TOWARDS A EUROPEAN ATLAS OF LITERATURE: DEVELOPING THEORIES,
METHODS, AND TOOLS IN THE FIELD OF “LITERARY GEOGRAPHY”
B. Piatti, L. Hurni
ETH Zurich, Institute of Cartography, Zurich, Switzerland
bpiatti@ethz.ch
It all starts with one
simple question: Where is fiction set? The main focus of a “literary geography“
– a field yet to be established – are the manifold interactions between real
and imaginary geography in various literary genres. Territorial and
topographical aspects of literature have received renewed academic attention
within the last decade, but so far no convincing definition of the field, no
concise glossary, and no cartographic tools have been developed.
A future literary
geography will be a way of re-writing the history of literature. The suggested
end product – an interactive literary atlas – can be described as a spatially
and no longer chronologically organized history of Europe’s literary heritage
and ongoing production.
Each type of literary setting and the
way it refers to reality needs to be mapped in an appropriate way – whether it
is realistically
sketched and therefore easy to localize, fuzzy-edged or even completely
fictitious, to name just a few possibilities.
In order to design such
an atlas, new tools and techniques are required: firstly, a database offering a
multitude of query options to manage texts and text-related data, secondly,
cartographic solutions to visualize these collected data in terms of static,
interactive, and animated maps, diagrams, three-dimensional spatial models etc.
These visualizations are by no
means just simple illustrations, but powerful interpretative tools. By actually mapping
fictional spaces and places a broad range of questions is going to be dealt
with for the first time: Why
are some landscapes overly covered by literature while others remain blank
spots? Why are some areas of high interest to internationally acclaimed authors
while others seem to have a certain appeal to regional writers only? What
happens in times of war – does the space of literature shrink or widen? Are
there any typical plots requiring imaginary settings rather than realistic
ones?
What comes in sight is
Europe’s (imaginary) space of literature, which has its own dimensions,
functions according to its own rules, but which is nevertheless anchored in the
“reality” of existing spaces and places.
Currently the Institute
of Cartography, ETH Zurich, prepares a pilot version of the atlas, whose
outlines the paper will present, along with one case study (the literary
landscape of the alpine scenery between Lake Lucerne and Mount Gotthard,
Switzerland).