
}

@Book{james04_henry_james,
  author =       {James, Henry},
  title =        {The portable Henry James},
  year =         2004,
  publisher =    {Penguin Books},
  address =      {New York},
  isbn =         0142437670,
  file =         {/home/jon/Dokumentujo/Papers/james04_henry_james.epub},
}

@Book{banfield00,
  author =       {Banfield, Ann},
  title =        {The phantom table : Woolf, Fry, Russell, and the epistemology
                  of modernism},
  year =         2000,
  publisher =    {Cambridge University Press},
  address =      {Cambridge, U.K. New York},
  isbn =         0521034035,
}

@Book{israel15_spiral,
  author =       {Israel, Nico},
  title =        {Spirals : the whirled image in twentieth-century literature
                  and art},
  year =         2015,
  publisher =    {Columbia University Press},
  address =      {New York},
  isbn =         0231526687,
}

@Book{mccabe04_cinem,
  author =       {McCabe, Susan},
  title =        {Cinematic modernism : modernist poetry and film},
  year =         2004,
  publisher =    {Cambridge University Press},
  address =      {Cambridge, U.K. New York},
  isbn =         0521846218,
}

@Article{hueffer_poetry_drama,
  author =       {Ford Madox Hueffer},
  title =        {On Impressionism},
  journal =      {Poetry and Drama},
  year =         1914,
  volume =       1,
  number =       2,
  pages =        {167-175},
  url =
                  {https://babel.hathitrust.org/cgi/pt?id=umn.31951002792749y&view=1up&seq=714},
}

@Book{tennyson1833,
  author =       {Alfred Tennyson},
  title =        {Poems},
  publisher =    {Edward Moxon},
  year =         1833,
  url =
                  {https://play.google.com/books/reader?id=R_NHAQAAMAAJ&hl=en&pg=GBS.PA60}
}

@Book{moran96_word,
  author =       {Moran, Patricia},
  title =        {Word of mouth : body language in Katherine Mansfield and
                  Virginia Woolf},
  year =         1996,
  publisher =    {University Press of Virginia},
  address =      {Charlottesville Va},
  isbn =         0813916755,
}

@InCollection{boscagli2018,
  author =       {Maaurizia Boscagli},
  title =        {The Art of Work: Katherine Mansfield's Servant and Perception},
  booktitle =    {Re-forming World Literature: Katherine Mansfield and the
                  Modernist Short Story},
  publisher =    {ibidem-Verlag},
  year =         2018,
  editor =       {Gerri Kimber, Janet Wilson},
  pages =        {71-90},
}

@InCollection{boscagli2018,
  author =       {Janet Wilson},
  title =        {"Kew Gardens" and "Miss Brill": Virginia Woolf and Katherine
                  Mansfield as Short Story Writers},
  booktitle =    {Re-forming World Literature: Katherine Mansfield and the
                  Modernist Short Story},
  publisher =    {ibidem-Verlag},
  year =         2018,
  editor =       {Gerri Kimber, Janet Wilson},
  pages =        {113-137},
}
@book{kimber2018,
  title =    {Re-forming World Literature: Katherine Mansfield and the Modernist Short Story},
  author =       {Gerri Kimber},
  publisher =    {ibidem-Verlag},
  year =         2018,
  }

@article{jay88_rise,
  author =       {Martin Jay},
  title =        {The Rise of Hermeneutics and the Crisis of Ocularcentrism},
  journal =      {Poetics Today},
  volume =       9,
  number =       2,
  pages =        307,
  year =         1988,
  doi =          {10.2307/1772691},
  url =          {https://doi.org/10.2307/1772691},
  DATE_ADDED =   {Mon Dec 9 15:35:19 2019},
}

@book{perkins1976history,
  title =        {A History of Modern Poetry: From the 1890s to the High
                  Modernist Mode},
  author =       {Perkins, D.},
  isbn =         9780674399457,
  lccn =         {gb82028624},
  series =       {A History of Modern Poetry},
  url =          {https://books.google.com/books?id=lCU7r07Nb-UC},
  year =         1976,
  publisher =    {Belknap Press of Harvard University Press}
}

@article{haslam2018fragmenting,
  title =        {Fragmenting Modernism: Ford Madox Ford, the novel and the
                  great war},
  author =       {Haslam, Sara},
  year =         2018,
  publisher =    {Manchester University Press}
}

