Literature as cultural discourse has always courted mobility. From the nomadic wanderings of the heroes of Homer and Virgil through the adventures of the medieval knight-errants to the travellers of modern times, movement and mobility have been constitutive elements of story-telling. Since writers have begun to explore the experiential dimension of movement their texts have embraced the essential changeability and instability of ‘mobile worlds’. In this sense literature reflects and processes the transformative force of movement on the perception of the world and is part of the broader cultural discourses of mobility.
From the 1936 film
Night Mail to the rapid movements of the dime novel detective and the metaphorical coding of automobility in Futurist poetry, the essays in this volume offer new perspectives on the phenomenon of mobility at the intersection between the literary imagination and cultural experience. They explore movement as a decisive force of change in the history of modernity and show how literature in its representation of mobility simultaneously aims both to mirror and to grasp the phenomenon.
No Maps for These Territories offers an archaeology of seemingly tried and trusted concepts: cartography, architecture, urban space. While rethinking Michel Foucault’s theories, Karin Hoepker reconstructs the cartographic
dispositives of spatial order. The futuristic fictional cityscapes of science fiction writer William Gibson are the touchstone for this epistemological analysis and typology of spatial formations. In seven probing chapters that focus on architectural blueprints, forms of inhabitation,
Wunderkammern, and economic formations of retail, consumption, and entertainment such as shopping malls, amusement parks, and gambling meccas, Hoepker investigates a set of exemplary phenomena crucial to the fields of architecture, geography, philosophy, cartography, history of science, literary studies, and the arts.
No Maps for These Territories thus offers close readings of fictional, philosophical, and theoretical texts, and examines instructive examples of the workings of spatial production. In a form of contrastive writing, the monograph sheds critical light on theoretical and fictional texts equally.
While the relationship between place and creative effort has been the focus of pronounced new interest in various disciplines, the contours and co-ordinates of the process by which one informs the other, by which landscape shapes text and vice versa, have yet to be delineated in any systematic fashion. This volume sheds light on that process, investigating the ways in which it is both reciprocal and interstitial: how does text shape our perception of landscape as much as it is shaped by it, and how do we account for the points at which text and landscape intersect? The first part of the volume introduces us to the question of process in landscape and literary studies; the second part examines the moments within the process by which landscape and text come to bear upon each other; and the final part deals with the relationship between the material experience of landscape and the formal characteristics of a given text, using this to reflect back on the processes of landscape perception and creativity. This volume spans the disciplines of geography, literary studies, and the visual arts. It also brings together scholarly and creative perspectives, interspersing academic commentary with poetic-photographic essays.
Space has emerged in recent years as a radical category in a range of related disciplines across the humanities. Of the many possible applications of this new interest, some of the most exciting and challenging have addressed the issue of domestic architecture and its function as a space for both the dramatisation and the negotiation of a cluster of highly salient issues concerning, amongst other things, belonging and exclusion, fear and desire, identity and difference.
Our House is a cross-disciplinary collection of essays taking as its focus both the prospect and the possibility of ‘the house’. This latter term is taken in its broadest possible resonance, encompassing everything from the great houses so beloved of nineteenth-century English novelists to the caravans and mobile homes of the latterday travelling community, and all points in between. The essays are written by a combination of established and emerging scholars, working in a variety of scholarly disciplines, including literary criticism, sociology, cultural studies, history, popular music, and architecture. No specific school or theory predominates, although the work of two key figures – Gaston Bachelard and Martin Heidegger – is engaged throughout.
This collection engages with a number of key issues raised by the increasingly troubled relationship between the cultural (built) and natural environments in the contemporary world.
Urban mindscapes are structures of thinking about a city, built on conceptualisations of the city’s physical landscape as well as on its image as transported through cultural representation, memory and imagination.
This book pursues three main strands of inquiry in its exploration of these ‘landscapes of the mind’ in a European context. The first strand concerns the theory and methodology of researching urban mindscapes and urban ‘imaginaries’. The second strand investigates some of the representations, symbols and collective images that feed into our understanding of European cities. It discusses representations of the city in literature, film, television and other cultural forms, which, in James Donald’s phrase, constitute ‘archives of urban images’. The third and last section of the volume concentrates on the relationship between the collective mindscapes of cities, urban policy and the practice of city marketing.