II. history, anthropology, sociology of the senses 1°








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SENSE and SENSATION
websites, blogs and forums
research networks, centres, laboratories
publications
calls for papers, conferences, seminars

CONTENTS:

I. HISTORY of the SENSES
AHR Forum pp.1-2
II. HISTORY, ANTHROPOLOGY, SOCIOLOGY of the SENSES
Centre for Sensory Studies (includes links to Research Directory and Related Interest)
Publications related to the Sensory Studies Centre
A) Constance Classen
B) Sensory Formations Series
C) Senses and Society Journal

III. PHILOSOPHY and PSYCHOLOGY of the SENSES
The Network for Sensory Research.
The Centre for the Study of Perceptual Experience (CSPE) 
The Network Centre for Sensory Research (NetCenSR)
The Centre for the Study of the Senses (CenSes)
IV. SITES and PROJECTS more specifically relevant to EARLY MODERN STUDIES
Sense Shaper
Early Modern Conversions/ “The Sense of Hearing”
SENSES, EMOTIONS and URBAN HISTORY
A) Amsterdam Centre for Cross-Disciplinary Emotion and Sensory Studies (ACCESS)
B) The Sound of Amsterdam (Museum of Amsterdam)
C) Australian Research Council Centre of Excellence for the History of Emotions
(Europe 1100 – 1800)
V. CFPS, CONFERENCES and SEMINARS
CFP “Decadence and the Senses” (Dec 2013)
CFP “JOINED SENSESsynaesthesia in texts and images” (June 2014)
“Qualia : Thinking the Senses” (March 2008)
VISUAL ARTS/ VISUAL CULTURE
A) “How to See Light. Perception in Early Modern Optics” (Oct. 2013)
B) “Early Modern Colour Practices, 1450-1650” (Sept. 2013)
C) “Sense as a Ratio: Early Modern Proportional Analogies in Visual Art” (April 2014)
HEARING
CFP “Noise in EM England” (March 2014)
TASTE / DISTASTE
« Le dégoût. Histoire, langage, politique et esthétique d’une émotion plurielle » (mai 2013)
MEDIEVAL STUDIES
A) « Penser les cinq sens au Moyen Age : poétique, esthétique, éthique » (mai 2013)

B) « Les cinq sens au Moyen Âge (II) » (mai 2013)
C) “The Five Senses in Medieval and Early Modern Cultures” (June 2013)
D) « Le débat des cinq sens au Moyen Âge et à la Renaissance » (mars 2012)
E) « L'expérience de la ville. Les cinq sens du citadin, du Moyen Age à l’époque contemporaine. Contribution à une anthropologie historique urbaine » (mai 2011)
VII. PUBLICATIONS – AUTRES/ FRANCE



I. HISTORY of the SENSES

The April 2011 issue of the American Historical Review includes an AHR Forum on "The Senses in History."

http://blog.historians.org/2011/04/american-historical-review-april-2011/

AHR Forum
The six articles in "The Senses in History" treat the five canonical human senses, even though they are not so easily separable, as rightly noted by one of the contributors, Mark S.R. Jenner. While the senses are now often studied individually, this forum juxtaposes current research in each of the traditional senses to put such work in greater dialogue and to bring new work in "sensory history" to the attention of historians generally. The essays themselves vary in strategy: some are more historiographical and others more empirical.

In his introductory essay, "In the Realm of the Senses," Martin Jay places the study of the senses at the unstable crossroads between corporeality and meaning, nature and culture. He argues that the discipline of history is better positioned than neuroscience and cognitive psychology to study the discursive differentiation and ranking of the senses, their impairment, and their enhancement, and to investigate the relationship between hegemonic cultural assumptions about the senses and actual material and corporeal practices of a place and time in history.

In "On Being Heard: A Case for Paying Attention to the Historical Ear," Sophia Rosenfeld focuses on the history of sound and audition in Europe and its colonies since the early 17th century, an area in which historical research has achieved sufficient density to be able to generate a synthetic narrative. The centerpiece of her essay is a consideration of the effects of the French Revolution, when the newly regained right to free speech led to a reciprocal need to be heard—which could itself, she argues, be a battlefield. She thereby connects the history of hearing to central issues of modern European political history.

In "Follow Your Nose? Smell, Smelling, and Their Histories," Mark S.R. Jenner rejects the teleology and stereotyping embedded in an association of modernity with deodorization. A narrative that lodges smells in a primitive past or in contemporary poverty does not help us appreciate either the modern generation of smells (fair and foul) or the complexity of smellscapes deserving careful historical analysis. Jenner also demands conceptual care in avoiding culture/nature and human/environment dichotomies. The sense of smell in particular suggests the permeability of these domains, as well as the interconnectivity of the senses themselves, if we are to investigate the totality of bodily techniques in various historical moments.

Facing the impossible task of encapsulating the overwhelming amount of historical research on visuality and visual culture, Jessica Riskin delves instead into an intellectual history of the eye itself. Significantly, the eye was rendered distinct from vision by English, British, and European intellectuals spanning from the 17th to the 19th centuries. This distinction was purposeful, making it possible to characterize the eye’s mechanistic properties to suit theological agendas. "The Divine Optician" demonstrates how mechanistic principles were associated not only with science but with theology in Britain and Europe well into the 19th century.

Priscilla Parkhurst Ferguson considers "The Senses of Taste," which she says were primarily corporeal until scientific and aesthetic determinations of "taste" emerged in Europe in the 18th century. Once decorporealized, taste was turned into a means of judging individuals and groups, and signifying the contested terms of personal status, collective identity, and social order. Not only social foodways but cookbooks and other representations of food changed over time, and thus can contribute to our understanding of self and society in history.

Elizabeth D. Harvey meditates on "The Portal of Touch" mainly through a single and singular example, the collaboratively produced painting The Allegory of Touch (1617) by Peter Paul Rubens and Jan Brueghel the Elder. She begins with Plato and moves into Renaissance print and visual culture before engaging in a close analysis of an emblematic artwork. Among the intellectual elite in Renaissance Europe, human skin and the sense of touch involved both boundedness and permeability at the same time, according to Harvey.
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II. HISTORY, ANTHROPOLOGY, SOCIOLOGY of the SENSES
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