This document provides an overview of travel writing as an academic field of study. It discusses how travel writing has grown from a niche genre to an important area of research in the humanities. While travel writing has taken many forms over time, combining elements of different genres, it is predominantly shaped by the British tradition due to Britain's history as a seafaring nation and colonial power. The document also examines how travel writing is shaped by and negotiates issues of identity, culture, gender, technology and ideology. It concludes by noting how the COVID-19 pandemic has brought global mobility and travel to a standstill.
In our secular age literary critics tend to deny that literary texts reveal 'truth' in a religious sense even though great authors like Milton and Robert Browning saw themselves as divine messengers. Even poets such as Shelley imbued their works with a spiritual quality in defiance of tendencies to regard poetry as outmoded and alien to progressive and rationalit thought. Perhaps it is time to rise to poetry's defence as Shelley did.
A certain prejudice sometimes alleges that allegories are outmoded metaphorical devices but as one literary scholar has note a traveller may be a symbol of a pilgrim or seeker of truth and a mountain may be a symbol of the soul's aspiration but once the traveller has set foot towards a mountain an allegory arises irrespective of the author's intentions as subconscious forces in the mind flow into the process of poetic creation.
Some scholars in the field of literary criticism and linguistic analysis occasionally refer to 'verbal clues.' This is particularly notable in the field of Robert Browning studies as in the case of a reference to 'pottage' in 'The Pied Piper of Hamelin.' Let us widen the scope of this interpretaion of verbal clues much more wide.
The Self and the Double in Contemporary Portuguese Children's Literature: The...ijtsrd
Â
Recent research has shown that in Portugal, in the context of literature for young people, women are preferentially engaged in the writing of epistolary novels, publishing works that present innovative characteristics concerning the usual paradigm. We discuss the conditioning status of certain interlocutors the unfeasibility total or partial of the principle of discursive alternation the approach to diary writing by the insistent recourse to introspective and monological discourse and the attribution of a double functionality communicative and expressive to letters, among other procedures commonly declined in particular in works such as DiĂÂĄrio Cruzado de JoĂÂŁo e Joana, by Ana Maria MagalhĂÂŁes and Isabel Alçada, which we will analyze. Teresa Mendes | Luis Cardoso "The Self and the Double in Contemporary Portuguese Children's Literature: The Epistolary Writing in DiĂÂĄrio Cruzado of JoĂÂŁo and Joana" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-3 , April 2020, URL: https://www.ijtsrd.com/papers/ijtsrd30770.pdf Paper Url :https://www.ijtsrd.com/humanities-and-the-arts/other/30770/the-self-and-the-double-in-contemporary-portuguese-childrens-literature-the-epistolary-writing-in-di%C3%A1rio-cruzado-of-jo%C3%A3o-and-joana/teresa-mendes
In our secular age literary critics tend to deny that literary texts reveal 'truth' in a religious sense even though great authors like Milton and Robert Browning saw themselves as divine messengers. Even poets such as Shelley imbued their works with a spiritual quality in defiance of tendencies to regard poetry as outmoded and alien to progressive and rationalit thought. Perhaps it is time to rise to poetry's defence as Shelley did.
A certain prejudice sometimes alleges that allegories are outmoded metaphorical devices but as one literary scholar has note a traveller may be a symbol of a pilgrim or seeker of truth and a mountain may be a symbol of the soul's aspiration but once the traveller has set foot towards a mountain an allegory arises irrespective of the author's intentions as subconscious forces in the mind flow into the process of poetic creation.
Some scholars in the field of literary criticism and linguistic analysis occasionally refer to 'verbal clues.' This is particularly notable in the field of Robert Browning studies as in the case of a reference to 'pottage' in 'The Pied Piper of Hamelin.' Let us widen the scope of this interpretaion of verbal clues much more wide.
