Rethinking the power of maps: Some reflections on paper landscapes

Ecumene (continues as Cultural Geographies)

Volumn 5, Issue 1, 1998, Pages 105-108

  Starling, Roger ^a  

^a UNIVERSITY OF TORONTO   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84992856503     PISSN: 09674608     EISSN: None     Source Type: Journal    
DOI: 10.1177/096746089800500107     Document Type: Article

References (7)

1. I should emphasize that my own paper is by no means excluded from the strictures which follow.
2. J. Gillies, Shakespeare and the geography of difference (Cambridge, Cambridge University Press, 1994).
3. R. Helgerson, ‘The land speaks: cartography, chorography and subversion in Renaissance England’, Representations 16 (1986), pp. 51-85.
4. I am by no means suggesting that maps, least of all early modern ones, operate in terms of a single representational mode. Indeed, different modes are frequently and often fancifully combined in the same cartographic space. Here, however, a connection with early modern art forms such as painting or theatre, which often combine a number of different techniques or acting styles, is almost inescapable. One of the few papers to deal with issues of representation at the conference was Catherine Delano Smith's ‘Representation or depiction? shaping maps for the reformation’.
5. The allusion is to the Derridean problematic of writing, spelt out in Of grammatology and elsewhere: J. Derrida, Of grammatology, trans. G. Spivak (Baltimore, Johns Hopkins University Press, 1976).
6. J. Lacan, The four fundamental concepts of psycho-analysis, trans. A. Sheridan (London, Penguin, 1979), p. 93.
7. R. Krauss, ‘Grids’, in The originality of the avant-garde and other modernist myths (Cambridge, MA, MIT Press, 1986), p. 12. What Krauss is referring to here is the structural use of grid patterns by such artists as Jasper Johns, Robert Ryman and Piet Mondrian. Her comments, however, are equally applicable to the early modern or perspective grid.