Narrative mapping as cognitive activity and as active participation in storyworlds

Author:

Ryan Marie-Laure1

Affiliation:

1. Bellvue, Colorado, USA

Abstract

Abstract Ever the devil’s advocate, Richard Walsh argues in a 2017 article that drawing maps based on narrative fiction is a meaningless activity, because (1) narrative cognition is temporal and not spatial; (2) narrative fiction does not project worlds in any experiential sense of the term (i. e. worlds as immersive environments) but only “worlds” as textual constructs, as products of écriture; and (3) reading should lead to meaningful interpretations, and inferences should be limited by a principle of relevance. His example of futile map-making is the floor plan which is included in the English editions of Alain Robbe-Grillet’s La Jalousie but is absent from the original French edition. In this article, I argue that narrative cognition is not a specialized ability distinct from the forms of cognition that we use in practical life, but rather, the product of these abilities; and I defend the validity of narrative mapping as way to engage the imagination with – yes – a storyworld. This is not to say that narrative understanding requires the drawing or mental contemplation of a comprehensive representation of the storyworld; usually the formation of partial mental maps is sufficient to follow the plot. But for some readers (among them Nabokov) drawing graphic maps is a way to engage the imagination with the storyworld and to enhance comprehension. This map-making activity can go far beyond making sense of the text and become an autonomous activity comparable to writing fan fiction. To support this view, I invoke the numerous maps found on the Internet for narratives ranging from Proust’s A la recherche du temps perdu to Tolkien’s Lord of the Rings. While the strictly “textualist” aesthetics of orthodox literary theory would regard these maps as frivolous, a world-oriented approach regards the urge to map and diagram as a legitimate form of active participation in narrative, because, while you can imagine too little to appreciate these texts, you cannot imagine too much.

Publisher

Walter de Gruyter GmbH

Reference22 articles.

1. Denis, Michel. 2018. Space and spatial cognition: A multidisciplinary perspective. London: Routledge.

2. Jenkins, Henry. 2006. Convergence culture: Where old and new media collide. New York: New York University Press.

3. Herman, David. 2009. Basic elements of narrative. Oxford: Wiley-Blackwell.

4. Hymes, Gerald. 2018. Geography and maps. In Mark J. P. Wolf (ed.), The Routledge companion to imaginary worlds, 98–106. London: Routledge.

5. Nabokov, Vladimir. 1980. Lectures on literature. Ed. Fredson Bowers. New York: Harcourt Brace Jovanovich.

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