Christopher Meredith's novel Shifts (1988) is firmly established in the canon of English-language Welsh literature as one of the most accomplished representatives of (post-)industrial fiction, a genre this small country has produced in quality and amount ‘out of all proportion to its size or population’ (Knight, 2004). The aim of this paper is to explore the role of the medieval Mappa Mundi which two characters see in Hereford Cathedral in the context of the novel's circular structure and a rich network of other visual insets. Looking at the map from a variety of perspectives, including Murray Krieger's concept of ekphrasis as the superimposition of spatial relationships on a text by a visual work of art, I propose to read the fictional continuum of the novel as a mirror image of the medieval orbis terrarum on several planes: compositional, visual-optical and symbolic. This reading is embedded within the broader context of the characteristics of the Welsh industrial novel discussed by Raymond Williams in his essay ‘The Welsh industrial novel’ (1979).

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（后）工业光学：赫里福德地图世界在克里斯托弗·梅雷迪思的转变中的作用

克里斯托弗·梅雷迪思 (Christopher Meredith) 的小说《转变》 (1988) 牢牢地确立了威尔士英语文学的经典地位，是（后）工业小说最有成就的代表之一，这个小国生产的这种小说的质量和数量都“超乎寻常”。其规模或人口”（Knight，2004）。本文的目的是在小说的圆形结构和丰富的其他视觉插图网络的背景下，探讨两个人物在赫里福德大教堂中看到的中世纪世界地图的作用。从不同的角度看地图，包括默里·克里格（Murray Krieger）的“ekphrasis”概念，即通过视觉艺术作品将空间关系叠加在文本上，我建议将小说的虚构连续体解读为中世纪奥比斯的镜像terrarum在几个层面上：构图、视觉光学和象征。这种阅读嵌入了雷蒙德·威廉姆斯在他的文章“威尔士工业小说”（1979）中讨论的威尔士工业小说特征的更广泛背景中。