Modern European Literatire: A Geographical Sketch
Years ago, Denis de Rougement published a study entitled Twenty-eight Centuries of Europe; here, readers will only find five of them, the most recent. The idea is that the sixteenth century acts as a double watershed—against the past, and against other continents—after which European literature develops that formal inventiveness that makes it truly unique. (Not everybody agrees on this point, however, and so we will begin by comparing opposite explanatory models.) As for examples, the limited space at my disposal has been a great help; I have felt free to focus on a few forms, and make definite choices. If the description will not be complete (but is that ever the case?), at least it will not lack clarity.
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Can ‘digital humanities’ recover from Thomas Kuhn’s before-the-fact critique—that no new ‘laws of nature’ will be discovered just by inspecting the numbers? Testing the limits of the approach, Moretti investigates whether data-crunching can falsify Hegel’s theory of tragedy.
Why did a bourgeoisie commended by Marx for its ruthless rationalism surround itself with clouds of mystification? Franco Moretti traces recurrent refusals of precision through Victorian culture, from Carlyle to Millais, Tennyson to Conrad.
Network Theory, Plot Analysis
What can quantitative methods tell us about literary plots? Franco Moretti maps character networks from Shakespeare, Dickens and Cao Xueqin to shed light on questions of sovereignty, legitimacy and the reciprocity of social relations.
The Grey Area
Flexible morality and capitalist imperatives of the bourgeois fin-de-siècle, as captured in the obscure misdeeds of Ibsen’s protagonists.
The Novel: History and Theory
Moretti’s 5-volume Il romanzo recast the field of the novel—historically deeper, geographically wider, morphologically broader. What are the implications for its theory? Prose, adventure and xiaoshuo as explanatory vectors; and prevalence of older power relations in the bourgeoisie’s hegemonic literary form.
The End of the Beginning
Franco Moretti responds to criticisms of his quantative approach to literary history, from Christopher Prendergast and Roberto Schwarz. Origins, upshots—and potential limitations?—of the abstract models developed in Graphs, Maps, Trees.
Graphs, Maps, Trees - 3
After ‘graphs’ and ‘maps’, trees: can evolutionary theory help pattern the transformation of cultural forms and divergence of genres, through time and space? Franco Moretti’s final essay on abstract models for literary history.
Graphs, Maps, Trees - 2
After ‘Graphs’ (see NLR 24), maps: geography, or social geometry? Literary spaces plotted as competing fields for industrialization, peasant rebellion, state formation. The second of Moretti’s three essays conceptualizing patterns of genre and history, form and force.
Graphs, Maps, Trees - 1
The first of three essays setting out to demonstrate the power of abstract models to revolutionize our understanding of literary history. What do the quantitative curves of novel production tell us about the interplay of markets, politics, sexes, generations, in the life and death of literary forms?
Replying to critics of his ‘Conjectures on World Literature’ (NLR 1), Franco Moretti considers the objections to a world-systems theory of the relations between centre and periphery in the sphere of the novel or poetry, and proposes some new hypotheses about the morphology of forms and the politics of comparative literary studies.
The American film industry dominates world markets as never before. What is the geography of its grip on popular imaginations? Franco Moretti draws an international map of action films, comedies, children’s movies, dramas, with some intriguing results.