By Franco Moretti
An Atlas of the eu Novel 1800-1900 explores the interesting connections among literature and house. during this pioneering learn, Franco Moretti provides a clean and fascinating standpoint at the ecu novel.In a chain of 1 hundred maps, Moretti illuminates the geographical assumptions of nineteenth-century novels and the geographical achieve of specific authors and genres around the continent. a great map, he discovers, will be worthy one thousand phrases in posing new questions and permitting us to work out connections that experience up to now escaped us. examining his Atlas, we realize the key constitution of Dickens's and Conan Doyle's London, and spot how the fictitious settings of Austen's Britain, or picaresque Spain, or the France of the Comedie humaine think nationwide identification in numerous methods. In a last bankruptcy on 'narrative markets', Moretti tells us which books have been most well-liked within the provincial libraries of Victorian Britain, and charts the ecu diffusion of Don Quixote, Buddenbrooks, and the good nineteenth-century bestsellers.
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Additional info for Atlas of the European Novel 1800-1900
So me comfonable, others poor. 'i11k: Fairly comfortable. Good ordinary earnings. Red: Middle class. Well-to-do. Gold: Upper-middle and Upper classes. ' r. The problem Let me begin with a great nineteenth-century map, published in r889, as the appendix to Charles Booth's Life and Labour of the People of London (figure 3 5). The section shown he re (parts of Mayfair, Marylebone, Bloomsbury and Soho) covers only a twentieth of the original, but gives nonetheless a good idea of the work's ambition: a block-by-block investigation of the economic texture of - ·London, with seven colors to stand for seven social groups.
Single intellectual currency 1 mean that all facts are located within a single continuous logical space [... ], and so that in principie one single language describes the world and is internally unitary; or on the negative side, that there are no special, privileged, insulated facts or realms, protected from contamination or contradiction by others, and living i~ insulated independent spaces of their own. Just this was, of course, the most striking trait of pre-modern, pre-rational visions: the coexistence within them of multiple, not properly united, but hierarchically related sub-worlds, and the existence of special privileged facts, sacralized and exempt from ordinary treatment.
As is to be expected, comic characters belong usually to those spaces that bow to the new central power without too much struggle; tragico-sublime ones, to the spaces of strongest resistance, which are mercilessly crushed. ll Francesco Orlando, ForaFreudian Theory of Literature, 197J,johns Hopkins University Press, Baltimore and London 1978, especially pp. 164 ff. 44 The novel, rhe narion-state 4 5 Atlas of the European noveli8oo-1900 The light [... arge fire, but whether kindled upon an island or the main land, Edward could not determine.