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the name Roland Camberton – an elusive, solitary author figure with a
traditional Jewish background who published under a different name in order
to “keep the shame of this literary habit from his orthodox family”.56 Of course,
Lyne’s testimony leads him away from Hackney as this quest is entangled with and
simultaneously unfolds the post-war pub culture in a different part of London.
The socialgeography of Soho in those days is rendered as a “spectacular melting
pot”. Lyne’s testimony then inscribes this space with the names of different pubs
, boundaries, pathways, landmarks
and certain types of space, such as isolated, fixed, and (non-)elastic spaces
This is prefaced by a taxonomy of space quoted from Antje Schlottmann,
who subdivides the everyday usage of “space” into six categories based on socialgeography. The first, objectivity and object-being, outlines spaces as an opponent
to the social. The second, referred to as categoriality and disparity, equips space
with the power to form people according to its very own principles, i.e. the
possibility to categorize people by means of assigning
intratopian narrator therefore
fulfills two primary functions: She describes the socialgeography of the story
as represented by the two spaces around which her life circles. Secondly, as a
6 | I use Bronfenbrenner’s socio-ecological model of socialization as a starting point
for my observations regarding the structural relationship between individual and world,
cf. Bronfenbrenner, Urie. The Ecology of Human Development. Cambridge, MA: Harvard
University Press, 1979.
Toward Diversity and Emancipation188
result of her position, she establishes the topological proximity
as to construe a meaningful whole out of many single trajectories
in addition to playing a crucial role in the story itself as well. From a spatial
point of view, then, intratopian narrators fulfill the function of locating and
localizing the relationship between the various agents in the plot, thereby
effectively creating the topographical level of narration for the reader. In his or
her role as effective maker of the socialgeography in literary prose, then, the
intratopian narrator assumes a crucially significant role in how the story can
be read. I am
of the epic quest on which
Nayeli and her friends will embark later in the story. This is to say that the narrator
assumes a double function in continuously renegotiating the relationship of the
characters between themselves as well as the relationship between the two poles
made up by Tres Camarones and “Los Yunaites”. Therefore, the narrator fulfills
two roles tied to making up the (social) geography of the novel, which is the key to
the actions it represents. One the one hand, the narrator creates Tres Camarones
as a god-forsaken, backwards Mexican town
identification of objectives, action, and sequel of events – their semantic
fields can reveal structures of meaning and uncover dispositions of thinking, imagining,
feeling, and acting.
Narrative spaces are constructed through agents by means of focalisation and action,
but also through characterisation and character constellation. Although, according to
Dennerlein (2009: 171), a categorisation of character types, traits, feelings, experiences
and actions is not useful for the comparison of spatial narratives, it nevertheless helps
to identify relations between space, social