The Self and the Double in Contemporary Portuguese Children's Literature: The...ijtsrd
Â
Recent research has shown that in Portugal, in the context of literature for young people, women are preferentially engaged in the writing of epistolary novels, publishing works that present innovative characteristics concerning the usual paradigm. We discuss the conditioning status of certain interlocutors the unfeasibility total or partial of the principle of discursive alternation the approach to diary writing by the insistent recourse to introspective and monological discourse and the attribution of a double functionality communicative and expressive to letters, among other procedures commonly declined in particular in works such as DiĂÂĄrio Cruzado de JoĂÂŁo e Joana, by Ana Maria MagalhĂÂŁes and Isabel Alçada, which we will analyze. Teresa Mendes | Luis Cardoso "The Self and the Double in Contemporary Portuguese Children's Literature: The Epistolary Writing in DiĂÂĄrio Cruzado of JoĂÂŁo and Joana" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-3 , April 2020, URL: https://www.ijtsrd.com/papers/ijtsrd30770.pdf Paper Url :https://www.ijtsrd.com/humanities-and-the-arts/other/30770/the-self-and-the-double-in-contemporary-portuguese-childrens-literature-the-epistolary-writing-in-di%C3%A1rio-cruzado-of-jo%C3%A3o-and-joana/teresa-mendes
ARTICLESAcknowledging Things of DarknessPostcolonial Cr.docxdavezstarr61655
Â
ARTICLES
Acknowledging Things of Darkness:
Postcolonial Criticism of The Tempest
Duke Pesta
Published online: 31 July 2014
# Springer Science+Business Media New York 2014
Over the last forty years, postcolonial criticism has become a dominant
mode of critical discourse for the profession of literature and Renaissance
studies in particular, with The Tempest serving as terminus a quo for many
such discussions across historical periods and academic disciplines.1 During
this timeânot counting courses in Shakespeare, Renaissance drama, or early
modern literatureâThe Tempest has been taught in English departments at
the undergraduate or graduate level in freshman seminars; surveys of Great
Books; capstone courses; writing and composition courses; seminars on
literary theory, Marxism, postcolonialism, and race, gender, queer theory;
early American literature and transatlantic literature courses; surveys of
American literature; and courses on Romanticism, modernism, modern drama,
Third World literatures, postmodernism, Chicano/a literatures, Afro-Caribbean
literatures, and diaspora literatures. Outside English departments, the play has
been taught in such varied disciplines as African American studies, American
studies, anthropology, comparative literature, cultural studies, education,
environmental studies, film studies, history, linguistics, modern languages,
Native American studies, oppression studies, peace studies, philosophy,
Acad. Quest. (2014) 27:273â285
DOI 10.1007/s12129-014-9433-4
1The tradition viewing The Tempest through colonialist lenses has a long history outside the West, dating to the
nineteenth century. Writers from the Caribbean, Africa, and Central and South America have associated the play with the
gamut of evils linked to colonialism. For a sampling of this criticism, see Emir RodrĂguez Monegal, âThe
Metamorphoses of Caliban,â Diacritics 7, no. 3 (Fall 1977): 78â83; Richard Rodriguez, Hunger of Memory: The
Education of Richard Rodriguez: An Autobiography (Boston: David R. Godine, 1982); Roberto FernĂĄndez Retamar,
Caliban and Other Essays, trans. Edward Baker (Minneapolis: University of Minnesota Press, 1989); Roberta FernĂĄndez,
â(Re)vision of an American Journey,â in In Other Words: Literature by Latinas of the United States, ed. Roberta
FernĂĄndez (Houston, TX: Arte Publico Press, 1994), 282â98; and Antonio C. MĂĄrquez, âVoices of Caliban: From Curse
to Discourse,â Confluencia: Revista HispĂĄnica de Cultura y Literatura 13, no. 1 (1997): 158â69.
Duke Pesta is associate professor of English at the University of Wisconsin, Oshkosh, Oshkosh, WI
54901; [email protected] He is associate editor of Milton Quarterly.
political science, psychology, religious studies, sociology, theater, and
womenâs studies.
Surely no other work of literature has been as assigned, deconstructed,
interdisciplinized, revisioned, trivialized, and ventriloquized as The Tempest.
Overwhelmingly, those who have included a reading of .
Lecture 3Realism, Naturalism, and the Short StoryIntroduction.docxSHIVA101531
Â
Lecture 3
Realism, Naturalism, and the Short Story
Introduction
Many readers see similarities between Melville's Bartleby and Gogol's clerk in "The Overcoat," and these two stories typify many of the traits we have come to associate with realism. As literary Romanticism began to give way to more realistic traits in writing, a group of French and European writers definitively overturned literary conventions and heralded a new way of writing fiction. Literary realism continued to flourish and dominate the literary scene in Europe and North America well into the 20th century. As writers began to experiment with this new type of fiction, they felt free from the constraints of traditional literary structures and began to incorporate other literary techniques such as impressionism, naturalism, and regionalism into their short stories. Often minimizing the very real biases they brought with them to their works, they enthusiastically embraced realism as a more objective way to convey the truth of human life through fiction.
