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 NOVEL: HISTORY AND THEORY
There are many ways of talking about the theory of the novel, and mine will consist in posing three questions: Why are novels in prose; Why are they so often stories of adventures; and, Why was there a European, but not a Chinese rise of the novel in the course of the eighteenth century. Disparate as they may sound, the questions have a common source in the guiding idea of the collection The Novel: ‘to make the literary field longer, larger, and deeper’: historically longer, geographically larger, and morphologically deeper than those few classics of nineteenth-century Western European ‘realism’ that have dominated the recent theory of the novel (and my own work). What the questions have in common, then, is that they all point to processes that loom large in the history of the novel, but not in its theory. Here, I will reflect on this discrepancy, and suggest a few possible alternatives.
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Graphs, Maps, Trees - 3
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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?
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