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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: In this article, a comparative approach highlights the importance of regular seasonality as the basis of the Victorian novel's ability to conceptualize the relation of climate, weather, and capital.
Abstract: Anthropocene criticism of Victorian literature has focused more on questions of temporality and predictability than on those related to climate in the nineteenth century. Climate knowledge is central to the regional novel, which is attuned to the seasonal basis of agriculture and sociality, but the formal influence of the British climate also becomes more apparent through a consideration of the genre's adaptation to colonial conditions. Thomas Hardy's The Mayor of Casterbridge highlights how a known seasonal cycle underpins the differentiation of climate and weather and explores the role of economic systems in mediating the experience of climate. Rolf Boldrewood's The Squatter's Dream, set amid the nonannual seasonal change of Australia, demonstrates the fracturing of the regional novel form under the stress of sustained drought. Such a comparative approach highlights the importance of regular seasonality as the basis of the Victorian novel's ability to conceptualize the relation of climate, weather, and capital.
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01 May 2013
TL;DR: In this paper, a map of ancient Tokyo is superimposed on that of modern Tokyo, showing the past or the dead violently controls characters in the "here and now", and is a pattern from his early novels, which are set in Ashiya, Hyogo.
Abstract: "A good map is worth a thousand words, cartographers say, and they are right: because it produces a thousand words: it raises doubts, ideas. It poses new questions, and forces you to look for new answers", said Franco Moretti (Moretti 1999, pp. 3-4). The purpose of this article is to bring to light relations that would otherwise remain hidden in this current time of globalization and to analyze the literary works of Haruki Murakami in a literary topography: in other words, through literary maps above and under the ground, of today and of the past, and on this world and on the other world. Making literary maps of Murakami's novels, especially of the routes of the characters walks in Tokyo, has been popular (e.g. Tokyo Kurenaidan 1999, Urazumi 2000). When we consider Murakami's obsession with the subterranean world, his fictional metaphors of features like a field well and the bottom of the sea, and the characters’ strange semiconscious walks, however, mapping just the surface of the ground is not enough. We should focus on Murakami’s subterrane as long as he is obsessed with the subterranean world. Therefore, I superimposed a map of ancient Tokyo on that of today. The result is that you find Murakami's characters, even when they walk in downtown Tokyo, tend to walk along the water's edge and through cemeteries and burial mounds: in short, they walk with or as spirits of the dead. These mappings show the past or the dead violently controls characters in the "here and now", and is a pattern from his early novels, which are set in Ashiya, Hyogo. Murakami tells that "Yamikuro" live under the world and controls violence above the ground. The anagram of "Yamikuro" is "I mark you". It means that people on the ground are controlled by the past or the dead under the ground, which is a typical expression for power of memory of Japanese.
1 citations
TL;DR: The authors argue that Kazuo Ishiguro's Never Let Me Go reshapes colonial subjectivity through a sense of loss, by borrowing Homi Bhabha's notion of mimicry, which characterizes colonial s...
Abstract: This essay argues that Kazuo Ishiguro’s Never Let Me Go reshapes colonial subjectivity through a sense of loss. By borrowing Homi Bhabha’s notion of mimicry, which characterizes colonial s...
1 citations
TL;DR: This article focused on the characters of uncles and aunts as they emerge in four novels written in the 1930s by two second-generation immigrant novelists and two American women writers: Henry Roth's Call It Sleep, Pietro di Donato's Christ in Concrete, Josephine Herbst's Pity Is Not Enough and Catherine Anne Porter's Old Mortality.
Abstract: The essay focuses on the characters of uncles and aunts as they emerge in four novels written in the 1930s by two second-generation immigrant novelists and two American women writers: Henry Roth’s Call It Sleep (1934), Pietro di Donato’s Christ in Concrete (1939), Josephine Herbst’s Pity Is Not Enough (1933), and Catherine Anne Porter’s Old Mortality (1937). In their portrayal of a growing-up young male and female protagonist sharing many autobiographical traits with the authors, these works can be considered late versions of American Bildungsromans in which the presence of uncles and aunts seem to function as an alternative – or complementary – model to the parental one and to play a pivotal role in the (possible or impossible) Bildungs of nephews and nieces. Starting with a brief survey on the rediscovery and mapping of anthropological, ethnological and folkloric genealogies (including recent immigrants’ stories) and their unprecedented entrance into official national narratives during the Great Depression, the essay attempts to show how the figures of uncles and aunts play strategic roles in both the working-class and immigrant Bildungs (or “anti-Bildungs) represented in Call It Sleep and Christ in Concrete , and the female middle-class Bildungs (or “awakenings”) evoked in Pity Is Not Enough and Old Mortality . Whereas Roth and di Donato simultaneously mark the coming of age and the modern watershed of the hyphenated literary tradition of Jewish-American and Italian-American novels by creating impossible narratives of “development” built around ghetto children, Herbst and Porters’ works seem to stem from the genre of the sentimental novel and the novel of “awakening” and to twist them into a modernist version of possible female Bildungs.
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Cites background from "Atlas of the European Novel 1800-19..."
...…no surprise that 1930s novelists faced with such enlarged genealogical plots would turn to the Bildungsroman: a genre almost morphologically founded on intergenerational patterns (gignomai: or, “I’m born”), and formally engaged in providing a “new articulation of national space” (Moretti 1998: 45)....
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