Topoi and Chronotopic Archetypes

The purpose of this map is to show the relationship between each topoi (place-specific framename) and the underlying chronotopes.  Although Sally and James identified similar deep chronotopic structures beneath the poem, Sally’s privileging of the poetic spaces of each mini-text within the whole, creates a snowflake structure with each underlying chronotope and related topoi floating separately. This is because each topoi is assumed to only ever relate to one spatio-temporal form. In Sally’s map the 'anti-idyll' predominates with eighteen topoi linked to this chronotope. The sense in which the imagination of the narrator/persona determines the mood and content is also felt in the dominance of both 'anti-idyll' and 'distortion'. In James’s comparable visualization, places are far more dynamic in their relations to the chronotopes because one place can change its chronotopic identity. The idyll form ('idyll'; 'idyll-wilderness'; 'anti-idyll') again predominates. But now 'Wenlock Edge' is both 'idyll' and 'anti-idyll'; 'Shropshire County' is at different times an 'idyll wilderness', an 'idyll' and 'a remembered place'.