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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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01 Nov 2008
TL;DR: In this paper, a Raumbezogenes, interaktives Informationssystem macht die vielfaltigen Wechselwirkungen zwischen realen und imaginaren Geographien sichtbar und bildet die Raume der Fiktion in adaquater Weise ab.
Abstract: Wo spielt Literatur? Wie nutzt, uberformt, verfremdet oder re-modelliert sie — uber mehrere Epochen — bestehende geographische Raume? Am Institut fur Kartografie der ETH Zurich werden in einem interdisziplinaren Projekt literaturgeographische Methoden und Visualisierungsmodelle konzipiert. Diese bilden die Basis fur eine neuartige, raumlich strukturierte, kartographisch unterstutzte Literaturgeschichte — fur einen literarischen Atlas Europas. Ein raumbezogenes, interaktives Informationssystem macht die vielfaltigen Wechselwirkungen zwischen realen und imaginaren Geographien sichtbar und bildet die Raume der Fiktion in adaquater Weise ab. Dank vielfaltiger Abfrage- und Darstellungsoptionen eroffnen sich dabei neue Fragehorizonte und Themenbereiche fur die Literaturwissenschaft.
4 citations
01 Jan 2007
TL;DR: The success of Sánchez Piñol's novel, La pell freda (Cold Skin) as discussed by the authors, has been something of a phenomenon, achieving the rank of international bestseller projecting its author onto the world stage.
Abstract: Albert Sánchez Piñol is an anthropologist and author of a satirical study on dictatorships in the republics of central Africa in the last century. He is also a novelist, living in Barcelona and writing in Catalan. His first novel, La pell freda (Cold Skin), published in 2002, has been something of a phenomenon. Not only was it awarded the prestigious Ojo Crítico de Narrativa but it has also been published in at least twenty-four countries, in twenty-two different languages. La pell freda has thus attained the rank of international bestseller projecting its author onto the world stage. What should we make of the international success of this tale of a solitary castaway who chooses to forsake civilisation for life on an apparently deserted island ‘perdut a l’oceà menys freqüentat [que] comparteix latitud amb els deserts de la Patagònia’? (22) The authors of a recent report (Arenas and Škrabec), published jointly by the Institute of Catalan Letters and the Institut Ramon Llull on the position of Catalan literature and translation in a globalized world, note the commercial success of the novel but disparagingly imply that its worldwide diffusion is a function of its popular, generic style:
4 citations
TL;DR: Forster and Wells's Howards End as mentioned in this paper is a classic example of a novel about finance, and it can also be read as a novel of finance capitalism, which has been studied extensively in the last few decades.
Abstract: To specif against London is no longer fashionable. The Earth as an artistic cult has had its day, and the literature of the near future will probably ignore the country and see\ inspiration from the town. Of Pan and the elemental forces, the public has heard a little too much-they seem Victorian, while London is Georgian-and those who care for the earth with sincerity may wait long ere the pendulum swings bac\ to her again.-E. M. Forster, Howards End ( 1910)1In The Country and City (1973), Raymond Williams notes the peculiar slowness with which British literature came to appreciate the urban: "[E]ven after society was predominantly urban its literature, for a generation, was still predominantly rural."2 As the passage foregoing from Howards End suggests, the generation for whom British literature came to embrace London is that of E. M. Forster and H. G. Wells. Published within a year of each other, Forsters Howards End and Wells's Tono-Bungay (1909) read like sibling foils. They both take the "fashionable" turn toward London identified by Forster as the motivation for their plots, and reading these two novels together provides an opportunity to explore why British literature at this particular historical moment becomes urbanized. The passage from Howards End attributes the turn toward London to popular opinion-"the public has heard a little too much" about the country and is ready to embrace the city. However, the novel as a whole makes a much more compelling argument about why the reading public may find itself more interested in London than in times past. If Howards End and TonoBungay share a fascination with London's growing influence in popular opinion and literary production, they also share a common explanation for why London is enjoying this newfound attention: namely, finance capitalism.Tono-Bungay, which tells the story of the rise and fall of a financial empire, explicitly links the cultural turn toward London to finance capitalism. But this nexus is less apparent in Forsters novel. It becomes clear that Howards End is also a novel about finance only when read through the lens of Giovanni Arrighi's groundbreaking theory of finance capitalism, The Long Twentieth Century (1994). Literary scholars who have made use of Arrighi's work tend to do so by exploring how financial modes of producing value differ from modes of value production under industrial capitalism-finance capital is more abstract, free-floating, and volatile- and how that kind of value production may find its cultural corollaries in art, literature, and epistemology.3 Like these scholars, Tono-Bungay % interest in finance capitalism is focused on the peculiar means by which value accumulates (or does not accumulate) through financial modes of value production, and for this reason the link between London and finance capital is readily apparent in that novel. However, in Arrighi's theory, finance capitalism is more than a form of value production; it is a multidimensional historical process. Arrighi's theory, then, offers a new framework for historicizing cultural production and provides a means of understanding how Howards End can also be read as a novel about finance capitalism.Taken together, these novels, because they are both about a historical shift in popular and literary attitudes toward London and about the historical processes of finance capitalism, further invite an investigation into the relationship among London, finance capitalism, and the formal experimentation that characterizes modernist literature. Appearing just a few years before the heady days of what we tend to call modernism proper-when, in Virginia Woolf s words, "the smashing and crashing" of conventional forms began in earnest4-Howards End and Tono-Bungay have long been recognized as transitional novels between the Victorian and modernist periods.5 In terms of structure, both novels are rather conservative and Victorian, but, as I will discuss, they both articulate an awareness of how conventional novelistic poetics are no longer adequate to the modern world they seek to represent. …
4 citations
TL;DR: In this article, the concept of a literary map as a pedagogical tool that can be used productively in a literature and, more generally, a humanities classroom is discussed.
Abstract: This paper engages the concept of a literary map as a pedagogical tool that can be used productively in a literature and, more generally, a humanities classroom. A literary map taxonomy (positivist, allegorical, and analytical maps) is introduced and a specific mapping assignment sequence is featured in the context of teaching an upper-level literature course. By engaging the students in the act of mapmaking, this assignment sequence addresses students' insufficient geographical knowledge and the failure to understand the rhetorical nature of maps. By signaling points of tension between different mapping modalities, this essay makes a case for the usefulness of qualitative maps in literature pedagogy.
4 citations
4 citations