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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

in Impure thoughts
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

in Hispanic and Lusophone women filmmakers
HBO’s True Blood

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 range

in Open Graves, Open Minds
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The vampire and neoliberal subjectivity

. 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

in Neoliberal Gothic
Sherlock Holmes, Count Dracula and London

’ (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. Displacing Urban Man Franco Moretti in his Atlas of the European Novel 1800–1900 maps (literally) the scenes of crime and Holmes’s movements across London

in Victorian demons
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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

in Poetry for historians
Cybernetics, interfaces, new media

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

in The arc and the machine
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A world of difference: religion, literary form, and the negotiation of conflict in early modern England

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

in Forms of faith
Scott, Banim, Galt and Mitford

the town of Reading. While Mitford’s initial tour takes the reader in a geographical straight line along the through road, Franco Moretti has shown in his analysis of the spatial patterns of Our Village that the volume symbolically organises space into what he terms ‘a little solar system’ of ‘concentric rings’ as Mitford describes people, places and events within the village and at distances of one to three kilometres around it.34 Moretti suggests that in doing so she counters the linear orientation of the road that runs through Three Mile Cross as well as the

in Counterfactual Romanticism
What do The Smiths mean to Manchester?

.5 In Atlas of the European Novel 1800–1900, Franco Moretti claims that ‘[p]lacing a literary phenomenon in its specific space – mapping it – is not the conclusion of geographical work; it’s the beginning’.6 Much the same may also be said of popular music. To avoid the repetition of historical narratives about The Smiths and Manchester that remain static and one-dimensional, more dynamic models of historical analysis need to be proposed. One reason for this is that the meaning of a cultural phenomenon never stays the same. The significance of a musical star image

in Why pamper life's complexities?