“Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova: Summary and Critique

Introduction: “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

“Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova first appeared in College Literature, Volume 44, Number 4, in Fall 2017. In this article, Ivanchikova explores the intersection of geography, literature, and pedagogy, emphasizing the significance of creative mapping assignments in the humanities classroom. The article argues for the utility of literary maps—hand-drawn, qualitative maps—as tools for deepening students’ understanding of narrative spaces, challenging traditional, positivist views of cartography. Ivanchikova’s key ideas include the distinction between positivist, allegorical, and analytical maps, highlighting how these different approaches can enhance literary analysis by fostering critical thinking about space, place, and cultural representation. The creative map assignments, as demonstrated in Ivanchikova’s own teaching practice, encourage students to engage more intimately with texts by mapping characters’ journeys and the symbolic significance of locations within the narrative. By incorporating geographic knowledge and visual analysis, the assignment not only enriches students’ comprehension of literary works but also provides them with a hands-on method to question the ideological nature of maps themselves, thus making them active participants in shaping and interpreting spatial narratives (Ivanchikova, 2017). The article underscores the importance of this pedagogical approach in literary studies, offering a valuable alternative to the purely quantitative methods often employed in geography and emphasizing the need for qualitative, interpretive techniques in understanding literary space.

Summary of “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

1. Introduction to Literary Geographies
   • The article explores how creative mapping assignments can enhance students’ understanding of literature through geographical visualization. Ivanchikova discusses how literary geography integrates spatial theory into literature pedagogy (Ivanchikova, 2017, p. 675). The use of maps in literature goes beyond mere representation of physical locations, providing insight into the relationship between narrative and landscape (Ivanchikova, 2017, p. 676).
2. The Concept of Literary Maps
   • Literary maps represent more than just geographical data; they embody the ideological and rhetorical nature of maps. Maps are often cultural and subjective, reflecting the worldview of their creators (Ivanchikova, 2017, p. 677). Ivanchikova argues that qualitative, hand-drawn maps are valuable pedagogical tools in literary studies, offering a contrast to the more technical, quantitative methods of mapping (Ivanchikova, 2017, p. 678).
3. Classroom Integration of Creative Mapping
   • Ivanchikova shares her experience incorporating creative maps in a world literature course. She uses mapping assignments to explore how geography influences literature, focusing on regions like Alaska, Ghana, and Afghanistan. These maps helped students gain a deeper understanding of the cultural and spatial context of the stories they read (Ivanchikova, 2017, p. 680). Maps serve as a tool to grapple with geographical features and their symbolic meanings in literature (Ivanchikova, 2017, p. 681).
4. The Role of Maps in Revealing Ideology
   • Maps, often perceived as objective, are shown to carry ideological messages. Students were encouraged to think critically about the maps they created, questioning the objectivity of “real-time” digital maps and understanding them as rhetorical devices (Ivanchikova, 2017, p. 682). This was demonstrated in the assignment to map the journey of Christopher McCandless in Into the Wild, where students realized that maps are not neutral but can reinforce national and cultural narratives (Ivanchikova, 2017, p. 683).
5. Types of Student-Generated Maps
   • Three categories of maps emerged from the assignments: positivist, allegorical, and analytical. Positivist maps aimed for accuracy, allegorical maps used symbols and distortions to convey meaning, and analytical maps analyzed patterns and spatial relationships (Ivanchikova, 2017, p. 685). Students transitioned from merely mapping journeys to interpreting literary space as a means of understanding narrative themes (Ivanchikova, 2017, p. 686).
6. Shifting from Space to Place
   • The assignment allowed students to move from an abstract concept of space to a more meaningful understanding of place. The allegorical maps created by students captured the emotional and symbolic significance of locations, reflecting the subjective experience of the characters (Ivanchikova, 2017, p. 687). This shift in mapping style was tied to a broader understanding of literature as a humanistic study that imbues places with meaning (Ivanchikova, 2017, p. 688).
7. Analyzing Cultural Patterns through Maps
   • In the second part of the course, students used maps to analyze cultural patterns, such as migration in No Sweetness Here by Ama Ata Aidoo. These maps not only depicted movement but also reflected students’ interpretations of cultural shifts and the tensions between tradition and modernity (Ivanchikova, 2017, p. 692). Analytical mapping helped students connect literary geography with broader cultural and social changes (Ivanchikova, 2017, p. 693).
8. Comparative Mapping and Student Growth
   • In the final module, students compared the spatial dimensions of The Kite Runner and A Thousand Splendid Suns by Khaled Hosseini, observing the contrasts between masculine, expansive spaces and feminine, constricted spaces. This exercise illustrated how maps could reveal deeper narrative structures and themes (Ivanchikova, 2017, p. 698).
9. Evaluation of the Creative Map Assignment
   • The creative map assignment was well-received by students, with most rating it highly for its effectiveness in engaging their imagination and helping them contextualize the stories. The assignment fostered an environment of creativity and critical thinking, allowing students to experiment without fear of failure due to the pass/fail grading structure (Ivanchikova, 2017, p. 700).
10. Conclusion and Pedagogical Value
    • Ivanchikova concludes that creative map assignments serve as powerful pedagogical tools, enabling students to visualize, interpret, and analyze the spatial dimensions of literary texts. By engaging with maps, students develop a more nuanced understanding of literature, seeing narrative as a complex spatial construction (Ivanchikova, 2017, p. 702).

