In Netherland, Joseph O’Neill stages an ethical and emotional reorientation through the interaction of architecture, gesture, and bodily posture. This paper deepens existing spatial readings by proposing a two-tier typology of postural imaginary: a macro-framework distinguishing vertical, horizontal, and inclined postural imaginaries, and a micro-analytic framework detailing position, orientation, viewpoint, affordances, and whole/part postures. Through a phenomenological approach, the analysis shows that Netherland dramatizes the collapse of vertical postural imaginaries—fractured by skyscraper contradictions and aviation’s bifurcated spatial logic—and stages Hans’s reorientation through a horizontal imaginary cultivated by cricket. The novel culminates in the emergence of an inclined postural imaginary atop the London Eye, which dismantles the verticalized, pedestalizing relations structuring Hans’s familial and marital life. By tracing how these vertical, horizontal, and inclined postural imaginaries interact, collide, and recompose, the paper demonstrates how Hans’s bodily reorientation models an alternative relational stance capable of reimagining America’s post-9/11 vertical postural imaginary. In a time marked by global volatility and antagonistic postural forces, the turn toward an inclined postural imaginary grounded in connection, care, and responsibility appears not only necessary but urgent.
Yabo Li (Fri,) studied this question.