The Moro and His itors Reveals the Non-mimetic Nature of the Map and, Consequently, the Social Conventions That Govern Any Image. Cartographic. In This Regard, It is Worth Returning to Christian Jacob’s Observations in Relation to the Authority of the Map and Its Performative Power. Jacob Maintains That, Because They Have Been Drawn With the Same Semiological Codes Us for Maps of Real Lands, Imaginary Maps Show More Clearly Both the Non-mimetic Character of Any Map and the Mechanisms of Authority That Make Us Believe in Them.
The Criteria of Cartographic
Verisimilitude Do Not Lie, Therefore, in the “Correct” Graphic Representation of a Space That is Outside the Sheet of Paper (or Any Other Support), but in the Conventions and Norms That Allow Interpreting a Set of Points and Lines Direct Moving Leads Email List on a Flat Surface as Something More Than They Are. Given the Impossibility of Any Empirical Verification, Jacob Points Out, the Map Rests on a Collective Consensus and on an Individual Adhesion That Give It Validity.. In the Case of Utopia , One Last Observation Deserves Our Attention. Like Any Map, the Includ Letter Has a Performative Character, as It Allows Access to a Space Bas on the Propos Image of It.
As Not in the Previous Paragraph the
Island of Utopia Does Not , as Long as That Map Exists, It is Possible to Imagine It (Think About It). At the Same Time, the Presence of the Map in the Book-object Produces a Reality Effect Because, Before the Reader, and as Croatia Phone Number List Happens With Any Map, the Only Way to Access That Other Space is Through the Letter That Represents Its Absence. And, Therefore, Replaces It. The Antipodes as a Space for Reflection It Remains to Investigate the Possibilities That Fiction and, in Particular, Other Places Provide as Spaces for Reflection. In His Recent Study on the Inclusion of Maps in Literary Works, Roger Chartier Specifi That.
