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Atlas of the European Novel 1800-1900
01 Jan 1998-
TL;DR: Moretti as mentioned in this paper explored the fictionalization of geography in the nineteenth-century novel and found that space may well be the secret protagonist of cultural history, in a series of one hundred maps, alongside Spanish picaresque novels, African colonial romances and Russian novels of ideas.
Abstract: In a series of one hundred maps, Franco Moretti explores the fictionalization of geography in the nineteenth-century novel. Balzac's Paris, Dickens's London and Scott's Scottish Lowlands are mapped, alongside the territories of Spanish picaresque novels, African colonial romances and Russian novels of ideas, in a path-breaking study which suggests that space may well be the secret protagonist of cultural history.
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TL;DR: The authors argue that American literature was an international endeavor before it was ever a national one and that the role epic played in that internationalism prefigures and interrogates the Goethean Weltliteratur ideal dominating current discussions regarding world literature.
Abstract: This essay argues that epic, far from being a dead genre, ranges readily across formal and geographic boundaries and that the terms America and epic have defined each other from the Renaissance forward. Drawing on a range of case studies from Jamestown to Kentucky, I examine the ways in which epic travels through translation, exile, ethnology, and prophecy. While I focus on the United States and the colonies that would eventually constitute it, I argue that American literature was an international endeavor before it was ever a national one and that the role epic played in that internationalism prefigures and interrogates the Goethean Weltliteratur ideal dominating current discussions regarding world literature. In response to the difficulties that theory creates in discussing the development of both genre and world literature, I advocate a return to the archive to give theoretical arguments a more inductive grounding. (CNP)
11 citations
TL;DR: In a recent issue of New Literary History as mentioned in this paper, Liu asks: Can we be friends with the past? If so, will the past friend us? What philosophy of history can make such amity possible in an infor- mation age when our craving for instant data binds us to an ever more expansive, yet also vanishingly thin, present, a razor's slice of now big enough for each of us to have a thousand Facebook friends or Twitter followers so long as all that friendship fits on a single screen of attention before rolling off into oblivion?
Abstract: Discussing the ongoing shift from print to Web and its "reorganization of one- to-many and many-to-one communications under a new hegemony of many- to-many collaboration" in a recent issue of New Literary History, Alan Liu asks: Can we be friends with the past? If so, will the past friend us? What philosophy of history . . . can make such amity possible in an infor- mation age when our craving for instant data binds us to an ever more expansive, yet also vanishingly thin, present—a razor's slice of now big enough for each of us to have a thousand Facebook friends or Twitter followers so long as all that friendship fits on a single screen of attention before rolling off into oblivion? 1
11 citations
11 citations
TL;DR: The authors examined literature in Russia, as opposed to Russian literature, through the window of Tat'iana's reading, especially two novels by Sophie Cottin, in Aleksandr Pushkin's Eugene Onegin.
Abstract: This article examines literature in Russia, as opposed to Russian literature, through the window of Tat'iana's reading, especially two novels by Sophie Cottin, in Aleksandr Pushkin's Eugene Onegin. A quantitative, sociological approach to European markets for novels shows that Russians and Europeans were reading the same popular French, German, and English sentimental novels by August von Kotzebue; Stephanie-Felicite, comtesse de Genlis; August Lafontaine; and Cottin. Pushkin, however, positioned himself in the Russian literary field with the canonical novels of Jean-Jacques Rousseau, Samuel Richardson, and Madame de Stael, against the "mediocre" novels of Cottin. Nevertheless, in his ongoing efforts to write Russian novels, Pushkin covertly engaged with popular sentimental novels to integrate their conservative emphasis on duty, virtue, and love with Russian noble life. I argue that a likely intertext for the eponymous heroine of The Captain's Daughter was Cottin's European bestseller Elisabeth, ou Les exiles de Siberie (1806).
10 citations
01 Apr 2017
TL;DR: In this paper, the nature of data in criticism and the relation between data-driven literary criticism and more traditional forms of criticism are discussed, with emphasis on the possibilities and conceptual difficulties that come with the representation of large aggregates in novel form.
Abstract: This introduction frames the principal questions of this special issue: the nature of data in criticism and the relation between data-driven literary criticism and more traditional forms of criticism. The suggestion throughout is that the current tension in critical practice can be better understood by turning to nineteenth-century narratives and their fraught attempts at encapsulating and representing data. Particular attention is paid to the means of representing data in literary criticism, particularly through visualizations. The essays in this special issue are then discussed, with emphasis on the possibilities and conceptual difficulties that come with the representation of large aggregates in novel form.
10 citations