Theoretical Terms/Concepts in “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Theoretical Term/Concept	Definition	Explanation	Reference
Literary Geography	The study of how space and geography influence literary texts.	Literary geography explores the relationship between narrative and landscape, focusing on the affective and ideological significance of geographical locations in literature.	Ivanchikova, 2017, p. 676
Spatial Turn	A shift in the humanities towards the study of space in relation to literature.	This theoretical shift incorporates geospatial technologies and spatial analysis into literary studies, acknowledging space as a central element in understanding narratives.	Ivanchikova, 2017, p. 677
Geocriticism	A field of literary theory that combines geography and literary analysis.	Geocriticism uses maps and space to analyze texts, emphasizing the interaction between the literary world and real-world geography.	Ivanchikova, 2017, p. 677
Immappancy	The lack of geographical knowledge or the failure to understand the ideological implications of maps.	This term refers to both the physical ignorance of geographical knowledge and the failure to recognize the rhetorical nature of maps.	Arnold, NeCamp, & Sohan, 2015, p. 679
Positivist Mapping	A mapping approach that emphasizes accuracy and objective representation of geographical locations.	This approach treats maps as literal, objective tools that focus on precision and factual data, often neglecting the subjective or symbolic elements of place.	Ivanchikova, 2017, p. 684
Allegorical Mapping	A creative mapping style that incorporates symbols, distortions, and subjective elements.	Allegorical maps convey deeper meanings related to the emotional or symbolic significance of locations within the narrative, often distorting spatial reality to reflect the narrative’s themes.	Ivanchikova, 2017, p. 685
Analytical Mapping	A type of map that identifies patterns or trends in literary spaces.	Analytical maps move beyond mere representation, analyzing spatial relationships, recurring patterns, and cultural shifts, often aiming to uncover causal connections or thematic patterns.	Ivanchikova, 2017, p. 692
Space vs. Place	The distinction between abstract, measurable space and the subjective, inhabited concept of place.	According to Yi-Fu Tuan, space is abstract and generalized, whereas place is imbued with meaning and personal significance, often central to humanistic inquiry in literature.	Ivanchikova, 2017, p. 686
Map Rhetoricity	The idea that maps, while seemingly objective, are rhetorical devices that convey ideological messages.	This concept, rooted in J.B. Harley’s work, suggests that all maps are subjective and shaped by the perspectives and interests of their creators, revealing more than just geographical data.	Harley, 1992, p. 682
Cartographic Agency	The power of mapmakers to shape and influence how spaces are represented and interpreted.	This concept focuses on how students, as mapmakers, bring their own perspectives and creative interpretations to the mapping process, affecting the way space is understood in literary studies.	Ivanchikova, 2017, p. 701

Contribution of “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova to Literary Theory/Theories

