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，并以一种从未尝试过为一系列用户提供空间理解和解释文学文本的方式。我们将文学中的空间和时间视为对文本的理解和解释的核心要素，但经常被忽略。文学映射有可能使它脱颖而出，并以新的方式理解和欣赏它。从概念上讲，该项目涉及解决一个看似简单的问题，该问题限制了文献的空间探索，尤其是在数字空间中，即如何生成“基本图”的问题。在似乎与现实世界相对应的空间中的文本（例如，狄更斯小说中的伦敦），这似乎是无误的，但是文字创造了一个没有直接通信的世界，这成为一个主要问题，因为没有什么可以映射文本元素的。我们的开创性项目旨在通过使用位置和其他副词元素从文本本身中创建基本图来解决此问题，以生成地图表示。从结构上讲，我们将为文学研究建立五个核心空间流派，并为每种流派中的一系列文本创建多个层次的解释模型。我们的创新方法将在理解和分析文学作品的空间和时间（年代）维度方面迈出重要的一步，并有可能与学者和更广泛的公众相关并有意义。我们将通过迭代结构（自身返回）来解释文本和图像，该结构将视觉和言语表示并在它们之间移动。因此，分析文本；制作了地图，虚构的世界被可视化；然后，根据映射给我们的可视化行为的富集和加深，根据这种空间化进行了深入的分析，因此可以返回文本。我们还有兴趣将游戏发动机调整为探索空间和以规范文学形式的空间的探索，创建一系列地图和完整的3D可视化，以实现各种想象力的地形，并在不同的尺度上进行映射。我们的项目将显着增强对空间人文学科，文学映射以及用于分析和解释文学作品的空间方法的知识和理解。简短的解释该项目如何工作可能会有所帮助，以金银岛为例。在宏观层面上，小说将需要根据三个不同的时间空间进行映射：英格兰（家）；航行/船（过渡）；该岛（冲突和死亡的“其他”空间）。这些地图中的第一个地图上的地理地理（德文郡），第二个地图将空间缩小到运动中的范围。第三个设置在一个完全虚构的（尽管当前映射）的位置。这些空间时间（或计时型）依次存在于叙述中，但也重叠并彼此相处（例如，男孩叙述者吉姆（Jim）吉姆（Jim）投射了一个想象中的岛屿版本，从家里向前迈出了岛屿，这完全混淆了）。如果我们纯粹专注于第一个，我们可以看到Benbow Inn海军上将的普通日常生活如何被这个世界与海盗的交汇处中断，以及吉姆如何从一种时间空间或时间表或时间表（安全，僻静的，童年的空间，童年的空间）中吸收到更令人兴奋的，但也威胁着一个。在宝藏岛的情况下，还与文本一起提供了一个作者地图，以便地图在叙事的内部和外部都像一个计时的信标一样起作用，这是一个呼吁通过欲望通过欲望操纵周围的叙事的权力对象。对不同计时型的完全可视化将使我们能够对这种文本的丰富复杂性做出更深刻的反应。