@article{cannon1989,
  ISSN =         {00031283, 15272133},
  URL =          {http://www.jstor.org/stable/455038},
  author =       {Garland Cannon},
  journal =      {American Speech},
  number =       2,
  pages =        {99--127},
  publisher =    {[Duke University Press, American Dialect Society]},
  title =        {Abbreviations and Acronyms in English Word-Formation},
  volume =       64,
  year =         1989
}

@Article{woodOrigin1905,
  author =       {Wood, Francis},
  title =        {The Origin of Color-Names},
  journal =      {Modern Language Notes},
  year =         1905,
  volume =       20,
  number =       8,
  month =        12,
}

@book{wood1902color,
  title =        {Color-names and their congeners: A semasiological
                  investigation},
  author =       {Wood, Francis Asbury},
  year =         1902,
  publisher =    {M. Niemeyer}
}

@book{plümacher2007speaking,
  title =        {Speaking of Colors and Odors},
  author =       {Pl{\"u}macher, M. and Holz, P.},
  isbn =         9789027238955,
  lccn =         2006048028,
  series =       {Converging evidence in language and communication research},
  url =          {https://books.google.com/books?id=zjTI1sFCzA4C},
  year =         2007,
  publisher =    {John Benjamins Pub.}
}

@book{warhurst1899,
  title =        {A Colour Dictionary,: Giving Two Hundred Names of Colours},
  author =       {Warhurst, B.W.},
  lccn =         59058825,
  url =          {https://books.google.com/books?id=iAooygEACAAJ},
  year =         1899,
  publisher =    {S. Gibbons}
}

@book{osborne2017books,
  title =        {Books on Colour 1495-2015: History and Bibliography},
  author =       {Osborne, R.},
  isbn =         9781326459710,
  url =          {https://books.google.com/books?id=PpUGCwAAQBAJ},
  year =         2017,
  publisher =    {Lulu.com}
}

@book{gillum1929color,
  title =        {Color Secrets},
  author =       {Gillum, W.},
  lccn =         29025752,
  url =          {https://books.google.com/books?id=qdU0D4-bbskC},
  year =         1929,
  publisher =    {Journal printing Company}
}

@book{munsell1905color,
  title =        {A Color Notation},
  author =       {Munsell, A.H.},
  lccn =         05011910,
  url =          {https://books.google.com/books?id=PgcCAAAAYAAJ},
  year =         1905,
  publisher =    {G. H. Ellis Company}
}

@Book{munsellAtlas,
  author =       {Munsell, A.H.},
  title =        {Munsell Color Atlas},
  publisher =    {Munsell Color Company},
  year =         1925,
}

@book{field1869field,
  title =        {Field's chromatography, revised by T.W. Salter},
  author =       {Field, G. and Salter, T.W.},
  url =          {https://books.google.com/books?id=hy4DAAAAQAAJ},
  year =         1869
}

@book{ridgway1912color,
  title =        {Color standards and color nomenclature},
  author =       {Ridgway, Robert},
  year =         1912,
  publisher =    {Self-published},
  url =          {https://archive.org/details/ldpd_8627102_000/page/n3/mode/2up}
}

@book{ridgway1886nomenclature,
  title =        {A nomenclature of colors for naturalists: and compendium of
                  useful knowledge for ornithologists},
  author =       {Ridgway, Robert},
  year =         1886,
  publisher =    {Little, Brown, and Company}
}

@book{saccardo1891chromotaxia,
  title =        {Chromotaxia: seu, Nomenclator colorum polyglottus additis
                  speciminibus coloratis ad usum botanicorum et zoologorum},
  author =       {Saccardo, Pier Andrea},
  year =         1891,
  publisher =    {typis Seminarii},
  url =
                  {https://archive.org/details/chromotaxiaseuno00sacc/page/16/mode/2up}
}

@article{feynman1965feynman,
  title =        {The feynman lectures on physics; vol. i},
  author =       {Feynman, Richard P and Leighton, Robert B and Sands, Matthew},
  journal =      {American Journal of Physics},
  volume =       33,
  number =       9,
  pages =        {750--752},
  year =         1965,
  publisher =    {American Association of Physics Teachers},
  url =
                  {https://books.google.com/books?id=d76DBQAAQBAJ&printsec=frontcover&dq=feynman+lectures+on+physics&hl=eo&sa=X&ved=0ahUKEwit4uGo17PpAhVUmHIEHZciAYwQ6AEIMTAB#v=onepage&q=feynman%20lectures%20on%20physics&f=false}
}

