Franco Moretti , All rights reserved. The moral . concrete: graphs, maps, and trees place the literary field literally in front of our eyes— and show us . franco moretti. GRAPHS, MAPS, TREES. Abstract Models for Literary History—1. What follows is the first of three interconnected articles, whose common. In Graphs, Maps, Trees Franco Moretti attempts to use these, and a range of other abstract models, to explore genres, plots, and other aspects of literature.

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His examples, moreover, are unusually well-suited for illustrating his methods. Hardcoverpages.

Texts are certainly the real objects of literature in the Strand Magazine you don’t find ‘clues’ or ‘detective fiction’, you find Sherlock Holmesor Hilda Wadeor The Adventures of a Man of Science ; but they are not the right objects of knowledge for literary history. There was a problem filtering reviews right now.

Absolutely worth reading and digesting, but don’t necessarily expect it to rock your world.

Seems like the author wishes to end Western Civilization reading fdanco so is turning to the computer to try and equalize works of literature without regard to style, syntax, subtext, structure etc. I’ll have to sit with the ideas in this book for a long while, I think, in order to digest the magnitude of Moretti’s ideas.

Graphs, Maps, Trees: Abstract Models for a Literary History – Franco Moretti – Google Books

Apr 30, Dave rated it liked it. Atlas of the European Novel Ggaphs in villages or cities, people’s social and economic lives depend in important ways on the local geography and on connections further afield. However, Moretti is a Marxist, though he encompasses [End Page ] in his study of franxo culture not only production and circulation, but the strictly literary operations of specific genres.


Franco Moretti’s “Graphs, Maps, Trees: Moretti infuriates many with a “scientific” method for reading Literary History at a great distance, so that genre trends form the branches and “nodes” of a tree. Thanks for telling us about the problem.

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One person found this helpful. Models of Digital History 3.

ComiXology Thousands of Digital Comics. You get the idea.

You are commenting using your Twitter account. Take a form, follow it from space to space, graohs study the reasons for its transformations: The tree, then, helps explain something that the graph cannot: How can distant reading improve research in literary history? And what political implications follow from basing an account of literary history on the outcome of the market?

Contents Graphs maps trees. Tally Review Indeed, few texts not written for a static market niche confine themselves to clearly demarcated generic parameters.

A worthwhile and brief book for anyone interested in current trends in literary criticism. Nov 21, Kristin rated it liked it.


By the same author: Please try again later. His recent work is notable Franco Moretti is an Mpretti literary scholar, trained as a Marxist critic, whose work focuses on the history of the novel as a “planetary form”. Theories of form are usually blind to history, and historical work blind to form; but in evolution, morphology and history are really the two sides of the same coin.


References to Moretti’s discourse on the visualization and analysis of bulk knowledge regarding literary history have become more and more pervasive in the academic region known as the Digital Humanities. But this process can only be glimpsed at the level of the cycle: But despite the differences of scale, some aspects of the argument remain constant. Very innovative and skillfully written work.

Graphs, Maps, Trees (Franco Moretti) – book review

He analyzes the evolution and morphology of the novel through historical times, or at least he sets out to. Literary spaces plotted as competing fields for industrialization, peasant rebellion, state formation. View all 22 comments. Franco Moretti traces recurrent refusals of precision through Victorian culture, from Carlyle to Millais, Tennyson to Conrad.

To take a very simple case from Our Villagemoretri doing a series of recreational walks from one place is likely to venture in different directions for variety, but to walk roughly the same distance each time, thus generating a circular pattern of destinations I suppose some of my confusion is wrapped up in how the next two chapters seem to be more alike closer reading than distant reading.