Pub Date : 2021-08-19DOI: 10.1163/25893963-12340004
Jordana Dym
More often than not, readers of travel narratives expect to find one or several maps showing, as English privateer William Dampier wrote, “the Course of the Voyage,” that is, where the author-traveler went and, implicitly, a sense of what was seen and experienced. Dampier used a now-common cartographic strategy to tell the story from beginning to end as well as focus on significant places on the way by marking the journey with a “pricked” line. Despite the lines’ popularity and present ubiquity, the complex intellectual processes of considering travel as a continuum rather than as a series of stops and of plotting a journey onto a map have attracted relatively little academic attention. Drawing on a thousand years of European travel writing and map-making, this work suggests that in fifteenth-century Europe, maps joined text-based itineraries and on-the-spot directions to guide travelers and accompany reports of land and sea travel. Called in subsequent centuries “route maps,” “itinerary maps,” and “travel maps,” often interchangeably, what are defined here as journey maps added lines of travel. Since their emergence, most journey maps have taken one of two forms: itinerary maps, which connected stages with line segments, and route maps, which tracked unbroken lines between endpoints. In the seventeenth century, journey mapping conventions were codified and incorporated into travel writing and other genres that represented individual travel. With each succeeding generation, journey maps have become increasingly common and complex, responding to changes in forms of transportation, such as air and motor car “flight” and print technology, especially the advent of multi-color printing.
阅读旅行故事的读者往往希望看到一张或几张地图，就像英国海盗威廉·丹皮尔(William Dampier)所写的那样，“航行的路线”(the Course of the Voyage)，即作者旅行者去过的地方，以及隐含的所见所闻。丹皮尔使用了一种现在很常见的制图策略，从头到尾讲述了这个故事，并通过在旅途中标记一条“刺”线来关注沿途的重要地点。尽管这些线路很受欢迎，而且现在无处不在，但将旅行视为一个连续的过程，而不是一系列的站点，以及在地图上绘制旅程的复杂智力过程，相对来说很少引起学术界的关注。借鉴了欧洲一千年的旅游文字和地图制作，这项工作表明，在15世纪的欧洲，地图加入了以文字为基础的行程和现场指示，以指导旅行者，并伴随着陆地和海上旅行的报告。在随后的几个世纪里，人们常常把“路线地图”、“行程地图”和“旅行地图”互换使用，这里所定义的“旅行地图”增加了旅行路线。自出现以来，大多数旅行地图都采用了两种形式之一:一种是用线段连接阶段的行程地图，另一种是在终点之间追踪不间断线的路线地图。在17世纪，旅行地图的惯例被编纂并纳入旅行写作和其他代表个人旅行的体裁中。随着每一代的发展，旅行地图变得越来越普遍和复杂，以应对交通方式的变化，如空中和汽车“飞行”和印刷技术，特别是多色印刷的出现。
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When does a depiction of the moon become a lunar map? This essay addresses this question from theoretical and historical standpoints. It is argued that moon maps are of crucial importance to the history of cartography, for they challenge established notions of what is a map, how it functions, what are its purposes, and what kind of power it embodies and performs. The work also shows how terrestrial cartography has shaped the history of lunar mapping since the seventeenth century, through visual and nomenclature conventions, the cultural currency of maps, mapmakers’ social standing, and data-gathering and projection practices. It further demonstrates that lunar cartography has also been organized by an internal principle that is born of the fundamental problem of how to create static map spaces capable of representing a referent that is constantly changing to our eyes, as is the visible face of the moon. It is suggested that moon maps may be classed on three broad categories, according to the kinds of solutions for this representational problem that have been devised over the last 400 years.
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