One of the main problems in many conversations about race, class, and privilege today is not too much distance, but rather too little.
Indeed, the fictive representation of the railway marked a further “coming to terms” with the always problematic constellation of humans, our technologies, and the natural world that surrounds us. We hypothesize that the geographical railway space in nineteenth-century German Realism was not merely a passive setting for the development of this emblematic technology, that is, it is not a simple record of the remarkable European railway expansion, but rather such space was the mechanism for the development of a literary-technical culture that was foundational to the poetic realism of the era. Visualization assists readers of literary fiction with the construction of mental models of a given work for a potentially clearer interpretative understanding. This paper is a contribution to the budding field of spatial humanities and, as such, it answers the question in the affirmative.
It is a question, however, that in light of the myriad visualization tools available to the humanist researcher, ultimately needs to be dealt with in the field of German Studies. Is visualization interpretation? It is a question not traditionally posed in humanities research – an area of study in which words on paper historically have been seen as the primary medium through which we express our interpretive, analytical, and critical ideas. I suggest that these narratives stage Europe as a border spectacle, in which borders are understood not simply as geographic entities, but also as the contested limits between political and economic authorities. the refugee, Grexit and Brexit crises) visible avant la lettre. The films, I therefore argue, thus make the tensions between political and economic bodies that trouble contemporary Europe (e.g. A close reading of the films, juxtaposed with an analysis of the visual language of official EU representation, demonstrates that the primary concern of these new “European” narratives lay in finding a visual means of exploring how human bodies were to be integrated culturally and politically when they were conceived of and defined in economic terms. This paper examines two wildly different films made in the year the Euro launched-the French comedy L’Auberge Espagnole and the socio-critical, Swedish feature Lilya 4-ever-that presented alternative narratives of contemporary “Europe”. Independently produced representations of Europe made at this time, however, painted a more nuanced and conflicted picture of the expanding EU. A commensurate official EU visual rhetoric developed that predictably celebrated the apparent collapse of borders and an increasingly unfettered flow of goods, people, and money.
This period of euphoric growth thus also proved to be a crucial moment of self-visualization.
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Yet in the age of the Euro, the question emerged with renewed vigor as to how to construct an affective identity for a group of states united through economic channels. This was a key period of European Union expansion during which the Euro was introduced and European markets became more closely integrated. This paper addresses attempts to invent a representational form for Europe in the early 2000s.
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