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, boundaries, pathways, landmarks and certain types of space, such as isolated, fixed, and (non-)elastic spaces (ibid.). This is prefaced by a taxonomy of space quoted from Antje Schlottmann, who subdivides the everyday usage of “space” into six categories based on social geography. 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 social geography 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 social geography 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