Scott, Banim, Galt and Mitford
Damian Walford Davies

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?
Julian Stringer

.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?
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Allison K. Deutermann and András Kiséry

Most such work has more or less explicitly participated in the project of (in Franco Moretti’s words) ‘a history of literature [rewriting] itself as a sociology of symbolic forms, a history of cultural conventions’ hoping to thus ‘finally find a role and a dignity in the context of a total history of society.’ 18 Book history has long been recognized as having a

in Formal matters
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Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

an entire society should stand around engrossed, reading Dracula while up to our jugulars in blood’. 37 The implication that the Gothic could be an escapist distraction from reality aligns with Franco Moretti’s argument that Gothic metaphors filter social threats and anxieties, dislocating ‘the antagonisms and horrors evidenced within society to outside society itself

in Alan Moore and the Gothic Tradition
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Bill Marshall

-Pierre Kalfon, as well as Michèle Moretti, with whom Téchiné was to have a long professional relation4 Rereleased in 2004. Marc’O, born in 1927 as Marc-Gilbert Guillaumin, has from the 1990s to the present been artistic director of the radical theatre group Génération Chaos and their magazine Les Périphériques vous parlent. His other films include the avant-garde 60 Minutes de la vie intérieure d’un homme/Closed Vision, presented at the 1954 Cannes Film Festival by Jean Cocteau. emergence 5 ship). André Téchiné was assistant director on this film, which was edited by Jean

in André Téchiné
Critical theory and the affective turn
Simon Mussell

, ‘Close but not Deep: Literary Ethics and the Descriptive Turn’, New Literary History 41 (2010):  371–​91; Sharon Marcus, Heather Love, and Stephen Best, ‘Building a Better Description’, Representations 135/​1 (2016):  1–​21. In relation to description, one could also include Franco Moretti’s recent work on ‘distant reading’, which also turns away from humanistic or hermeneutical readings of individual texts, focusing instead on large data sets that combine scientific and social-​ scientific methodologies to identify systematic patterns in literary texts across time and

in Critical theory and feeling
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Fulke Greville’s Mustapha
Daniel Cadman

. In his challenge to the monarchy's claims of transcendent power, Greville participates in what Franco Moretti has highlighted as Jacobean tragedy's ability to ‘deconsecrate’ sovereign power and disentitle ‘the absolute monarch to all ethical and rational legitimation’. 40 As Moretti goes on to point out, ‘Power is founded in a transcendent design, in an intentional and significant order. Accordingly, political relations have the right to exist only in so far as they reproduce that order symbolically … absolute monarchy can exist because it has a meaning’. 41

in The genres of Renaissance tragedy
Brian Baker

, where Exxon (which is, as Sinclair explains in the London Orbital film, the company of US President George W. Bush) has its storage tanks. The economic logic of vampirism as mapped onto contemporary capital. Although I have elsewhere suggested that Sinclair’s mode of critique gestures towards the transcendent rather than being strictly materialist (or Marxian), the connection between Marx and vampirism occurs even in Das Kapital . Franco Moretti, in Signs Taken for Wonders , notes that vampirism is a ‘metaphor for capital’ in Stoker’s Dracula . According to Marx

in Iain Sinclair
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Andrew Dix

of alternative generic mappings? One possibility is that online communities may jam the film industry’s powerful discursive machinery and generate new perspectives on the work. Genres and history The iconoclastic literary scholar Franco Moretti offers another suggestive metaphor for genres. They are, he says with reference to the Roman god of doorways, ‘Janus-like creatures, with one face turned to history and the other to form’ ( 2005 : 14). Yet even to phrase the matter like this is to introduce a false dichotomy between form and

in Beginning film studies (second edition)
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Revisiting the cultural significance of the white cliffs of Dover
Melanie Küng

geographical feature that necessarily creates division and opposition, a view that still dominates public discourse. 3 The living conditions for migrants in the area worsened after the closing of the Sangatte refugee centre in 2002. As an increasing number of people arrived in Calais in the wake of the 2015 so-called ‘European refugee crisis’, the term ‘Jungle’ became widely used in the media. The French government had the camp cleared in October 2016. 4 The Poke (2015). 5 See for example Howkins ( 2014 ). 6 As Franco Moretti has shown by mapping the invaders

in The road to Brexit