By Jon Hegglund
Early within the 20th century, many novelists and geographers have been trying an identical project: to attach daily human event to the big, unseen constructions that shaped the planet itself. World perspectives shows how either modernist and postcolonial writers borrowed metaphors and ideas from geography, advancing theories of house, tradition, and group in the formal constructions of literary narrative.
In distinction to the pervasive feel of the globe as a "jigsaw-puzzle" of countries, writers as different as Joseph Conrad, E.M. Forster, James Joyce, Jean Rhys, Jamaica Kincaid, and Amitav Ghosh imagined substitute models of the area that have been made of different spatial development blocks-continents, areas, islands, and limits, to call a number of. Hegglund argues that a lot of what scans as modernist experimentation with fictional shape is just one other, extra geographically established form of realism: person who pushes the structural and stylistic assets of the unconventional to account for these summary areas past instant, neighborhood human event. Hegglund therefore extends many money owed of modernist and postcolonial stories by means of exhibiting how writers on both sides of imperial and colonial clash have been involved not only with the particularities of neighborhood position and cultural id, but in addition with the overarching constructions which can in all likelihood surround a unmarried, unified earth.
Through this sustained realization to either the micro-details of narrative aesthetics and the macro-scale of worldwide geography, World Views provides a brand new and priceless point of view to either literary and cultural bills of globalization.
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Additional resources for World views : metageographies of modernist fiction
By saying that novels can signify “like” maps, I mean to highlight differences as well as similarities between these two forms of representation. Where maps have generally become accepted, in the post-Enlightenment era of scientific cartography, as indices to an actually existing world, fiction establishes a looser relationship with geography. In many pre-twentieth-century novels (including some from the twentieth century as well), maps have often appeared in frontispieces or as appendices, intended to serve as reference guides to the events that unfold within the narrative.
In fact, literature has remained an important discourse for critical geographers and historians of cartography. As Marc Brosseau argues, the discipline of geography has had a long engagement with literature, one that has been renewed with the emergence of critical and “oppositional” geographical studies in the 1960s and 1970s. Rather than signal a new development in humanistic geography, I would argue that the reemergence of literature as a legitimate area of concern for geographers constitutes something of a return of the repressed.
While chapter 1 explores the idea of a continental metageography in a world system composed of colonial extensions of the territorial nation-state, chapter 2 examines the articulation of the region as another metageographical response to the form of the nation. Here, I focus on the writings of the geographer and urbanist Patrick Geddes, particularly in his 1915 volume, Cities in Evolution, and on the novels of E. M. Forster, particularly Howards End (1910). Where Conrad’s and Greene’s continentalism relied upon the opposition of civilization and primitiveness, regionalism appealed to visual, tactile, and lived experience as another countermyth to the nation-state.