are inscribed (literally) on the map and, by extension, on the material fabric of the city itself. Sinclair attempts to summon the lost presence of Rodinsky (emblematic of the lost Jewish presence in Whitechapel) by revivifying his walking practices, quasi-magically invoking him through an urban ritual based upon journeys inscribed on Rodinsky’s map.
Franco Moretti, in his book Atlas of the European Novel 1800–1900 (1998), offered an entertaining and illuminating set of analyses of novels and stories of the nineteenth century, illustrated
the genre, The Way of the World (1987), the
Marxist critic Franco Moretti developed Bakhtin’s insights. For
Moretti, the birth of the Bildungsroman was called forth by the
traumatic birth of modernity in the French and Industrial revolutions.
The Bildungsroman, he argues, ‘comes into being . . . because Europe
has to attach a meaning, not so much to youth, as to modernity’.29 With
its young protagonist who is painfully negotiating the journey of selfformation, while simultaneously struggling to find a place in the social
world, the Bildungsroman gave narrative shape
Mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira
‘If only I had made peace with him’; ‘I failed him in
the end –’ and yet she is unable to shed tears, which would
offer relief and would prove that she is ‘reconciled with the
irreversibility of time’ (Moretti, 1983 :
180). Clara, on the other hand, is a melancholic who displays sadness
before the actual physical loss of David due to her status as a rejected
daughter after her mother’s death and her
from ‘readings’ of the primary material and do something radically different is not unique to contemporary film studies. Franco Moretti – whose work on genre features in Chapter 5 – urges a similar change of direction for his own field of literary study. Instead of focusing upon ‘concrete, individual works’ ( 2005 : 1), or restricting itself to ‘separate bits of knowledge about individual cases’ (4), literary criticism in Moretti’s view should take as its proper object of inquiry ‘a collective system, that should be grasped as such, as a whole’ (4). In film studies
also exposes humans as capable of
being as equally murderous as vampires.
Franco Moretti’s essay ‘The dialectic of
fear’ has proved influential in the critique of Gothic fiction,
opening the way for analysis of the monster, especially the vampire, as
metaphor. From Moretti’s own equation of Bram Stoker’s
Dracula with capitalism, the vampire has been read as symbolic of a
Bailing out banks at the expense of ordinary people is something
experienced in the European debt crisis, with Cyprus being the most
recent example, and makes Matt Taibbi’s comparison of Goldman
Sachs (and every other big bank) to a ‘great vampire
squid’ very timely ( 2010 ).
Beginning with Dracula and Franco
Moretti’s reading of Dracula as an ascetic, I want to move
’ (p. 237). It is this
displacement into the country which shifts the focus onto Holmes, an
examination of this shift reveals how it functions as a trope for the
displacement of masculinity.
Franco Moretti in his Atlas of
the European Novel 1800–1900 maps (literally) the scenes
of crime and Holmes’s movements across London
A worker reads history and a historian writes poetry
lifetime and ten volumes accounting for the tone, rhythm, and organisation of just one of them, if you were to adduce structure to historical
argument. All of this was the 1980s, when the exhortations of literary
theorists (literary historians? literary-historical theorists?) like Raymond
Williams and Franco Moretti were heeded. Williams eschewed the term
‘literature’, what with its high-cultural connotations of aesthetic value
and discrimination; he also eschewed ‘genre’ in favour of ‘form’. ‘Writing
3 Antoinette Blum, ‘The uses of literature in nineteenth and
become a touchstone
within a series of accounts of this relationship.
My starting point here, in this consideration of a particular relationship
between technology and culture, is not computer culture per se. I turn
first to an account of mass culture. In Signs Taken for Wonders, Franco
Moretti discerns the end of literary culture at the hands of mass culture,
this new order being prefigured in tensions and strains within literary
productions which cannot contain its logic. The move Moretti makes is
from the Waste Land, taken as a boarder production where myth
A world of difference: religion, literary form, and the negotiation of conflict in early modern England
Jonathan Baldo and Isabel Karremann
reform’ in the early years of the English Reformation, Walsh argues,
Rowley’s play does not seek to discredit religious reform. Rather, it exposes
its processes as ‘an inevitable and on-going means of mediating the new normality of confessional plurality and what we might term permanent religious
“unsettlement” ’ (cf. pp. 115, 122).
The next two contributions examine the irenic potential of the tragic form.
Such potential is often ascribed to stage comedies, romances, and even histories, but not tragedies, which, as Thomas J. Moretti observes in his contribution