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

这个项目是关于文学场所和空间的可视化，以一种前所未有的方式使用数字媒体来促进对文学文本的空间理解和解释，供一系列用户使用。我们将文学中的空间和时间视为理解和解释文本的核心要素，但这一点往往被忽视。文学地图有可能使它脱颖而出，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，这个问题限制了文学的空间探索，特别是在数字空间中，即如何生成“底图”的问题。如果文本设置在似乎与真实世界对应的空间中(例如狄更斯小说中的伦敦)，这似乎没有问题，但如果文本创建了一个没有直接对应的世界，这就成了一个大问题，因为没有什么可以映射到文本元素上。我们的开创性项目旨在解决这个问题，方法是根据文本本身创建基本地图，使用地名和其他地名元素来生成地图表示法。在结构上，我们将建立文学研究的五个核心空间流派，并在每个流派中为一系列文本创建多层次的阐释模式。我们的创新方法将使我们在理解和分析文学作品的空间和时间(时间)维度方面向前迈进一大步，有可能与学者和更广泛的公众相关和感兴趣。我们将通过一种迭代结构(返回自身)来解释文本和图像，该结构将视觉和语言表示以及它们之间的移动联系起来。因此，文本被分析；地图被制作出来，虚拟世界被可视化；然后，根据这种空间化，回到文本进行深入分析，通过地图给我们带来的可视化行为，丰富和深化文本。我们还有兴趣使游戏引擎适应于以规范的文学形式探索空间和地点，为不同类型的想象地形和不同比例的地图创建一系列地图和全3D可视化。我们的项目将大大提高对数字工具的认识和理解，这些工具用于空间人文科学、文学测绘以及分析和解释文学作品的空间方法。这里，以金银岛为例，简单解释一下该项目的运作方式可能会有所帮助。在宏观层面上，这部小说将需要按照三个不同的时间空间来绘制：英格兰(家乡)；航海/船(过渡)；岛屿(冲突和死亡的另一个空间)。第一张地图是真实世界的地理(德文郡)，第二张地图将空间缩小到船在运动的范围内，第三张地图设置在一个完全虚构的地方(虽然是权威地图)。这些时空(或计时线)在叙事中顺序存在，但也相互重叠和影响(例如，男孩叙述者吉姆从家里向前方投射了一个想象中的岛屿版本，实际的岛屿完全混淆了)。如果我们只关注其中的第一个，我们可以看到本博上将客栈的普通日常生活是如何被这个世界与海盗的交集所打断的，以及吉姆是如何被一种时空或计时针(安全、与世隔绝的、童年的空间)吸进另一种更令人兴奋但也令人恐惧的时空的。在《金银岛》中，文本旁边还提供了一张原创地图，因此地图既在叙事的内部，也在叙事之外，就像一个计时的灯塔--一个呼唤着被认领和收回的权力对象，并通过欲望操纵来塑造围绕它的叙事。对不同时间轴的完全可视化将使我们能够更深入地回应这样一篇文章的丰富复杂性。

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.