Book•
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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Dissertation•
01 Jan 2011
TL;DR: Thesis (M.A. as discussed by the authors ) was written at Wichita State University, College of Liberal Arts and Sciences, Dept. of English, English Language and Literature, WSU.
Abstract: Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English.
1 citations
01 Jan 2008
TL;DR: The authors argues for the existence of linguistically divided cities and provides four examples: colonial Calcutta, turn-of-the century Trieste, Barcelona and Montreal, which are characterized by competition between two languages each claiming entitlement to the space of the city.
Abstract: This article argues for the existence of a category of linguistically divided cities and provides four examples: colonial Calcutta, turn of the century Trieste, Barcelona and Montreal. These are cities which—at specific historical moments—are characterized by competition between two languages each claiming entitlement to the space of the city. Because there are two strong languages claiming the allegiance of citizens, these cities are different from most other multilingual cities where there is one overarching dominant language. In the context of current debates over linguistic citizenship and increased global migration, the contact zones of divided cities offer lessons that are particularly valuable. While the potential for violence and civil war haunts every divided city, the differences of the city also offer possibilities for creative interconnections. The interactions of such cities can be studied as forms of translation.
1 citations
01 Apr 2016
TL;DR: The Last September as mentioned in this paper is a novel that relies on a spatial aesthetic to convey interpersonal and political tensions, corresponding with the novelistic trend toward greater historical and political engagement that recent scholars have deemed “late modernism.”
Abstract: This article explores how Elizabeth Bowen's novel The Last September relies on a spatial aesthetic to convey interpersonal and political tensions, corresponding with the novelistic trend toward greater historical and political engagement that recent scholars have deemed “late modernism.” Bowen's spatial aesthetic in turn insists on a related spatial interpretative practice, which is consistent with theoretical developments in the 1930s, 1940s, and 1950s that consider how space and time cooperate in the configuration of narrative. Her poetics destabilizes time and linear plot as the primary constituents of narrative and undermines the ostensible authority of the “narrator” in service of representing focalizers' internal experiences. Her experiments with spatiality and focalization are less overtly radical than those of high modernist or avant-garde fiction writers. Instead, her subtly indeterminate narrative discourse uses space and time cooperatively and incorporates variable focalization to propel narrative in service of an engagement with the historico-political context. The subtlety with which the poetics expresses its politics conveys the experience of the historical moment even to a reader to whom the political outcome is known. Thus Bowen's changes to narrative discourse produce a tension between the focalized present and the project of looking back at history, conveying an ambivalent mixture of lamentation, critique, and tentative responsibility that characterizes the ongoing experience for many Anglo-Irish of her generation. Bowen's early regional novel is of its own moment, historical, political, and also aesthetic, at the forefront of the broader trend in midcentury aesthetics that we now call late modernism.
1 citations
TL;DR: In this paper, a sociologically triumphalist critique of philosophical aesthetics, grounded in the work of Gellner and Durkheim, is presented, and the practical failure of this kind of sociology to become institutionalized within the wider discipline is discussed.
Abstract: The article begins with a sociologically triumphalist critique of philosophical aesthetics, grounded in the work of Ernest Gellner and Emile Durkheim. It proceeds to note the practical failure of this kind of sociology to become institutionalized within the wider discipline. It explores a number of possible explanations for this failure, but finally suggests that a normalized sociology of art requires a normalized conception of art itself, such as that tentatively advanced by Pierre Bourdieu and Franco Moretti. The article also has an autobiographical subtext.
1 citations
TL;DR: In this paper, the symbolic connection between marriage and space in Emilia Pardo Bazan's Los pazos de Ulloa (1886) is explored, and it is argued that marriage was an effective strategy of social and subjective control in nineteenth-century Spain, but it also provided the grounds for subversive intervention.
Abstract: This article explores the symbolic connection between marriage and space in Emilia Pardo Bazan’s Los pazos de Ulloa (1886). Although marriage was an effective strategy of social and subjective control in nineteenth-century Spain, it is my contention that this institution also provided the grounds for subversive intervention—for undermining the basic tenets of patriarchal society and the modern nation-state. In particular, this article asserts that the intersection between marriage and social space can be unmoored from the interlocking regulations of domestic and political legislation and recast as a destabilizing force within the society it is supposed to uphold. I interpret marriage as a liminal construct whose meaning fluctuates as it alternates between the “civilized” locus of the city and the “barbaric” countryside. The multilayered nature of marriage in the novel provides the grounds to detach these spaces from their univocal meanings as established by the self-appointed artisans of the modern nation in Spain. The reader is confronted throughout Los pazos de Ulloa with symbolic spaces that underscore the gaps of such regulations, pointing towards the possibility of creating social meaning and individual identities beyond the bounds imposed by male-dominated values and the related constraints associated with liberal political theory.
1 citations