By Jon Hegglund
Early within the 20th century, many novelists and geographers have been making an attempt the same venture: to attach daily human adventure to the big, unseen buildings that shaped the planet itself. World perspectives shows how either modernist and postcolonial writers borrowed metaphors and ideas from geography, advancing theories of area, tradition, and neighborhood in the formal buildings 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 replacement models of the area that have been made of different spatial construction blocks-continents, areas, islands, and limits, to call a couple 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 speedy, neighborhood human event. Hegglund therefore extends many bills of modernist and postcolonial reviews by means of exhibiting how writers on either side of imperial and colonial clash have been involved not only with the particularities of neighborhood position and cultural id, but additionally with the overarching constructions which can probably surround a unmarried, unified earth.
Through this sustained realization to either the micro-details of narrative aesthetics and the macro-scale of global geography, World Views provides a brand new and precious standpoint to either literary and cultural debts of globalization.
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Extra resources for World views : metageographies of modernist fiction
Sample text
While these two elements—discursive self-consciousness and imaginative, subjective observation—are common to both the new geography and new forms of 18 WORLD VIEWS modernist narrative, the former moves toward the explicitly political agenda of geopolitics while the latter tends to pose rather than resolve questions of spatial knowledge. Mackinder approaches the uncertainty of culture’s relationship with a new epoch of spatiality with definite ends. His methodology, which promised a systematized archive for future geographical knowledge, was oriented toward a coherent narrative: the justification for Britain’s global dominance in spite of its increasingly marginalized and threatened geopolitical position.
46 What we see, then, is not simply a continuation of Fichtean romantic nationalism into the twentieth century, but rather a reformatting of the nation as an entity whose existence is increasingly derived from its bordered, territorial inscription. With this territorialized nation comes both a form of attachment to the nation as a unit opposed to a larger “world,” and, simultaneously, an awareness of the nation-within-the-world, which threatens to diminish its providential, 24 WORLD VIEWS “unique” identity.
In the chapters that follow, I explore how this emergent, increasingly universal form retained a central imaginative significance to writers of fiction. ”38 As I will argue, the literary mode best suited to the expression of this tension is a particularly geographical irony. ” Early in James Joyce’s A Portrait of the Artist as a Young Man, the young protagonist Stephen Dedalus sits in the middle of a geography lesson pondering the ever-widening circles in which he locates himself. ”39 Stephen’s list of scales seems almost comically comprehensive.