Mapping Victorian Adventure Fiction: Silences, Doublings, and the Ur-Map in &lt;em&gt;Treasure Island&lt;/em&gt; and &lt;em&gt;King Solomon's Mines&lt;/em&gt;

Bushell, Sally

doi:10.2979/victorianstudies.57.4.02

Cited by 19 publications

(1 citation statement)

References 17 publications

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“…23 Literary spatial studies research building on these ideas takes seriously the notion that even literary maps which appear to be simply 'graphic image[s]' 24 can be read for the cartographic richness and geographic rigour they represent. 25 New directions in recartographisation include a range of exciting digital literary cartography projects. 26 One, perhaps unintended, consequence of these moves to recognise the technical difficulties of literal mapping, particularly clear in this new digital age, is an expectation that even amateur literary mappers are likely to come with the appellation 'PhD'.…”

Section: Literary Mappings: Image Metaphor Processmentioning

confidence: 99%

Mapping enchanted landscapes in Philip Weller’s The Dartmoor of The Hound of the Baskervilles

McLaughlin

2022

cultural geographies

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Literary mapping has developed in fascinating ways in recent years, both as a field of study and as a practical tool to pursue those studies. However, one area of literary mapping as a subject remains under explored – the use and production of literary mappings by lay readers. Recent research into non-scholarly use and production of literary mappings has suggested that they are expressive, creative and affective practices. In the hands of lay readers, literary mappings have affective agency, they can tell stories, they can be catalysts of personal and worldly change. In this article I will show how we might see and feel these expressive, creative properties of literary mapping in action; to offer these affective properties as an answer to the question ‘what can literary mappings do?’. I explore this question here through a reading of a literary mapping of Dartmoor produced by Sherlockian fan Philip Weller, made within the context of the Sherlockian ‘Game’ to align actual and fictional times and places. By framing my reading through the lens of enchantment, I will focus on the role of Weller’s mapping as both a catalyst for, and a representation of, Thurgill and Lovell’s (2016) theory of the ‘spatial hinge’, that affective, creative moment when fictional and actual worlds bleed into each other. I suggest we can see Weller’s experience of the ‘spatial hinge’ and feel his mappings role in inciting his affective encounters with landscape and story, in action.

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Section: Literary Mappings: Image Metaphor Processmentioning

confidence: 99%

Mapping enchanted landscapes in Philip Weller’s The Dartmoor of The Hound of the Baskervilles

McLaughlin

2022

cultural geographies

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Geography and Power: Mapping The Murderer’s Ape

Samoilow

2022

Child Lit Educ

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Geography occupies a central role in The Murderer’s Ape (2014/2017), a Swedish children’s novel by Jakob Wegelius. Drawing on theories of critical literary geography, the article is an analysis of the novel’s geography and an exploration of how the narrative shapes and produces place and space. The analysis shows that the narrative both represents and challenges colonial power structures through the production of place and space. Methodologically, three complementary approaches are utilized: analyzing the visual maps in the endpapers, visualizing the novel’s geography by means of GIS-generated maps, and mapping the verbal narrative.

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Simulating Antiquity in Boys' Adventure Fiction

Vranken¹

2022

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A genre that glorifies brutish masculinity and late Victorian imperialism, boys' 'lost world' adventure fiction has traditionally been studied for its politically problematic content. While attuned to these concerns, this Element approaches the genre from a different angle, viewing adventure fiction as not just a catalogue of texts but a corpus of books. Examining early editions of Treasure Island, King Solomon's Mines, and The Lost World, the Element argues that fin-de-siècle adventure fiction sought to resist the nineteenth-century industrialisation of book production from within. As the Element points out, the genre is filled with nostalgic simulations of material anachronisms – 'facsimiles' of fictional pre-modern paper, printing, and handwriting that re-humanise the otherwise alienating landscape of the modern book and modern literary production. The Element ends by exploring a subversive revival of lost world adventure fiction that emerged in response to ebooks at the beginning of the twenty-first century.

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Mapping Victorian Adventure Fiction: Silences, Doublings, and the Ur-Map in <em>Treasure Island</em> and <em>King Solomon's Mines</em>

Cited by 19 publications

References 17 publications

Mapping enchanted landscapes in Philip Weller’s The Dartmoor of The Hound of the Baskervilles

Mapping enchanted landscapes in Philip Weller’s The Dartmoor of The Hound of the Baskervilles

Geography and Power: Mapping The Murderer’s Ape

Simulating Antiquity in Boys' Adventure Fiction

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