Spatial Humanities

The application of Geographic Information Systems (GIS) to issues in history is among the most exciting developments in both digital and spatial humanities. Describing a wide variety of applications, the essays in this volume highlight the methodological and substantive implications of a spatial approach to history. They illustrate how the use of GIS is changing our understanding of the geographies of the past and has become the basis for new ways to study history. Contributors focus on current developments in the use of historical sources and explore the insights gained by applying GIS to develop historiography. Toward Spatial Humanities is a compelling demonstration of how GIS can contribute to our historical understanding.

Irelands landscape is marked by fault lines of religious, ethnic, and political identity that have shaped its troubled history. Troubled Geographies maps this history by detailing the patterns of change in Ireland from 16th century attempts to "plant" areas of Ireland with loyal English Protestants to defend against threats posed by indigenous Catholics, through the violence of the latter part of the 20th century and the rise of the "Celtic Tiger." The book is concerned with how a geography laid down in the 16th and 17th centuries led to an amalgam based on religious belief, ethnic/national identity, and political conviction that continues to shape the geographies of modern Ireland. Troubled Geographies shows how changes in religious affiliation, identity, and territoriality have impacted Irish society during this period. It explores the response of society in general and religion in particular to major cultural shocks such as the Famine and to long term processes such as urbanization.

Leading scholars in the interdisciplinary field of geo-spatial visual studies examine the social experience of cinema and the different ways in which film production developed as a commercial enterprise, as a leisure activity, and as modes of expression and communication. Their research charts new pathways in mapping the relationship between film production and local film practices, theatrical exhibition circuits and cinema going, creating new forms of spatial anthropology. Topics include cinematic practices in rural and urban communities, development of cinema by amateur filmmakers, and use of GIS in mapping the spatial development of film production and cinema going as social practices.

Geographic information systems (GIS) have spurred a renewed interest in the influence of geographical space on human behavior and cultural development. Ideally GIS enables humanities scholars to discover relationships of memory, artifact, and experience that exist in a particular place and across time. Although successfully used by other disciplines, efforts by humanists to apply GIS and the spatial analytic method in their studies have been limited and halting. The Spatial Humanities aims to re-orient-and perhaps revolutionize-humanities scholarship by critically engaging the technology and specifically directing it to the subject matter of the humanities. To this end, the contributors explore the potential of spatial methods such as text-based geographical analysis, multimedia GIS, animated maps, deep contingency, deep mapping, and the geo-spatial semantic web.

This book explores the geographies of the Holocaust at every scale of human experience, from the European continent to the experiences of individual human bodies. Built on six innovative case studies, it brings together historians and geographers to interrogate the places and spaces of the genocide. The cases encompass the landscapes of particular places (the killing zones in the East, deportations from sites in Italy, the camps of Auschwitz, the ghettos of Budapest) and the intimate spaces of bodies on evacuation marches. Geographies of the Holocaust puts forward models and a research agenda for different ways of visualizing and thinking about the Holocaust by examining the spaces and places where it was enacted and experienced.

Imagined Landscapes teams geocritical analysis with digital visualization techniques to map and interrogate films, novels, and plays in which space and place figure prominently. Drawing upon A Cultural Atlas of Australia, a database-driven interactive digital map that can be used to identify patterns of representation in Australia's cultural landscape, the book presents an integrated perspective on the translation of space across narrative forms and pioneers new ways of seeing and understanding landscape. It offers fresh insights on cultural topography and spatial history by examining the technical and conceptual challenges of georeferencing fictional and fictionalized places in narratives. Among the items discussed are Wake in Fright, a novel by Kenneth Cook, adapted iconically to the screen and recently onto the stage, the Australian North as a mythic space, spatial and temporal narrative shifts in retellings of the story of Alexander Pearce, a convict who gained notoriety for resorting to cannibalism after escaping from a remote Tasmanian penal colony, travel narratives and road movies set in Western Australia, and the challenges and spatial politics of mapping spaces for which there are no coordinates.

Deep maps are finely detailed, multimedia depictions of a place and the people, buildings, objects, flora, and fauna that exist within it and which are inseparable from the activities of everyday life. These depictions may encompass the beliefs, desires, hopes, and fears of residents and help show what ties one place to another. A deep map is a way to engage evidence within its spatio-temporal context and to provide a platform for a spatially-embedded argument. The essays in this book investigate deep mapping and the spatial narratives that stem from it. The authors come from a variety of disciplines: history, religious studies, geography and geographic information science, and computer science. Each applies the concepts of space, time, and place to problems central to an understanding of society and culture, employing deep maps to reveal the confluence of actions and evidence and to trace paths of intellectual exploration by making use of a new creative space that is visual, structurally open, multi-media, and multi-layered.