THE GREY AREA
Ibsen and the Spirit of Capitalism
Consider the social universe of Ibsen’s twelve-play cycle: shipbuilders, industrialists, financiers, merchants, bankers, developers, administrators, judges, managers, lawyers, doctors, headmasters, professors, engineers, pastors, journalists, photographers, designers, accountants, clerks, printers. No other writer has focused so single-mindedly on the bourgeois world. Mann; but in Mann there is a constant dialectic of bourgeois and artist (Thomas and Hanno, Lübeck and Kröger, Zeitblom and Leverkühn), and in Ibsen not quite, his one great artist—the sculptor Rubek, in When We Dead Awaken, who will ‘work until the day he dies’, and loves to be ‘lord and master over his material’—is just like all the others.
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Pivotal to Aby Warburg’s enigmatic Atlas Mnemosyne—which attempted to track morphological similarity from classical art down through the Renaissance—was the idea that there may be formulae for pathos. If so, what can quantitative analysis tell us about them?
What can quantitative linguistic analysis reveal about global institutions? From Bretton Woods to the present, the language of World Bank reports has undergone telling modulations. Moretti and Pestre track the decline of concrete referents and active verbs, the triumph of acronyms over nation-states—and irresistible rise of ‘governance’.
Lukács’s Theory of the Novel
Centenary reflections on one of the landmarks of twentieth-century thought about literature. Lukács in tension between Novalis and Weber during the Great War, and the implications for literary enquiry today of a conjugation that could never historically be repeated.
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 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.