• Contribution to Geocriticism
  • Ivanchikova’s work emphasizes the importance of geocriticism in literary studies, particularly by showing how maps and geography interact with narrative structures. She integrates space and place as essential elements for understanding literary texts, drawing on Bertrand Westphal’s concept of geocriticism (Ivanchikova, 2017, p. 677).
  • Reference: Ivanchikova (2017) mentions “Geocriticism” as a framework that focuses on understanding the interaction between geography and literature, using mapping as a key analytical tool (Ivanchikova, 2017, p. 677).
• Contribution to the Spatial Turn in Literary Studies
  • Ivanchikova contributes to the spatial turn in literary theory by incorporating spatial analysis and geography into literary studies, responding to the shift towards integrating space into the analysis of narratives. She acknowledges that geospatial technologies like GIS and GPS have shaped contemporary understandings of space, which she then integrates into the literary classroom (Ivanchikova, 2017, p. 677).
  • Reference: “The spatial turn in literary studies… was precipitated by, among other things, the rapid development of new geospatial technologies” (Ivanchikova, 2017, p. 677).
• Contributions to the Debate on Quantitative vs. Qualitative Approaches
  • Ivanchikova’s article contrasts the positivist approach to maps (focusing on objectivity and accuracy) with more subjective, allegorical mapping practices that align with literary analysis. This highlights the tension between quantitative mapping methods, such as GIS, and qualitative, subjective methods, which reflect the interpretive nature of literary studies (Ivanchikova, 2017, p. 679-684).
  • Reference: Ivanchikova critiques the scientific, data-driven approach of GIS as insufficient for capturing the figurative and affective nature of space in literature (Ivanchikova, 2017, p. 679).
• Contribution to the Ideology of Maps
  • Drawing from J.B. Harley’s theory of map rhetoricity, Ivanchikova discusses how maps are not neutral but are imbued with ideological meanings that influence our understanding of space. This theoretical insight underscores the role of maps in shaping narratives and cultural representations (Ivanchikova, 2017, p. 682).
  • Reference: Ivanchikova states, “Nothing on a map is reality, everything is representation and thus open to the sort of exegetic and interpretative analysis that characterizes the humanities” (Ivanchikova, 2017, p. 682).
• Contribution to Literary Geography as a Pedagogical Tool
  • Ivanchikova proposes the use of literary geography and creative mapping as effective pedagogical tools in literature classes, allowing students to engage with texts in a spatial manner. She shows how this method encourages students to think critically about the cultural, historical, and emotional significance of geographic locations in literary works (Ivanchikova, 2017, p. 680).
  • Reference: “Maps are central to any geographical endeavor… [and] maps are imbued with the assumption of scientific objectivity, yet they are profoundly cultural and ideological products as well” (Ivanchikova, 2017, p. 680).
• Contribution to the Understanding of Space vs. Place in Literary Contexts
  • By using Yi-Fu Tuan’s distinction between space and place, Ivanchikova challenges students to think about how literary texts construct meaning through space. She emphasizes that while space is abstract and scientific, place is imbued with personal and cultural significance, making it a more appropriate concept for literary analysis (Ivanchikova, 2017, p. 686).
  • Reference: Ivanchikova refers to Tuan’s view that “place (rather than space) should be the proper object of a humanistic inquiry, since it is always a site imbued with meaning” (Ivanchikova, 2017, p. 686).

Examples of Critiques Through “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

Literary Work	Mapping Critique	Explanation of Critique	Reference
Into the Wild by Jon Krakauer	Positivist Maps	Students used Google Maps to trace the protagonist’s journey, revealing the disparity between national and continental maps. The critique highlights how maps can misrepresent geographical distance and the cultural perception of space (Alaska’s size and isolation).	“The national maps… greatly distort the scale of Alaska” (Ivanchikova, 2017, p. 682).
Qayaq: The Magical Man by Ticasuk	Allegorical Maps	Students created non-literal maps due to the lack of named locations. They used symbolic representations of places based on their function in the protagonist’s spiritual journey, highlighting the importance of narrative terrain in Native stories.	“Students… resolved the issue by drawing their own maps… based on the function of locations in the protagonist’s journey” (Ivanchikova, 2017, p. 692).
Ordinary Wolves by Seth Kantner	Analytical Maps	The maps sought to capture the spatial patterns of movement in the novel. Students mapped the emotional and physical journeys of the protagonist, visualizing the psychological and geographical divisions in the landscape.	“The shift from description to analysis… capturing spatial variation, density, and repetition” (Ivanchikova, 2017, p. 695).
A Thousand Splendid Suns by Khaled Hosseini	Comparative Maps	Students created side-by-side maps comparing the spatial trajectories in The Kite Runner and A Thousand Splendid Suns. They contrasted the expansive, open space in The Kite Runner with the enclosed, repetitive spaces of A Thousand Splendid Suns, reflecting the gendered and cultural limitations of the characters.	“The narrative arc of A Thousand Splendid Suns unfolds in a closed, circular spatiality that exemplifies female entrapment” (Ivanchikova, 2017, p. 698).

