{"id":4,"date":"2020-02-03T09:40:37","date_gmt":"2020-02-03T14:40:37","guid":{"rendered":"http:\/\/pressbooks.library.upei.ca\/artsreview-ix\/2020\/02\/03\/introduction\/"},"modified":"2020-05-20T11:02:58","modified_gmt":"2020-05-20T15:02:58","slug":"introduction-tinge","status":"publish","type":"front-matter","link":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/front-matter\/introduction-tinge\/","title":{"raw":"Introduction","rendered":"Introduction"},"content":{"raw":"
\r\n
\r\n\r\nso much depends\r\nupon\r\n\r\na red wheel\r\nbarrow\r\n\r\nglazed with rain\r\nwater\r\n\r\nbeside the white\r\nchickens\r\n\r\n\u2015 William Carlos Williams, \u201cThe Red Wheelbarrow\u201d\r\n\r\n<\/div>\r\n<\/div>\r\nTinge<\/em> is a celebration of colour and connection \u2013 an exploration of nuance, searching, and perspective. In \u201cThe Red Wheelbarrow,\u201d William Carlos Williams uses colour to paint a concise visual and invite readers inside his poem. The wheelbarrow could be rusted or new, rolling or idle. The chickens, too, could be or be doing any number of things. Williams\u2019 inclusion of colour demonstrates an awareness of setting and mood, without limiting either one. The authors of\u00a0Tinge<\/em> do much the same thing, exploring how colour and connection function in different emotional states, life stages, and literature genres.\r\n\r\nColour is red and yellow. It\u2019s pink and purple. Fuchsia. Turquoise. Mint. Butterscotch. It\u2019s grass and sunlight, daisies. Strawberries. Colour is and isn\u2019t grey and black and white. Salt. Snow. Garbage bins.\r\n\r\nColour is connection because colour is seeing \u2013 not just noticing, but engaging with our surroundings \u2013 an emergence of setting. Chapter One, \u201cYellow,\u201d contains childhood narratives and impassioned pieces; it holds colour words and colourful worlds. These pieces examine their surroundings and represent them excitedly and exactly. In childhood and in high emotion \u2013 vulnerable states \u2013 we notice colour because it isn\u2019t crowded out by other clutter. The canvas of the world is laid bare. The confusion of adulthood is absent \u2013 for children because it has yet to be created, and in high emotion because the clutter is pushed aside. You are invited to examine the precise visuals of these pieces: see the teacher\u2019s blue scarf in \u201cThe Ritalin Playground,\u201d the puddle of white salt in the grandfather\u2019s hand in \u201cHospital Food.\u201d It is the precision of these pieces \u2013 amplified by their use of colour \u2013 that denotes connection: to the speaker\u2019s surroundings, to the other characters, and, ultimately, to their emotions.\r\n\r\nColour, like connection, can be ignored or taken for granted. Chapter Two, \u201cBacklit\u201d explores daily life. In these narratives, you must seek colour more actively than in \u201cYellow.\u201d Our authors present small moments where colour and connection can be identified in the environment, even if it's not explicit. Colour shows us that it\u2019s ever-present \u2013 even if sometimes hard to identify \u2013 in the dailiness of daily life. In \u201cMemories\u201d it\u2019s wildflowers, in \u201cPassengers\u201d it\u2019s the icy road \u2013 wherever or whatever,\u00a0 in the active search we learn that we can find colour and connection anywhere.\r\n\r\nExpanding the theory of the active search, Chapter Three, \u201cOut,\u201d explores the pieces of Volume IX that require us to dig deeper to unearth colour. These pieces, a mix of academic and creative, examine nuance. They dare to be uncomfortable \u2013 to lose connection in order to understand it better. Neither colour nor connection are obvious themes; however, they are present in the authors\u2019 struggle for truth, in their refusal to accept black and white, and in their recognition, if not celebration, of grey. \u201cBreakwater\u201d chronicles a transition from darkness to colour, disconnection to connection. \u201cFaulty Foundations: Modern Foreign Aid Disenfranchisement and the Long Shadow of Modernization Theory\u201d illustrates how theories of Modernization evolve and change. This chapter demonstrates that no matter how certain a concept or reality may seem, another perspective is always possible.\r\n\r\nThe title of Volume IX is\u00a0Tinge<\/em>\u00a0because colour is a choice \u2013 connection is a choice. Colour and connection can be added and taken away. Included or excluded. Colour and connection are not intrusive, not always obvious \u2013 yet they focus, blur, and shape our perception and appreciation of the world.","rendered":"
\n
\n

so much depends
\nupon<\/p>\n

a red wheel
\nbarrow<\/p>\n

glazed with rain
\nwater<\/p>\n

beside the white
\nchickens<\/p>\n

\u2015 William Carlos Williams, \u201cThe Red Wheelbarrow\u201d<\/p>\n<\/div>\n<\/div>\n

