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<i class="">With apologies for cross-posting. Free and open event: everybody welcome!</i> </div>
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<p class="MsoNormal" style="text-align: center;"><i class=""> </i><b class="">The Senses and the Meanings of Modernity in East Asia, 1890–1945</b> </p>
<p class="MsoNormal" align="center" style="text-align:center">an exploratory workshop <o:p class=""></o:p></p>
<p class="MsoNormal" align="center" style="text-align:center">18 June 2018, room S116 (Senate House), SOAS, University of London</p>
<p class="MsoNormal" align="right" style="text-align:right"><br class="">
</p>
<p class="MsoNormal">Reflecting recent shifts towards the study of embodied subjectivities and embodied cognition, the senses have re-emerged as objects of inquiry that span the arts, humanities, hard and social sciences. The senses, however, are not only hard-wired,
inert physiological givens; as the young Marx stressed as early as 1844, ‘the forming of the five senses is a labour of the entire history of the world down to the present.’ This awareness of historical sedimentation and cultural entanglement-in-the-world
can often be missing from current work on affect, sensing and embodiment that assumes unchanging bodies and universal subjects.</p>
<p class="MsoNormal"><o:p class=""></o:p></p>
<p class="MsoNormal"><o:p class=""> </o:p>Modernity always tears older structures of perception and brings in a new distribution of the sensible. In East Asia these processes were condensed, uneven and particularly traumatic as they involved the real and symbolic
violence of colonialism (China, Korea) and state-sponsored modernization (Japan). Visuality was paramount in the Japanese empire’s regime of power/knowledge in both the metropole and the colonies. Local practices of the body and the senses, some rooted in
centuries of cultural training, were remade into universal quantifiable units and trajectories. Larger, transnational historical and technological forces worked to separate the senses, amplifying single sensory pathways.</p>
<p class="MsoNormal"><o:p class=""></o:p></p>
<p class="MsoNormal"><o:p class=""> </o:p>This project proposes the senses as an overarching framework that can help us reconceptualise the social, cultural and technological histories of modernity in East Asia. The senses let us think beyond established disciplinary
divisions, such as those between modernism as a network of <i class="">aesthetic</i> practices and the
<i class="">material </i>developments characteristic of modernity. They can help us challenge the determinist narrative of imported Western technological inventions transforming a social field from the outside and restore subjective and social agency to the
histories of media in East Asia. Modernity requires perspectives that can capture the flows of objects, bodies, and representations beyond the boundaries of the nation. Border-crossing forms of knowledge are urgently needed in the study of East Asia, as the
geopolitically-driven approaches of ‘area studies’ still insist on the nation-state as a validating category, isolating China, Japan and Korea from each other and positioning them into the linear teleologies of modernization, with Western experience as the
norm.</p>
<p class="MsoNormal"><o:p class=""></o:p></p>
<p class="MsoNormal">How did older modes of perception and the inherent intersubjectivity of certain sensory experiences encounter the monadic, self-contained subject demanded by capitalist modernization? How did cultural practices and critical discourses in
China, Japan and Korea respond to the new domination of the eye? Do we find only resistances and tensions or are there resonances and alignments between the non-visual arts and the dominant visual regime? Can approaches centred on the senses help us scrutinize
the juxtapositions between ‘high’ art, music and literature, and burgeoning mass visual and auditory cultures? Do we need a rigorous historical anchoring of these explorations or should we look for perspectives that cross not only geographies and disciplines,
but also time periods?</p>
<div class=""><b class="">Provisional programme:</b></div>
<div class="">
<p class="MsoNormal"><span style="line-height: 115%;" class=""><b class="">10.00 </b> Welcome and opening remarks<b class=""><o:p class=""></o:p></b></span></p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Dr Irena Hayter, University of Leeds
<o:p class=""></o:p></span></p>
<p class="MsoNormal"><b class=""><span style="line-height: 115%;" class="">10.15–11.45 </span></b><span style="line-height: 115%;" class="">Jinhee Choi (King’s College London):
