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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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Journal ArticleDOI
TL;DR: The lack of a map for the study of world theatre history has been attributed to the lack of attention in the field of geography as discussed by the authors, which is not necessarily a bad thing.
Abstract: Geography has been accorded surprisingly little attention in the study of world theatre history. Maps are by no means the sum total of geographic knowledge, but their existence (or the lack thereof) provides a handy indicator of an author's interest in the subject. Oscar G. Brockett and Franklin J. Hildy's History of Theatre has numerous pictures of actors and diagrams of theatres but only one map that directly pertains to theatre. All the rest of its maps (of which there are fewer than two dozen) are standard-issue political maps. Theatre Histories: An Introduction, by Phillip B. Zarrilli and others, is groundbreaking in many ways, but it includes only six maps, and none of these directly concerns theatre. Each of the six volumes of The World Encyclopedia of Contemporary Theatre includes only one map, a basic political one. Other standard reference works on the history of theatre contain no maps; these include The Cambridge Guide to Theatre, The Oxford Companion to the Theatre, and The Oxford Encyclopedia of Theatre and Performance. Numerous types of map might be relevant for a study of theatre, but aside from the occasional political map, the basic overviews of theatre history do not include such resources.

9 citations

Journal ArticleDOI
TL;DR: In this article, Wollaeger argues that the traditional aesthetic, geographic, and historical boundaries of research are, more often than not, held up as straw men, the “old” modernist studies from which the new ought to signal its distance.
Abstract: L iterary History after the Nation?” begins with a simple question: Now that many scholars are pressuring the unspoken national and regional assumptions of literary studies, how should we write literary history? The question mark signifies in a few different ways: Should we leave behind the nation as our default cultural boundary when writing literary history; if so, do we need to substitute anything in its place; and howmight thinking within or without the nation present new challenges and opportunities as we construct our objects of study? Literary periods have become more porous, while some scholars have abandoned the idea of distinct literary periods and geographically limited literary histories. In my own subfield of modernist studies, the traditional aesthetic, geographic, and historical boundaries of research are, more often than not, held up as straw men, the “old” modernist studies from which the new ought to signal its distance (see Doyle and Winkiel 1994; Mao and Walkowitz 2008; Wollaeger 2012). What is a cause for concern in some

9 citations

Journal ArticleDOI
TL;DR: In this paper, the main Pixar characters are placed within a spatiotemporal visualization of the tool, and their semantic distribution is interpreted, including the organization of main characters, antagonists and remaining characters.
Abstract: Abstract The present article tries to close the gap between the digital humanities and traditional criticism. It does so by moving between distant and close reading, constructing visualizations, opening perspectives for coding, and analyzing a large corpus: the Pixar movies up to The Good Dinosaur. This is done with the help of a tool of analysis which studies fictional worlds and is wedged between value and method. After introducing the tool (Section 2), the main Pixar characters are placed within a spatiotemporal visualization of the tool and their semantic distribution is interpreted. This includes the organization of main characters, antagonists and remaining characters, and the gendering of characters and semantic spaces (Section 3). The article then discusses the limits of allocating characters in the visual diagram, above all by focusing on vertical and horizontal relationships, and complex semantic patterns (Section 4). It then discusses the differential aspects which make of Inside Out a different movie within the Pixar corpus (Section 5). The article closes by summarizing the different semantic patterns of Pixar movies, and by reflecting on the place of high abstraction, textual and visual, in this scheme, as well as on the complementarity of digital and traditional strategies.

8 citations