March 19th 2013 updates

Ten new citations just added  —

De Albuquerque Jr, D. M., and J.A. de Almeida. 2011. “Drought and the Literary Construction of Risk in Northeastern Brazil.” In Disaster Writing: The Cultural Politics of Catastrophe in Latin America, 56–106. University of Virginia Press.

Edquist, H. 2010. “Ghosts of the Past: Mapping the Colonial in Eleanor Dark’s Fiction.” Mapping Different Geographies: 247–255.

This paper examines Eleanor Dark’s fiction from the 1930s and 1940s, for what it tells us about literature, history and place. By attending to where action takes place in her novels we find a particular engagement with Sydney and its origins, as they are represented in the landscape, in urban form, in language and in maps. Dark’s constructs a literary map of Sydney in which the past sits beside the present, refusing to be silent, and this juxtaposition of past and present provides one of the most powerful tools for social and cultural critique in her work.

Ekelund, B. G., and M. Börjesson. 2005. “Comparing Literary Worlds: An Analysis of the Spaces of Fictional Universes in the Work of Two US Prose Fiction Debut Cohorts, 1940 and 1955.” Poetics 33 (5–6) (October): 343–368.

This article presents a geometric data analysis (GDA) of the two “spaces of fictional universes” made up by the literary works of two cohorts of US prose fiction debut writers, 1940 and 1955. It is argued that the analysis reveals a common structure with significant variations that enable a comparison between two different states of a collective social imaginary, generated by 385 of the 560 authors included in the study. It is shown that the 1955 space is characterized by a greater contrast between agonistic and non-agonistic universes, and a firmer gendering of these oppositions. Other results include a confirmation of the generally accepted intuition that first novelists tend to reproduce features of their own social and geographical background in their works, but it is argued that different “site effects” enable a greater power to appropriate symbolically privileged spaces. The article concludes with a brief return to the individual authors, indicating the kind of research that the geometric data analysis makes possible.

Goulet, A.. 2010. “Gaboriau’s ‘Vague Terrain’ and the Spatial Imaginary of the Roman Policier.” Formules 14: 47.

This analysis of the crime scene map in Emile Gaboriau’s 1868 Monsieur Lecoq proposes the “terrain vague” as a foundational space for modern French crime fiction. Functioning historically as a liminal area for mid-19th-century Parisian urban renewal and symbolically as a blank page on which violence gets inscribed, Gaboriau’s terrain vague registers a tension between urban criminality and the desire for cartographic, rational, and judicial mastery. It both anticipates a critical split between history and form and sets the stage for 20th- and 21st-century crime fictions set in the postmodern banlieue.

Kurtz, J.R. 2000. “Post-marked Nairobi: Writing the City in Contemporary Kenya.” In The Post-Colonial Condition of African Literature. Africa World Press.

Mucignat, R.. 2013. Realism and Space in the Novel, 1795-1869: Imagined Geographies. New edition. Ashgate Pub Co.

Posing new questions about realism and the creative power of narratives, Rosa Mucignat takes a fresh look at the relationship between representation and reality. As Mucignat points out, worlds evoked in fiction all depend to a greater or lesser extent on the world we know from experience, but they are neither parasites on nor copies of those realms. Never fully aligned with the real world, stories grow out of the mismatch between reality and representation-those areas of the fictional space that are not located on actual maps, but still form a fully structured imagined geography. Mucignat offers new readings of six foundational texts of modern Western culture: Goethe’s Wilhelm Meister’s Apprenticeship, Jane Austen’s Mansfield Park, Alessandro Manzoni’s The Betrothed, Stendahl’ss The Red and the Black, Charles Dickens’s Great Expectations, and Gustave Flaubert’s Sentimental Education. Using these texts as source material and supporting evidence for a new and comprehensive theory of space in fiction, she examines the links between the nineteenth-century novel’s interest in creating substantial, life-like worlds and contemporary developments in science, art, and society. Mucignat’s book is an evocative analysis of the way novels marshal their technical and stylistic resources to produce imagined geographies so complex and engrossing that they intensify and even transform the reader’s experience of real-life places.

Schaff, B. 2011. “» In the Footsteps of…«: The Semiotics of Literary Tourism.” KulturPoetik 11 (2): 166–180.

Tamboukou, M. 2009. “Leaving the Self.” Australian Feminist Studies 24 (61) (September): 307–324.

In this paper I follow nomadic passages in the memoir of Sofia Laskaridou, a Greek woman artist. I am interested into how her dislocation from familiar places and spaces in the beginning of the twentieth century opened up unforeseen territories for her self to be constituted as a travel logbook, a chart tracing paths of becoming. As a writer and painter of her own modernity, Laskaridou reconstitutes herself in retracing her paths in the cities she lived as a young art student. However in writing herself in space, she also rewrites the city, offering insights in the experience of the spaces of modernity from a range of marginalised subject positions, in terms of gender and geography. In observing modern life within the discourse of the aesthetic and the limitations of her own time, class, culture and geographies, Laskaridou’s memoir becomes a site of contestation and her autobiographical map rather chaotic. What I argue is that as she moves on, she leaves herself behind, continuously becoming-other as she creates real-and-imaginary connections with the spaces she temporarily inhabits. In this light, nomadism becomes an effective conceptual tool for making cartographies of gendered spatial practices in becoming a woman and an artist.

Uraizee, J. F. 2004. “‘Flowers in All Their Colours’: Nations and Communities in Ngugi Wa Thiong’o’s Petals of Blood.” International Fiction Review 31 (1). online.

How has the neocolonial nation been defined in fiction? Representations vary from depictions of barren wastelands run by corrupt rulers in Ousmane Sembene’s Xala (1974) to isolated outposts ruled by megalomaniacal army generals in Gabriel Garca Marquez’s One Hundred Years of Solitude (1967). Ngugi wa Thiong’o’s 1977 novel Petals of Blood, however, takes a slightly different tack: it depicts the postcolonial African nation as a complex and multifaceted entity, and it represents this nation in three ways.

Vrbancic, M. 2005. “Burroughs’s Phantasmic Maps.” New Literary History 36 (2): 313–326.

. . .  My intention in this essay is to evoke a vivid tapestry of a lateral antihierarchical map in William Burroughs’s Cities of the Red Night. To map Burroughs’s universe is extremely hard, confusing, and even dangerous. Whether the vast incessant intertextual flow leads us to new, undiscovered territories, not yet charted, or whether any impulse of seeking meaning stays frustratingly unresolved, and we find only piles of garbage-words. Nonsense. No maps, no territories.. . .


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