Abstract
The map is a descriptive and navigational tool, just as the process of mapping is one of simultaneous recognition and creation. Theresa Stopani, in an essay on mapping, situates this multidirectional impulse as a foundational premise:
Mapping is the locus of the project: the descriptive and generative tool that is capable of producing and accommodating together the many and different possible unfoldings of the project(s). Mapping is always an incomplete and insufficient description and its incompleteness remains open to the condensation of multiple possibilities.1
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Notes
Theresa Stopani, “Mapping: the Locus of the Project,” Angelaki 9.2 (2004): 282.
Mutlu Konuk Blasing’s Lyric Poetry: The Pain and Pleasure of Words (Princeton: Princeton University Press, 2013) provides an extremely convincing call for poetry criticism to regain its critical and disciplinary, not to mention political, power by eschewing these two “easy” methods of criticism.
Michel Serres, Atlas (Paris: Flammarion, 1992): 276.
Denise Riley, Impersonal Passion: Language as Affect (Durham, NC: Duke University Press, 2005): 27.
Iain McGilchrist, The Master and His Emissary: The Divided Brain and the Making of the Western World (New Haven: Yale University Press, 2009): 391.
George Mackay Brown, For the Islands I Sing (London: John Murray, 1997): 12.
See for instance Jacob Edmond’s reading of Bei Dao’s “Hello, BaiHua Mountain,” which places much emphasis on the linguistic materiality and historical and political location through the changing resonances of the Chinese xue hua Dịch văn bản hoặc trang web 雪花 , snowflake, throughout the poem. In Jacob Edmonds, A Common Strangeness: Contemporary Poetry, Cross-CulturalEncounter, Comparative Literature (New York: Fordham University Press, 2012): 113–117.
Michael Hardt and Kathi Weekes, “Introduction,” in The Jameson Reader, ed. Hardt and Weekes (Oxford: Blackwell, 2000): 23.
Bertrand Westphal, “Foreword,” in Geocritical Explorations: Space, Place, and Mapping in Literary and Cultural Studies, ed. Robert T. Tally Jr. (New York: Palgrave Macmillan, 2011): xiv.
Luiza Lobo, “Brazil,” Encyclopedia of Latin American Literature, ed. Verity Smith (London: Taylor and Francis, 1997): 146.
See Marshall McLuhan and Victor Papanek, Verbi-Voco-Visual Explorations (New York: Something Else Press, 1967).
Ian Davidson, Ideas of Space in Contemporary Poetry (Basingstoke: Palgrave Macmillan, 2007), and Radical Spaces of Poetry (Basingstoke: Palgrave Macmillan, 2010).
Derek Attridge, Moving Words: Forms of English Poetry (Oxford: Oxford University Press, 2013): 77.
Robert Duncan, “The Self in Postmodern Poetry” (1979), in Collected Essays and Other Prose, ed. James Maynard (Berkeley: University of California Press, 2014): 395.
W. J. T. Mitchell, “Space, Ideology, and Literary Representation,” Poetics Today 10.1 (1989): 95.
Michel Serres, Hermes: Literature, Science, Philosophy, trans. Josué V. Harari and David Bell (Baltimore: Johns Hopkins University Press, 1982): xxi.
Thomas Kinsella, Davis, Mangan, Ferguson? Tradition and the Irish Writer (Dublin: Dolmen Press, 1970): 30.
Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings, trans. Colin Gordon et al. (New York: Pantheon, 1980): 162–163.
Doreen Massey, For Space (London: Sage, 2005): 4.
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© 2015 Heather H. Yeung
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Yeung, H.H. (2015). Introduction. In: Spatial Engagement with Poetry. Geocriticism and Spatial Literary Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137478276_1
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