Tinge<\/em> is a celebration of colour and connection \u2013 an exploration of nuance, searching, and perspective. In \u201cThe Red Wheelbarrow,\u201d William Carlos Williams uses colour to paint a concise visual and invite readers inside his poem. The wheelbarrow could be rusted or new, rolling or idle. The chickens, too, could be or be doing any number of things. Williams\u2019 inclusion of colour demonstrates an awareness of setting and mood, without limiting either one. The authors of\u00a0Tinge<\/em> do much the same thing, exploring how colour and connection function in different emotional states, life stages, and literature genres.<\/p>\n

Colour is red and yellow. It\u2019s pink and purple. Fuchsia. Turquoise. Mint. Butterscotch. It\u2019s grass and sunlight, daisies. Strawberries. Colour is and isn\u2019t grey and black and white. Salt. Snow. Garbage bins.<\/p>\n

Colour is connection because colour is seeing \u2013 not just noticing, but engaging with our surroundings \u2013 an emergence of setting. Chapter One, \u201cYellow,\u201d contains childhood narratives and impassioned pieces; it holds colour words and colourful worlds. These pieces examine their surroundings and represent them excitedly and exactly. In childhood and in high emotion \u2013 vulnerable states \u2013 we notice colour because it isn\u2019t crowded out by other clutter. The canvas of the world is laid bare. The confusion of adulthood is absent \u2013 for children because it has yet to be created, and in high emotion because the clutter is pushed aside. You are invited to examine the precise visuals of these pieces: see the teacher\u2019s blue scarf in \u201cThe Ritalin Playground,\u201d the puddle of white salt in the grandfather\u2019s hand in \u201cHospital Food.\u201d It is the precision of these pieces \u2013 amplified by their use of colour \u2013 that denotes connection: to the speaker\u2019s surroundings, to the other characters, and, ultimately, to their emotions.<\/p>\n

Colour, like connection, can be ignored or taken for granted. Chapter Two, \u201cBacklit\u201d explores daily life. In these narratives, you must seek colour more actively than in \u201cYellow.\u201d Our authors present small moments where colour and connection can be identified in the environment, even if it’s not explicit. Colour shows us that it\u2019s ever-present \u2013 even if sometimes hard to identify \u2013 in the dailiness of daily life. In \u201cMemories\u201d it\u2019s wildflowers, in \u201cPassengers\u201d it\u2019s the icy road \u2013 wherever or whatever,\u00a0 in the active search we learn that we can find colour and connection anywhere.<\/p>\n

Expanding the theory of the active search, Chapter Three, \u201cOut,\u201d explores the pieces of Volume IX that require us to dig deeper to unearth colour. These pieces, a mix of academic and creative, examine nuance. They dare to be uncomfortable \u2013 to lose connection in order to understand it better. Neither colour nor connection are obvious themes; however, they are present in the authors\u2019 struggle for truth, in their refusal to accept black and white, and in their recognition, if not celebration, of grey. \u201cBreakwater\u201d chronicles a transition from darkness to colour, disconnection to connection. \u201cFaulty Foundations: Modern Foreign Aid Disenfranchisement and the Long Shadow of Modernization Theory\u201d illustrates how theories of Modernization evolve and change. This chapter demonstrates that no matter how certain a concept or reality may seem, another perspective is always possible.<\/p>\n

The title of Volume IX is\u00a0Tinge<\/em>\u00a0because colour is a choice \u2013 connection is a choice. Colour and connection can be added and taken away. Included or excluded. Colour and connection are not intrusive, not always obvious \u2013 yet they focus, blur, and shape our perception and appreciation of the world.<\/p>\n","protected":false},"author":54,"menu_order":5,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":["rose-henbest"],"pb_section_license":""},"front-matter-type":[12],"contributor":[61],"license":[],"class_list":["post-4","front-matter","type-front-matter","status-publish","hentry","front-matter-type-introduction","contributor-rose-henbest"],"_links":{"self":[{"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/pressbooks\/v2\/front-matter\/4","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/pressbooks\/v2\/front-matter"}],"about":[{"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/wp\/v2\/types\/front-matter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/wp\/v2\/users\/54"}],"version-history":[{"count":11,"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/pressbooks\/v2\/front-matter\/4\/revisions"}],"predecessor-version":[{"id":209,"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/pressbooks\/v2\/front-matter\/4\/revisions\/209"}],"metadata":[{"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/pressbooks\/v2\/front-matter\/4\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/wp\/v2\/media?parent=4"}],"wp:term":[{"taxonomy":"front-matter-type","embeddable":true,"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/pressbooks\/v2\/front-matter-type?post=4"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/wp\/v2\/contributor?post=4"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.library.upei.ca\/artsreview-ix\/wp-json\/wp\/v2\/license?post=4"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}