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Cartographic Interventions

Cartographic Interventions bow. In these works, Pynchon increasingly associated “spatial abstraction with a logic of violence that blotted out ‘natives’ from the landscape in the nineteenth century and enabled bombing campaigns in the twentieth” (86). The most compelling individual study is that of Ulysses. Bulson deftly summarizes and gently tweaks several decades of scholarship on the represented spaces of the text and goes on to place these within historical, biographical, and ideological contexts. He reiterates that Bloom’s wayward route in “Lotus Eaters” forms the shape of a question mark (67) and identifies the symmetrical routes taken by Bloom early and late in the novel. He also points out, however, the disorientation produced by the fact that “modernists don’t describe streets, they name them” (69); this is particularly evident in the consummately labyrinthine structure of “Wandering Rocks,” which provides as much confusion as insight even as the two main routes charted out, representing church (Father Conmee) and state (Lord Dudley), trace the pattern of a large “X” across Dublin. Clive Hart has suggested that Joyce’s habit of merely naming locations simulates a kind of communication with fellow citizens, thereby providing the reader with a sense of belonging. Bulson sensibly counters that http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Novel: A Forum on Fiction Duke University Press

Cartographic Interventions

Novel: A Forum on Fiction , Volume 43 (2) – Jun 1, 2010

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Publisher
Duke University Press
Copyright
Copyright 2010 by Novel, Inc.
ISSN
0029-5132
eISSN
1945-8509
DOI
10.1215/00295132-2010-009
Publisher site
See Article on Publisher Site

Abstract

bow. In these works, Pynchon increasingly associated “spatial abstraction with a logic of violence that blotted out ‘natives’ from the landscape in the nineteenth century and enabled bombing campaigns in the twentieth” (86). The most compelling individual study is that of Ulysses. Bulson deftly summarizes and gently tweaks several decades of scholarship on the represented spaces of the text and goes on to place these within historical, biographical, and ideological contexts. He reiterates that Bloom’s wayward route in “Lotus Eaters” forms the shape of a question mark (67) and identifies the symmetrical routes taken by Bloom early and late in the novel. He also points out, however, the disorientation produced by the fact that “modernists don’t describe streets, they name them” (69); this is particularly evident in the consummately labyrinthine structure of “Wandering Rocks,” which provides as much confusion as insight even as the two main routes charted out, representing church (Father Conmee) and state (Lord Dudley), trace the pattern of a large “X” across Dublin. Clive Hart has suggested that Joyce’s habit of merely naming locations simulates a kind of communication with fellow citizens, thereby providing the reader with a sense of belonging. Bulson sensibly counters that

Journal

Novel: A Forum on FictionDuke University Press

Published: Jun 1, 2010

There are no references for this article.