Criticism Against “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

• Over-reliance on Visual Representation: The focus on mapping might be critiqued for relying too heavily on visual representation, which could limit the depth of textual analysis. This approach may encourage students to prioritize surface-level mapping over more nuanced literary interpretation.
• Simplification of Literary Complexities: Critics could argue that mapping assignments simplify the complexities of literary landscapes by attempting to reduce them to geographic coordinates, potentially neglecting the symbolic, metaphorical, and psychological dimensions of space in literature.
• Lack of Rigor in Spatial Theory Application: Some critics might claim that the assignment’s use of spatial theory and geography is not always rigorously applied. The mapping process may not always integrate deeply with the theoretical texts (e.g., Tuan’s “Space and Place”) or might gloss over the more intricate aspects of geocriticism.
• Potential for Overshadowing Literary Content: The emphasis on mapping could overshadow the primary literary content, causing students to focus more on geographical accuracy or creativity rather than engaging with the text’s themes, characters, and broader cultural contexts.
• Student Dependence on Digital Tools: There might be a critique that digital tools like Google Maps and online mapping software may contribute to a mechanized understanding of space, which could discourage students from exploring other forms of creative, hand-drawn cartography or more nuanced, personal interpretations of space.
• Limited Scope of Literary Works: The approach may be critiqued for primarily focusing on specific literary genres or works that lend themselves well to spatial analysis, possibly overlooking genres or texts where geography and mapping are less integral to the narrative.
• Missed Intersection with Social and Political Contexts: Critics may argue that the mapping approach in the paper doesn’t fully address the social and political implications of maps and space in literature, such as the colonial or imperialistic history of mapping, which is central to the criticism of traditional cartography.
• Lack of Clear Pedagogical Framework: Some might argue that while the paper demonstrates the utility of creative mapping in the classroom, it lacks a clear, structured pedagogical framework that would guide instructors in how to best implement the assignments across various literary texts and contexts.

Representative Quotations from “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova with Explanation

Quotation	Explanation
“Maps are too important to be left to cartographers alone.” — J.B. Harley, “Deconstructing the Map”	This quote emphasizes that maps are not neutral or purely scientific tools; they are deeply embedded in cultural, political, and ideological contexts, and should be critically examined, especially in literature.
“Literary mapping bears witness to the world that precludes quantification by testifying to the interconnectedness of narrative and landscape.”	Ivanchikova suggests that literary maps are not about numerical or objective data but about representing how narratives and places interact, often in symbolic or subjective ways.
“Maps can be used in the service of power or resistance, can serve as orientation devices, or can purposely confuse and disorient the viewer.”	This reflects how maps in literature, as in real life, can manipulate perspectives, shape ideologies, or create disorientation, aligning with their power dynamics.
“Students must grapple more deeply with a text from another culture by grounding their inquiry in a specific landscape through investigating and mapping its locations.”	The process of mapping enables students to better understand and immerse themselves in the cultural and geographical contexts of literary works from different regions.
“Geography-as-science with its emphasis on accuracy and scientific ‘truth’ and the study of literature with its emphasis on the subjective, the figurative, and the intangible.”	Ivanchikova points to the tension between scientific cartography, which prioritizes precision, and literary space, which allows for more abstract and interpretive exploration.
“The assignment is structured as an open-ended creative undertaking: students had complete freedom in how they approached this task.”	This statement highlights the flexibility and creativity involved in the mapping assignment, which is meant to encourage students to explore literary spaces freely and innovatively.
“Maps that students regard as truth statements are in fact political statements, exemplifying Harley’s notion of maps as performative, rather than descriptive, utterances.”	Ivanchikova argues that maps, often seen as neutral or objective, are inherently political and performative tools that can reflect ideological stances or bias.
“Maps are profoundly cultural and ideological products as well.”	This reinforces the notion that maps are not just neutral representations of physical space, but also reflect the beliefs, values, and politics of their creators.
“The map is the linchpin” — Susan Schulten	This quotation highlights the centrality of maps in understanding the relationship between geography and the humanities, especially in the context of literary studies.
“Students’ shift from descriptive to analytical mapping resembles the historical transition from topographic to thematic maps.”	Ivanchikova compares students’ evolving map-making practices to historical shifts in cartography, from simply representing space to analyzing and interpreting spatial patterns and meanings.

Suggested Readings: “Literary Geographies: Creative Mapping Assignments in a Humanities Classroom” by Alla Ivanchikova

1. Ivanchikova, Alla. “Literary geographies: Creative mapping assignments in a humanities classroom.” College Literature 44.4 (2017): 675-707.
2. Ivanchikova, Alla. “Literary Geographies: Creative Mapping Assignments In A Humanities Classroom.” College Literature, vol. 44, no. 4, 2017, pp. 675–707. JSTOR, https://www.jstor.org/stable/48553651. Accessed 23 Feb. 2025.
3. Blair, Sara. “Cultural Geography and the Place of the Literary.” American Literary History, vol. 10, no. 3, 1998, pp. 544–67. JSTOR, http://www.jstor.org/stable/490111. Accessed 23 Feb. 2025.
4. SCANDURA, JANI. “American Literary Geographies.” NOVEL: A Forum on Fiction, vol. 43, no. 2, 2010, pp. 330–35. JSTOR, http://www.jstor.org/stable/40959710. Accessed 23 Feb. 2025.