The final and most destructive act of the British Empire on India relies on a simple yet decisive action: the tracing of a line. Partition. The entire subcontinent brutally fractured, lastingly divided. From the onset of colonization, lines have been used as a spatial conquest tool to control, contain and domesticate the Other. Colonial India is a striking example of the imperial use of lines, and their representations in novels of the late 19th century, British and Indians, testify to their omnipresence. Whether through invisible social lines or visible architectural ones, the Other’s place is assigned, defined, and relegated to the margin – behind the line traced by the imperial power. Yet although these lines are represented at times as immutable, each limit calls for its crossing. The liminal characters, or line-crossers, keep evolving in the margin of imperial lines and crossing them.

This paper demonstrates the crucial role of lines in geocritical analysis, by rethinking lines as not only a narrative device, but as an essential conceptual device in spatialities. The line creates the place. The delineation of a line onto space divides it, thereby circumscribing a specific fragment of space possessing boundaries, effectively turning it into a place. The line enshrines its power through the cristallization of the code’s – or doxa’s – principles and ideology. Infusing the place with meaning, symbolism, and power, this foundational act is nonetheless constantly challenged and questioned by the literary representations of the crossings. Indeed, based on Westphal’s premise that space possesses its own transgressivity and fluidity, and drawing on Deleuze and Guattari’s rhizomatic conception of space, this paper argues that the space of the line is a thick one, endowed with space’s caracteristics – infinite, fluid, labile. By entering this thirdspace or in-between, the line-crossers access agency through lines of flight, their reterritorialization pending.

Whether an act of subversion, transgression or resistance, each crossing shatters the established apparatus of power. The conceptualization of the space of the line, along with literary analysis of line-crossings shed light on underground sites of resistance, laying hidden in the margins. The line’s polymorphic nature displays fascinating aspects of ambivalence and subversion through its oscillations. Within the folds of the space of the line, emerge the possibilities of connection, the actualization of potentials, and the glimpse of another world, a plausible world, within which the encounter between the Self and the Other might, finally, be possible.

Female wanderlust, often depicted as a figure of agency and autonomy, remains largely constrained in film narratives. However, advancements in film techniques, particularly location shooting, have brought paradigmatic changes in storytelling. A polyphony of geographical spaces reshapes and fills prior vacuum space in female subjectivity, generating new imaginations for spatial autonomy, memory, and selfhood in cinematic journeys.

The meaning of wandering could be reconsidered through Baudelaire’s notion of flânerie, introduced in The Painter of Modern Life, which captures the rhythmic acts of strolling through city streets without a set purpose or destination. Benjamin deepens this concept in The Arcades Project, where he frames wandering as a bodily revolution, to resist capitalist modes of production. This perspective is later expanded by Rebecca Solnit, who explored the gendered history of walking, highlighting its social messages in the reclamation of feminist autonomy and resistance. Viewing wandering as an agentic move within intersubjective space, I apply this analysis to the filmic space, which, I consider, shares some essential features with real urban environments.

Thus, I argue that, through a close analysis of two Alain Resnais films, the female protagonists map their space as emotional cartographies shaped by their wandering. These spaces, in turn, become sites of embodied and affective elements, deeply intertwined with personal memory.

Alain Resnais is renowned for his nonlinear narratives and space-time distortions, with mise-en-scène of memory flashbacks frequently interwoven with urban landscapes. Through a comparative analysis of Last Year at Marienbad, and Hiroshima Mon Amour, this paper examines how spatial cartographies engage with filmic narratives, and, ultimately, evoke feminist agency. I draw on the methodologies of psychogeography discussed by Giuliana Bruno, and urban theory from Henri Lefebvre and Guy Debord, alongside analysis of filmic segments of wandering. In particular, I explore the closure scene in Hiroshima Mon Amour, where Elle (starring Emmanuelle Riva) walks through empty nighttime streets in Hiroshima, sometimes encountering Hui (starring Eiji Okada) and sometimes not, culminating in a psychological climax. Similarly, I examine the retrospective gardening scene in Last Year at Marienbad, where Delphine Seyrig’s footprints create continuity through geometricity, impossible parallels, and memory.

By focusing on representations of filmic space, this research contributes to understanding how space acquires narrative significance through its virtuality, shaped by its technically mediated nature. The interdisciplinary perspectives I apply—from psychogeography to urban and media theory— enrich its contextual discourses. In conclusion, this paper reimagines female wanderlust through the lens of spatial theory, showcasing how film reinvents narrative autonomy for women as shown in Alain Resnais’ films.

Edouard Glissant introduced and developed a new critical approach to Caribbean identity throughout two of his major works, Caribbean Discourse (1981) and Poetics of Relation (1990). Glissant, while recognizing that all cultures are to some degree “composite cultures,” clarifies the historical, cultural, and geographical conditions that primed the Caribbean for a creolized orientation. This presentation is a comparative literary investigation into societal attitudes towards creolization in nineteenth-century Philippines, Spain, and Louisiana. Following the geo-cultural theories of Glissant and Michael Wiedorn, I develop a framework for comparing peninsular and archipelagic thought. In the application of creolist theories to these geographies, this presentation probes the extensibility of Glissant’s archipelagic and island studies theories beyond the Caribbean context as well as provides a new mode of thinking through cultural connectivity in the nineteenth century. In analyzing works by José Rizal, Benito Pérez Galdós, Kate Chopin, and Lafcadio Hearn, I illuminate a connection between geographical thought and creolist attitudes across literary traditions.

This paper argues the question of translatability in presenting metropolis through digital and literary outlines of travel. As a complex space to translate due to its diversity and alterity, metropolis will be examined here after the ways of expression used in YouTube travel videos presenting Istanbul from the point of view of Korean vloggers. The objective of this paper is to discuss the variety of digital elements in compounding the narrativity of the experience of travel by the agency of small narratives and thus expanding the scope of interpreting the metropolitan city and its diversity as a contemporary world phenomenon and as a matter of consideration for comparative literature.