Mapping the Ontologically Unreal – Counterfactual Spaces in Literature and Cartography

Tell me where you are and I’ll tell you what you learn. Investigating hidden curricula using GIS analysis of place names in a case study of an English language textbook published in Japan

“…Similarly, in the field of linguistics, GIS application is also usually limited to the observation of processes on the maps e.g. when analysing linguistic diversity (Lue berring et al, 2013), language variations (Je szenszky et al, 2017), or the space in literary works, as in the classic works by Moretti (2006Moretti ( , 2007 or in the case of the Atlas of European Novel (Hohensinner et al, 2013;Piatti & Hurni, 2009;Weber Reuschel et al, 2014). Alterna tively, we can simply investigate the spatial dimension of processes or phenomena by supplementing a corpus with geographical information, thus creating a geocorpus (Alves & Queiroz, 2015;Caquard, 2013;Smail et al, 2019).…”

Attuning to the affective in literary tourism: Emotional states inAberystwyth, Mon Amour.

“…Books are therefore rendered into being not simply by isolated authorial intent, but through the "complex production of meaning and effect [...] from the dynamic interaction" between a reader, their imagination, pre-existing knowledge, and the work of the author (Drucker 2008, cited in Barnes 2013. In this approach, the reader is no longer positioned as a passive consumer of authorial purpose, but rather enjoys the agency to produce their/our own reading of any fiction (following Barthes, 1977; see also Cameron, 2012;Ljungberg, 2003;Piatti and Hurni, 2009). As a result, it is now understood that even when you and I open the same covers of a novel, we will both read (or to be specific, we will both co-produce with the author) a completely different book.…”

Cartographies of Fictional Worlds

“…One example: in the counterfactual novel Fatherland (1992) by Robert Harris, the plot starts in 1964 and the reader faces from the first lines, a familiar, but at the same time, massively transformed space: Berlin as Hitler's 'Reichshauptstadt' with gigantomanic buildings and 'Victory' alleys has become reality, since the book evokes a fictitious world in which Hitler has won the Second World War. Such a partly real, partly invented world can be described and analysed in words or, of course, displayed as a cartographic product (see Piatti and Hurni, 2009).…”