Nineteenth Century Realism
Before and during the early 19th century, the short story form was generally considered to be formulaic and simplistic. Writers merely followed a pattern in which the plot rose dramatically to a crisis and then quickly resolved itself. Enlightenment and even Romantic writers often employed stock or flat characters, or presented characters who allegorically stood for character traits or who were extraordinary in some way. A literary movement developed in France in the mid-19th century that had writers championing the ordinary person as a fitting subject for literature. In 1857, the French novelist, Champfleury, wrote a description of the goals of this new movement, which he called "Le Realisme" (Drabble, 1996, p. 824). His title produced the term realism, which has been associated with these writers and the many British, European, and American writers who were influenced by them.
Literary works of realism are classified as such when they share most of the following characteristics:
ï·Â Â Â Â Â Â Â Â Â Â Â Â They present the difficulties and daily experiences of the ordinary man or woman.
ï·Â Â Â Â Â Â Â Â Â Â Â Â Their authors are more concerned with characterization than with other elements of fiction, as the human individual is their primary concern.
ï·Â Â Â Â Â Â Â Â Â Â Â Â They are set in local, specific, and highly-detailed settings.
ï·Â Â Â Â Â Â Â Â Â Â Â Â Their writers "stress 'sincerity' as opposed to the 'liberty' proclaimed by the romantics" (Drabble, 1996, p. 824).
ï·Â            Their authors view fiction writing almost as a form of journalistic documentation, in which they can convey a slice of life or snapshot of ordinary people and events accurately and as objectively as possible.
ï·Â Â Â Â Â Â Â Â Â Â Â Â They contain accurate description and dialogue, including the use of local accents and speech patterns faithfully reproduced.
ï·Â Â Â Â Â Â Â Â Â Â Â Â They explore all aspects of the common person's life, including situations and events that are sordid, unbecomin ...
Lecture 3Realism, Naturalism, and the Short StoryIntroductio.docxSHIVA101531
Â
Lecture 3
Realism, Naturalism, and the Short Story
Introduction
Many readers see similarities between Melville's Bartleby and Gogol's clerk in "The Overcoat," and these two stories typify many of the traits we have come to associate with realism. As literary Romanticism began to give way to more realistic traits in writing, a group of French and European writers definitively overturned literary conventions and heralded a new way of writing fiction. Literary realism continued to flourish and dominate the literary scene in Europe and North America well into the 20th century. As writers began to experiment with this new type of fiction, they felt free from the constraints of traditional literary structures and began to incorporate other literary techniques such as impressionism, naturalism, and regionalism into their short stories. Often minimizing the very real biases they brought with them to their works, they enthusiastically embraced realism as a more objective way to convey the truth of human life through fiction.
Nineteenth Century Realism
Before and during the early 19th century, the short story form was generally considered to be formulaic and simplistic. Writers merely followed a pattern in which the plot rose dramatically to a crisis and then quickly resolved itself. Enlightenment and even Romantic writers often employed stock or flat characters, or presented characters who allegorically stood for character traits or who were extraordinary in some way. A literary movement developed in France in the mid-19th century that had writers championing the ordinary person as a fitting subject for literature. In 1857, the French novelist, Champfleury, wrote a description of the goals of this new movement, which he called "Le Realisme" (Drabble, 1996, p. 824). His title produced the term realism, which has been associated with these writers and the many British, European, and American writers who were influenced by them.
Literary works of realism are classified as such when they share most of the following characteristics:
ï·Â Â Â Â Â Â Â Â Â Â Â They present the difficulties and daily experiences of the ordinary man or woman.
ï·Â Â Â Â Â Â Â Â Â Â Â Their authors are more concerned with characterization than with other elements of fiction, as the human individual is their primary concern.
ï·Â Â Â Â Â Â Â Â Â Â Â They are set in local, specific, and highly-detailed settings.
ï·Â Â Â Â Â Â Â Â Â Â Â Their writers "stress 'sincerity' as opposed to the 'liberty' proclaimed by the romantics" (Drabble, 1996, p. 824).
ï·Â Â Â Â Â Â Â Â Â Â Â Their authors view fiction writing almost as a form of journalistic documentation, in which they can convey a slice of life or snapshot of ordinary people and events accurately and as objectively as possible.
ï·Â Â Â Â Â Â Â Â Â Â Â They contain accurate description and dialogue, including the use of local accents and speech patterns faithfully reproduced.
ï·Â Â Â Â Â Â Â Â Â Â Â They explore all aspects of the common person's life, including situations and events that are sordid, unbecomi ...
aim of this paper is to study and analyse various aspects of the historical novel, i.e., need for fiction in a historical narrative, the defining features of historical fiction and the rise of the historical novel etc.
