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Creating a Chronotopic Ground for the Mapping of Literary Texts: Innovative Data Visualisation and Spatial Interpretation in the Digital Medium

为文学文本的映射创造时间主题基础：数字媒体中的创新数据可视化和空间解释

基本信息

批准号：
AH/P00895X/1
负责人：
Sally Bushell
金额：
$ 93.2万
依托单位：
Lancaster University
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP00895X%2F1
关键词：
Creating Chronotopic Ground Mapping Literary

项目摘要

This project is about the visualising of literary place and space, using the digital medium in a way never before attempted to advance spatial understanding and interpretation of literary texts for a range of users. We view space and time in literature as a central element of the understanding and interpretation of texts, but one that is often overlooked. Literary mapping has the potential to bring it to the fore and allow it to be understood and appreciated in new ways. Conceptually the project is concerned with solving a deceptively simple problem that restricts spatial exploration of literature, particularly in digital space, the problem of how to generate the "base map". Where a text is set in a space that appears to correspond to the real world (e.g. London in a Dickens' novel) this appears unproblematic, but where a text creates a world with no direct correspondence this becomes a major problem since there is nothing on to which to map textual elements. Our ground-breaking project aims to solve this problem by creating the base map out of the text itself, using place-names and other toponymic elements to generate map representations. Structurally, we will establish five core spatial genres for Literary Studies and create models of interpretation at multiple levels for a range of texts within each genre. Our innovative approach will enable a major step forward in the understanding and analysis of the spatial and temporal (chronotopic) dimensions of a literary work, with the potential to be relevant and of interest to academics and the wider public. We will interpret texts and images by an iterative structure (returning upon itself) that connects visual and verbal representations and moves between them. So, a text is analyzed; maps are produced and the fictional world visualised; then there is a return to the text in the light of such spatialisation for in-depth analysis, enriched and deepened by the act of visualisation that mapping has given us. We are also interested in adapting gaming engines to the exploration of space and place in canonical literary forms, creating a range of maps and full 3D visualisations for different kinds of imaginative terrain and mapping at different scales. Our project will significantly enhance knowledge and understanding of digital tools for the spatial humanities, for literary mapping and for spatial approaches to the analysis and interpretation of literary works. A brief explanation of how the project might work may be helpful here, taking Treasure Island as an example. At a macro-level the novel will need to be mapped in terms of three distinct time-spaces: England (home); The Voyage/ The Ship (transition); The Island (the "other" space of conflict and death). The first of these maps onto "real-world" geography (Devon), the second reduces space to the extent of the ship in motion; the third is set in an entirely imaginary (though authorially-mapped) place. These space-times (or chronotopes) exist sequentially within the narrative but also overlap and bear upon each other (e.g. the boy narrator, Jim, projects an imagined version of the island forward from home that the actual island confounds entirely). If we focus purely on the first of these we can see how ordinary everyday life at The Admiral Benbow inn is interrupted by the intersection of this world with that of the pirates and how Jim is sucked out of one kind of timespace or chronotope (safe, secluded, the space of childhood) into another far more exciting, but also threatening, one. In the case of Treasure Island, an authorial map is also given alongside the text so that the map is both inside and outside the narrative, functioning like a chronotopic beacon -- an object of power calling out to be claimed and reclaimed and shaping the narrative around it by manipulating through desire. Full visualisation of different chronotopes will allow us to respond more deeply to the rich complexity of such a text.

该项目是关于文学场所和空间的可视化，以前所未有的方式使用数字媒体，为一系列用户推进文学文本的空间理解和解释。我们认为文学中的空间和时间是理解和解释文本的核心要素，但这一点往往被忽视。文学映射有可能把它带到前面，并允许它以新的方式被理解和欣赏。从概念上讲，该项目关注的是解决一个看似简单的问题，这个问题限制了文献的空间探索，特别是在数字空间中，即如何生成“底图”的问题。当一个文本被设置在一个似乎与真实的世界相对应的空间（例如狄更斯小说中的伦敦）时，这似乎没有问题，但当一个文本创建了一个没有直接对应关系的世界时，这就成了一个主要问题，因为没有任何东西可以映射文本元素。我们的突破性项目旨在解决这个问题，通过创建基础地图的文本本身，使用地名和其他地名元素来生成地图表示。在结构上，我们将建立文学研究的五个核心空间类型，并为每个类型中的一系列文本创建多层次的解释模型。我们的创新方法将使文学作品的空间和时间（时空）维度的理解和分析向前迈出重要一步，具有相关性和学术界和广大公众的兴趣。我们将通过一种迭代结构（回归自身）来解释文本和图像，这种结构将视觉和语言表征联系起来，并在它们之间移动。因此，本文分析了一个文本;地图被制作出来，虚构的世界被形象化;然后，根据这种空间化回到文本中进行深入的分析，通过地图给我们的形象化行为来丰富和深化。我们也有兴趣调整游戏引擎，以探索空间和地方的规范文学形式，创造一系列的地图和完整的3D可视化不同种类的富有想象力的地形和地图在不同的比例。我们的项目将大大提高知识和理解的数字化工具的空间人文，文学地图和空间的方法来分析和解释文学作品。以金银岛为例，简要解释一下这个项目是如何工作的可能会有所帮助。在宏观层面上，小说将需要在三个不同的时空方面进行映射：英格兰（家）;航行/船（过渡）;岛（冲突和死亡的“另一个”空间）。第一个地图是“真实世界”的地理（德文郡），第二个地图将空间缩小到船运动的程度;第三个地图设置在一个完全虚构的（尽管是官方绘制的）地方。这些时空（或时间表）在叙事中按顺序存在，但也相互重叠和相互影响（例如，男孩叙述者吉姆从家里投射出一个想象中的岛屿版本，实际的岛屿完全混淆）。如果我们只关注第一个，我们可以看到本葆海军上将酒店的日常生活是如何被这个世界与海盗世界的交叉所打断的，吉姆是如何被吸出一种时空或时空（安全的，隐蔽的，童年的空间）进入另一个更令人兴奋的，但也是威胁的，一个。在《金银岛》中，作者的地图也与文本一起给出，这样地图就既在叙事之内又在叙事之外，就像一个时空灯塔--一个权力的对象，呼唤着被认领和收回，并通过操纵欲望来塑造围绕它的叙事。不同时空的完全可视化将使我们能够更深入地回应这样一个文本的丰富复杂性。