By Charles B. Travis

Preface: summary machine

Part 1: GIS and the electronic humanities

1. Introduction
From Lascaux to the ocean of Tranquility
What is a GIS?
GIS and the electronic humanities
Contents

2. towards the spatial turn
A short background of Western geographical thought
Post-structuralist perspectives
Deep mapping
GIS and the distance of conjecture

3. Writing time and area with GIS: The conquest and mapping of seventeenth-century eire
Period, position, and GIS
Geovisualizing Irish history
Rebellion and conquest in 3D
Surveying the Cromwellian Settlement
William Petty and the Down Survey
From the ballybetagh to the barony
The Books of Survey and Distribution
Database mapping the Books
Visualizing the webs of history

Part 2: Writers, texts, and mapping

4. GIS and the poetic eye
Mapping Kavanagh
Bakhtinian GIS
Creating a electronic dinnseanchas
Plotting the poetic eye

5. Modeling and visualizing in GIS: The topological impacts of Homer’s Odyssey and Dante’s Inferno on James Joyce’s Ulysses (1922)
Joycean cartographies
Homer and Dante’s topologies
Modeling Ulysses
The topologies of Ulysses
Upper Hell
Middle of Hell (City of Dis)
Lower Hell
Purgatory
Visualizing a “new Inferno in complete sail”

6. Psychogeographical GIS: making a “kaleidoscope built with consciousness,”
Flann O’Brien’s At Swim-Two-Birds (1939)
The novel as city GIS
Spatializing At Swim-Two-Birds
Psychogeographical mapping with GIS
Vico-Bakhtin timespaces
Counter-cartographical GIS

7. Geovisualizing Beckett
Samuel Beckett’s GIStimeline
Geovisual narratology
Dublin-Paris, 1916–30
Beckett’s bottled climates
London, 1933–35
France, 1945–46
Bricolage and biography

Part three. towards a humanities GIS

8. The terrae incognitae of humanities GIS
The misplaced mapmaker
The map theater
The geographer’s technology and the storyteller’s artwork

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This step allowed the collated narrative hobbies in At Swim-Two-Birds to be analyzed not just as a composite stroll around the horizontal airplane of Dublin within the Nineteen Thirties but additionally as a vertical time trip trip via Viconian cycles of historical past. Vico’s Scienza Nuova (1725) conceptualizes a nonlinear viewpoint of historical past, which posits that societies ascend via 3 specified a long time earlier than collapsing in a ricorso and starting a brand new cycle. Vico sees this socio-temporal phenomenon as spiral, no longer repetitious, within the experience that social and cultural iterations take place at any time when a brand new cycle starts off. In De Italorum Sapientia (1710), Vico critiqued points of René Descartes technique because it concerning “civic existence” by way of pointing out “to introduce geometrical approach into functional existence is ‘like attempting to pass mad with the principles of reason,’ PSYCHOGEOGRAPHICAL GIS: making a “KALEIDOSCOPE outfitted WITH CONSCIOUSNESS,” FLANN O’BRIEN’S AT SWIM-TWO-BIRDS (1939) 89 determine 6. 2  Viconian “Arcs”/“Epochs. ” Created via the writer. trying to continue by way of a instantly line one of the tortuosities of existence, as if human affairs weren't governed by means of capriciousness, temerity, chance, and likelihood. ”17 determine 6. 2 deals a GIS visualization of O’Brien’s characters’ paths (black polylines) via Vico’s 4 arcs of heritage, featured as 4 varied coloured oblong polygon layers extruded in successive top over the rasterized 1931 OS map of Dublin. The layers symbolize Vico’s point of view on heritage, which envisions successive “arcs” or “epochs” that societies go through in a cyclical type: 1. the 1st arc layer represents the Theocratic Age, whilst gods converse to mankind via oracles. 2. the second one arc layer represents the Aristocratic Age, while the ruling periods come to dominate their societies with out the necessity for divine sanction. three. The 3rd arc layer represents the Democratic Age, inaugurated via the “rational” and popularly elected governing assemblies. four. The fourth and ultimate arc layer represents the Ricorso—the age of demagoguery, social anomie, anarchy, and chaos—marked by way of “la barbarie della riflessione (the barbarism of reflection)” and eventual cultural decline and cave in. The “fall” within the fourth arc signs a go back to the Theocratic Age and heralds the start of a brand new cycle of background for a given society. The clockwise spiral trend used to be additionally extruded in order that the coed and his friend’s walks to a few of the websites depicted within the 1931 OS map might correspond 9 zero Abstrac t computer  Humanities in GIS to a selected Viconian cycle of background. at the 4 successive Viconian arc layers, heroes from Celtic mythology and figures from American pulp-fiction Westerns and cinema concurrently mixture with the social geographies of petite bourgeois and working-class Dubliners to create the novel’s ever-changing mélange of position. The a number of narrative traces in O’Brien’s novel act in confluence with Bakhtin’s chronotopes to demonstrate that At Swim-Two-Birds depicts the finishing touch of a Viconian cycle of background within the house of the town.

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