</span><span style="line-height: 115%;" class="">Home is Where the Kitchen Is: <i class="">Little Forest</i> (2014, 2018)</span></p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Loli Kim (Surrey): Transition to Transnational: A Semantic Approach to Violence in South Korean Cinema<o:p class=""></o:p></span></p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Emilie Tullio (Strasbourg): Korean Gastro-Diplomacy: Engaging the Senses in Public Diplomacy and Nation Branding in ROK and beyond<o:p class=""></o:p></span></p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Angela Becher (Manchester): Doors of Perception: VR and Postnarrative Trips in Chinese Visual Arts</span></p>
<p class="MsoNormal"><b class=""><span style="line-height: 115%;" class="">12.30 – 14.00
</span></b>Stephanie Su (SISJAC): Media and Senses in the Historical Imagination of Modern China</p>
<p class="MsoNormal" style="margin-left:72.0pt;text-indent:36.0pt;line-height:
normal">
Margaret Hillenbrand (Oxford): tbc <i class=""><o:p class=""></o:p></i></p>
<div style="margin: 0cm 0cm 0.0001pt 108pt; line-height: normal;" class="">Jeremy Taylor (Nottingham): Performing and Interpreting the New Citizens Movement in Wartime China: Methodological Challenges in Analyzing the Political Culture of "Collaboration"<o:p class=""></o:p></div>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:
normal">
<span class="Apple-tab-span" style="white-space:pre"> </span>Angus Lockyear (SOAS): Against the Gaze: Modern Times and Unseen Things</p>
<p class="MsoNormal" style="line-height:normal"><b class="">14.15 – 15.45 </b>Jonathan Service (Oxford): Writing the History of Music: Concept and Metaphor in the History of the Senses in Japan </p>
<p class="MsoNormal" style="margin-left:108.0pt;line-height:normal"><o:p class=""></o:p></p>
<p class="MsoNormal" style="margin-left:108.0pt;line-height:normal">Maki Fukuoka (Leeds):
<span style="font-family: 'Lucida Grande';" class="">Occasions to See a Portrait in Early Meiji: 5 Ws and 1 H</span><o:p class=""></o:p></p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Tomoko Tamari (Goldsmiths):
</span><span style="line-height: 115%;" class="">The Luxury Sensibility and the Consumer Culture Lifestyles: Modernization and Department Store in early 20th Japan</span><i class=""><span style="line-height: 115%;" class="">
<o:p class=""></o:p></span></i></p>
<p class="MsoNormal" style="margin-left:108.0pt;line-height:normal">Yue Zhuang (Exeter): Public Parks and Politeness: An Imported Modernity? A Case Study of the Western Hills, Beijing, from the Late Qing to the Republic of China </p>
<p class="MsoNormal"><b class=""><span style="line-height: 115%;" class="">16.00 – 17.00 </span></b>Irena Hayter: For the Eyes Only: The Sensory Politics of Japanese Modernism</p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Boram Lee (Edinburgh): Korean Artists’ Sentiments on the Local Colour Movement, 1922–1930s
<o:p class=""></o:p></span></p>
<p class="MsoNormal" style="margin-left:108.0pt"><span style="line-height: 115%;" class="">Jess Son (SOAS):
</span><span style="line-height: 115%;" class="">Visualising the Nation State: Early Attempts of Modernisation through Imagery in Pre-colonial Korea (1880-1910s)<o:p class=""></o:p></span></p>
<p class="MsoNormal" style="margin-left:108.0pt;text-indent:-108.0pt"><o:p class=""> </o:p><i class="">Supported by the Strategic Research Development Fund at the School of Languages, Cultures and Societies, University of Leeds, The Great Britain Sasakawa Foundation
and the SOAS Japan Research Centre. </i></p>
</div>
<p class="MsoNormal"><o:p class=""></o:p></p>
<p class="MsoNormal"><o:p class=""><font class=""> contact: <a href="mailto:i.hayter@leeds.ac.uk" class="">i.hayter@leeds.ac.uk</a> </font></o:p></p>
<p class="MsoNormal"><o:p class=""> </o:p></p>
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<span class="Apple-style-span" style="border-collapse: separate; font-family: Helvetica; font-variant-ligatures: normal; font-variant-east-asian: normal; font-variant-position: normal; line-height: normal; border-spacing: 0px;"><b class=""><font class="Apple-style-span" style="color: rgb(95, 94, 95);">Dr
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Lecturer in Japanese Studies</div>
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<div style="font-family: Helvetica, Arial; font-size: 13px;" class=""><font color="#797979" face="Helvetica" style="font-size: 11px;" class="">School of Languages, Cultures and Societies</font></div>
<div style="font-family: Helvetica, Arial; font-size: 13px;" class=""><font color="#797979" face="Helvetica" style="font-size: 11px;" class="">University of Leeds</font>
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