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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: Despite the occasional upsurge of climate change scepticism amongst conservative politicians and journalists, there is a near-consensus amongst scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to possibly disastrous effect as mentioned in this paper.
Abstract: Despite the occasional upsurge of climate change scepticism amongst conservative politicians and journalists, there is a near-consensus amongst scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to possibly disastrous effect. Like the hole in the ozone layer as described by Bruno Latour, global warming is a ‘hybrid’ natural-social-discursive phenomenon. And science fiction (SF) seems to occupy a critical location within this nature/culture nexus. This paper takes as its subject matter what Daniel Bloom dubs ‘cli-fi’. It seeks to describe how a genre defined in relation to science finds itself obliged to produce fictional responses to problems actually thrown up by contemporary scientific research. It argues against the view that ‘catastrophic’ SF is best understood as a variant of the kind of ‘apocalyptic’ fiction inspired by the Christian Book of Revelation, or Apokalypsis, on the grounds that this tends to downplay the historical novelty of SF as...
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TL;DR: The Picture of Dorian Gray as mentioned in this paper is a classic example of a novel that describes how Verne could have written, "Phileas Fogg... come to the club with Basil and myself. We will smoke cigarettes."
Abstract: Come to the club with Basil and myself. We will smoke cigarettes … —Lord Henry, in Wilde, The Picture of Dorian Gray (111) About his iconic protagonist, Jules Verne need only write, “Phileas Fogg ...
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TL;DR: The Turkish novel became a national chronotope proper with the founding of the Republic in 1923 and the emergent conception of the national geography following the War of Independence (1919-1922), with Ankara as the new capital of the nation instead of Istanbul which had been the Ottoman Empire's center for almost five centuries as mentioned in this paper.
Abstract: The Turkish novel became a national chronotope proper with the founding of the Republic in 1923 and the emergent conception of the national geography following the War of Independence (1919-1922). This was the Anatolian territory, with Ankara as the new capital of the nation instead of Istanbul which had been the Ottoman Empire's center for almost five centuries. Anatolia became the motherland on which the national consciousness of the new nation would be inscribed. In the novels of the republican era, Anatolian iconography and mythography illustrate how this setting became a persistent element of narrative structure as a significant topos in both senses of the word: as place and theme. An inquiry into the permutations of the theme of Anatolia since the War of Independence will reveal the changing attitudes and ideas related to Turkish nationalism and its most outstanding component, the cult of the father personified by Ataturk. This essay, however, does not only aim at a survey of an ideology's history via literature; it also investigates the Anatolian iconography and mythography, as they figure in the Turkish novel of the republican era, and touches upon the various narrative strategies that major Turkish novelists have employed in their search for the right form for this important content, the right form to either reinforce or undermine a sacred story.
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TL;DR: In this paper, the authors argue that the region is a formally and epistemologically distinct scale through which to theorize the African novel and look to two recent novels published in Cape Town to make this case.
Abstract: ABSTRACT:This essay proposes that the region is a formally and epistemologically distinct scale through which to theorize the African novel. Intra-African migration becomes the trope whereby novels are marked by a regional consciousness; whether or not it is formally manifest, though, depends on what writers can conjure of migration’s concrete realities. Aviation, in particular—and the divisive fact of whether it is central to one’s movement—becomes decisive of whether a work is able to achieve a deep regional poetics. The essay looks to two recent novels published in Cape Town to make this case: Jamala Safari’s debut work The Great Agony and Pure Laughter of the Gods (Umuzi, 2012) and the Afrikaans writer Eben Venter’s Wolf, Wolf (Tafelberg, 2013). Each writer captures a different stock image of the African novel today: Venter experiments with global-technological forms like social media and Internet pornography amid the cosmopolitanism of Cape Town’s gay nightlife, while Safari adopts a more traditional realist treatment of child soldiery and refugee camps. These works’ thematic convergence around regional migration, I suggest, reveals the paradoxical truth that “conservative” forms may be best equipped to capture emergent African realities.
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TL;DR: Moretti's famous formulation has proved as partial as it is influential, challenged by a growing body of transnational scholarship as discussed by the authors, which is challenged as well by a different set of novels from the canonical ones Moretti has in mind: working-class penny fiction.
Abstract: “The nation state . . . found the novel. And vice versa: the novel found the nation-state” (Moretti 17). Franco Moretti's famous formulation has proved as partial as it is influential, challenged by a growing body of transnational scholarship. It is challenged as well by a different set of novels from the canonical ones Moretti has in mind: working-class penny fiction. Given the inequities of society, it is not surprising that this literature expresses a more complicated relationship to England. The working classes laid claim to England itself, insisting that their autochthonic status made them its true sons but that within the nation-state they were subjects, not citizens. The gap between this deep sense of belonging and formal political exclusion structures hundreds of penny novels produced in the mid-nineteenth century.
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