@book{hurst1900colour,
  title =        {Colour: A Handbook of the Theory of Colour},
  author =       {Hurst, G.H.},
  lccn =         {a11000875},
  url =          {https://books.google.com/books?id=l6waAAAAYAAJ},
  year =         1900,
  publisher =    {Scott, Greenwood}
}

@book{maerz1930dictionary,
  title =        {A Dictionary of Color},
  author =       {Maerz, A. and Paul, M.R.},
  lccn =         30016563,
  url =
                  {https://babel.hathitrust.org/cgi/pt?id=mdp.39015014923059&view=1up&seq=9&size=150},
  year =         1930,
  publisher =    {McGraw - Hill Book Comp.}
}

@book{von1840goethe,
  title =        {Goethe's Theory of Colours},
  author =       {Goethe, J.W. and Eastlake, C.L.},
  lccn =         {lc13011178},
  url =          {https://books.google.com/books?id=qDIHAAAAQAAJ},
  year =         1840,
  publisher =    {J. Murray}
}

@book{von1840theory,
  title =        {Theory of Colours},
  author =       {von Goethe, J.W.},
  lccn =         74084656,
  series =       {Cass Library of science classics},
  url =          {https://books.google.com/books?id=7uVMAQAAMAAJ},
  year =         1840,
  publisher =    {M.I.T. Press}
}

@book{wittgenstein1978remarks,
  title =        {Remarks on Colour [Uber Die Farben Bemerkungen]},
  author =       {Wittgenstein, L. and Anscombe, G.E.M.},
  url =          {https://books.google.com/books?id=MxbsnQAACAAJ},
  year =         1978,
  publisher =    {Blackwell Publishing}
}

@article{wierzbicka2006semantics,
  title =        {The Semantics of Color},
  author =       {Wierzbicka, Anna},
  journal =      {Progress in Color Studies. Amsterdam/Philadelphia: John
                  Benjamins Publishing Company},
  pages =        {1--24},
  year =         2006
}

@book{biggam2006progress,
  title =        {Progress in Colour Studies: Language and culture},
  author =       {Biggam, C.P. and Kay, C. and Pitchford, N.},
  isbn =         9789027232397,
  lccn =         2006048782,
  series =       {Progress in Colour Studies},
  url =          {https://books.google.com/books?id=sQg9ODPK-pwC},
  year =         2006,
  publisher =    {J. Benjamins Pub.}
}

@book{pitchford2006progress,
  title =        {Progress in Colour Studies: Volume II. Psychological aspects},
  author =       {Pitchford, N. and Biggam, C.P.},
  isbn =         9789027293022,
  lccn =         2006048782,
  series =       {Progress in Colour Studies},
  url =          {https://books.google.com/books?id=QYU6AAAAQBAJ},
  year =         2006,
  publisher =    {John Benjamins Publishing Company}
}

@book{clarke2003imagery,
  title =        {Imagery of Colour \& Shining in Catullus, Propertius \&
                  Horace},
  author =       {Clarke, J.},
  isbn =         9780820456720,
  lccn =         2002030101,
  series =       {Lang classical studies},
  url =          {https://books.google.com/books?id=F4dfAAAAMAAJ},
  year =         2003,
  publisher =    {Peter Lang}
}

@book{1893first,
  title =        {The First Six Books of Homer's Iliad: The Original Text
                  Reduced to the Natural English Order, with a Literal
                  Interlinear Translation},
  series =       {Classic interlinear translations},
  url =          {https://books.google.com/books?id=8mUzsoZHfUgC},
  year =         1893,
  publisher =    {A. Hinds}
}

@book{berlin1991basic,
  title =        {Basic Color Terms: Their Universality and Evolution},
  author =       {Berlin, B. and Kay, P.},
  isbn =         9780520076358,
  lccn =         70076541,
  url =          {https://books.google.com/books?id=sGDxruwl9OkC},
  year =         1991,
  publisher =    {University of California Press}
}

@article{robertson1990historical,
  title =        {Historical development of CIE recommended color difference
                  equations},
  author =       {Robertson, Alan R},
  journal =      {Color Research \& Application},
  volume =       15,
  number =       3,
  pages =        {167--170},
  year =         1990,
  publisher =    {Wiley Online Library}
}

@Book{cieHistory1990,
  author =       {Commission Internationale de l'EClairage},
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license_type: permissive

branch_name: refs/heads/master

gha_language: TeX

extension: bib