‘Of magic look and meaning’: themes concerning the cultural chess-player
and moralities. An epilogue considers the chess-player from an early twentyfirst-century perspective.
1 D. Martin, Curious Visions of Modernity: Enchantment, Magic, and the Sacred (Cambridge,
MA: MIT Press, 2011), p. xiv.
2 Ibid., p. xv.
3 F. Moretti, Graphs, Maps and Trees: Abstract Models for Literary History (London: Verso,
2007), p. 4.
4 P. Metzner, Crescendo of the Virtuoso: Spectacle, Skill, and Self-Promotion in Paris During the
Age of Revolution (Berkeley, CA: University of California Press, 1998), p. 1.
5 Oxford English Dictionary
ﬁligrane’ (‘a ﬁlm we could call Marxist, in minor mode or implic-
itly’) (Jousse 1991). The model here is of course Balzac, for long held
in high regard by Marxist critics for his dissection of the emerging
early nineteenth-century capitalist world in the novels of the comédie
humaine, and beyond that the tradition of the Bildungsroman, or novel
of education. Unlike the stable communities of the traditional past,
modernity requires ‘an uncertain exploration of social space’ (Moretti
1987: 4) through narratives of mobility, unexpected hopes
it is almost always a he) successfully surmounts. Franco Moretti
clarifies the nature of such challenges: ‘lions, heat,
vegetation, elephants, flies, rain, illness and natives. All mixed up,
and at bottom all interchangeable in their function as
Many of the death poems certainly created a portrait of environmental
resistance in which Livingstone
financial corruption. In
doing so, it incidentally displaces the opposition of credulity and
scepticism with a materialist interpretation of the case reminiscent of
Franco Moretti’s well-known Marxist reading of Dracula
(Moretti, 1983, pp. 83–108). The piece could be regarded simply as
an elaborate joke, but the reading of superstitious fictions as
allegories of political oppression remained an option for
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
growing awareness of cultural interconnectedness. Far from the marginal, derivative, sub-literary fictions of traditional scholarly opinion, Roche's gothic romances, like those of her fellow Irish Minerva Press authors, invite new attention. Not only do they constitute what we might call, in Moretti-inspired terms, the canon of the market or the canon of the read, they are also positioned centrally in the development of nineteenth-century cultural nationalisms and a new transnationalism powered by print. 148
gendered terms is illuminating. Franco Moretti puts
the ‘classic’ Bildungsroman in the context of
everyday life and sees as one of its tasks ‘to show how
pleasing life can be in what Goethe called “the small
world”‘ ( 1987 , 36). Significantly, as in Moretti’s whole
argument, this works well for the male (artist) hero who can always
leave this small world for the larger one with
Mother–daughter relations in Paule Constant’s fiction
, Klein’s ‘phantasy’ is the process of psychical interaction between inner and outer world.
For a sensitive analysis of the place of remembering in mourning drawing on
Barthes’s La Chambre claire, see Michael Worton, ‘Thinking through photography, remembering to love the past’, in Monique Streiﬀ-Moretti, Mireille Revol
Cappelleti and Odile Martinez (eds), Il senso del nonsenso: scritti in memoria di
Lynn Salkin Sbiroli (Naples: Edizioni Scientiﬁche Italiane, ), pp. –.
For such connections between mother–daughter relations, women’s identities
historiography and literature, see Yolanda Rodríguez Pérez, The
Dutch Revolt through Spanish Eyes. Self and Other in Historical and Literary Texts of Golden Age Spain
(c.1548–1673) (Oxford and Bern: Peter Lang, 2008).
7 S. Moretti, ‘La trattatistica italiana e la guerra. Il conflitto tra la Spagna e le Fiandre (1566–
1609)’, Annali dell’Istituto storico italo-germanico in Trento, 20 (1994), 129–64; see also my
article: Cees Reijner, ‘Il mito dell’Olanda. Politiek en geschiedschrijving in vroegmodern
Italië’, Incontri, 30:2 (2015), 41–55.
8 Hispano-Habsburg troops were
formal innovations of Ulysses and Finnegan’s Wake.
As Franco Moretti has shown, the relationship between the individual
and modern society produced in the realist Bildungsroman was one
governed by the logic of compromise and exchange, with happiness and
freedom as the currency of this symbolic economy.26 In the Joycean
Bildungsroman, this governing logic has been replaced by the Oedipal
logic of separation and identification. The plot in Portrait is constructed
out of Stephen’s struggle to forge and construct his own identity in
opposition to the various social and
Peter, was a mapmaker and surveyor) and an imperial one (the
generational transition from colonial expansion to, with Thomas,
the settling of the continent by an independent United States).
Both Jeffersons, though, embody the Enlightenment imperative to
self-regulate, to overwrite the landscape with what Franco Moretti
has described as ‘the impersonal and automatic mechanisms of the
In Mason & Dixon this imperial geography is competing with an
already crowded terrain, for the land is inscribed with earlier – and
differently configured – markings