âWhat is Adolescent Literature?â- A question rarely contentious in discussion among the scholars, critics, theorists and intellectuals of literature. Is it written for the implied readers, for general readers or is it the mode of narration, characters, language or any other intertexuality that marks it as an âAdolescent Literatureâ? Considering a few decades of literary tropes and criticism, one can understand, how it had been a major issue of critical discourse on the development of Queer Theory, Feminism, Structuralism and post-structuralism to attain the present status. The terms âChildrenâs Literatureâ and âAdolescent Literatureâ are interchangeably used by most of the writers. Then- should we understand âChildrenâs Literatureâ is also about adolescent or âAdolescent Literatureâ itself implies the literature for âchildrenâ? Significantly, no literary texts are categorized as âInfantsâ Literatureâ, âChildrenâs Literatureâ âYoung Adult or Adolescent literatureâ, âAdult Literatureâ or âOld-Age Literatureâ. British critic John Rowe Townsend raises somewhat similar problematic question, - âSurely Robinson Crusoe was not written for children, and do not the Alice books appeal at least as much to grown-ups?; if Tom Sawyer is Childrenâs Literature, what about Huckleberry Finn?; if the Jungle Books are Childrenâs Literature, what about Kim or Stalky? And if The Wind in the Willows is Childrenâs Literature, what about The Golden Age? And so on.â The implication of Townsendâs argument is that no literature can be categorized based on any stage of human development. The prevailing trends to study such texts as either Bildungsroman or Entwicklungsroman are replaced in the post war practices. Of late, psychological study of human development after Sigmund Freud and G. S. Hall has aroused skeptical voices against the conventional study of the texts. Nevertheless, the publication of The Catcher in the Rye marks a new beginning in this strand of writing fictions. The production of Rushdieâs Midnightâs Children started as seminal text. Today, psychoanalysis, polyphony, heteroglossia, sexuality and power are some popular and dominating mode of studying such fluid literary texts.
For the last decade I have been writing on the subject of pioneering and travelling, as well as the psychological and the spiritual journey of life. I am not unaware of the significance of such writing as an expression of one's philosophy and religion, of one's sociology and ideology, indeed of the very apparatus of one's life. I have written literally hundreds of prose-poems and essays on the themes of travel interwoven with their variegated personal and societal significances.
My prose and poetry is, if nothing else, a definition of my identity, of the way I see my life, see life in general and the complex society in which I live. What follows in this essay is a collection of several pieces, several prose-poems, that I tie together somewhat tenuously for the sake of this exercise, this special posting on the subject of travel. I hope readers find some of the connections I make, often tangentially, on this subject of travel stimulating and provocative.
Dr Guido van Meersbergen and Dr Natalya Din-Kariuki,
University of Warwick
The âDecolonising Travel Studiesâ project led by Natalya Din-Kariuki (English and Comparative Literary Studies) and Guido van Meersbergen (History) seeks to make visible and challenge the indebtedness of both academic and public histories of travel to Eurocentric notions rooted in the colonial past. The primacy long accorded both in formal education and popular narratives (e.g. in museum exhibitions, public commemorations, literature and film) to concepts such as geographic discovery, naval exploration, or scientific advance, bound up with notions of heroism and national pride, has cemented the centrality of the white male traveller with claims to being the first European to set foot in a place or describe it. This systematic privileging of certain forms of travel and its recording to the exclusion of others in the way travel history is commonly understood points towards the structural inequalities of race, gender, and class built into the knowledge we consume as much as the institutions that produce it. The proposed workshop will consist of two parts. The first will introduce the âDecolonising Travel Studiesâ project as a practical example of an attempt to bring decolonial thought to bear on research, teaching, and institutional culture, the latter referring to our work with a leading British publisher of travel accounts with its own history of colonial entanglement. The second part will encourage participant to identify and reflect on the role colonial travel and travel writing has played in the formation of disciplinary knowledge in different academic fields (e.g. geography, history, literature, anthropology, cartography, natural and earth sciences) as well as the ways in which the practice of travel continues to be shaped by structural inequalities today. The aim will be to expose the erasures enacted in traditional narratives of travel and imagine alternative histories viewed from a plurality of vantage points.
This presentation was delivered at Reimagining Higher Education: journeys of decolonising at De Montfort University, Leicester, on Wednesday 8th November 2023.
ARTICLESAcknowledging Things of DarknessPostcolonial Cr.docxdavezstarr61655
Â
ARTICLES
Acknowledging Things of Darkness:
Postcolonial Criticism of The Tempest
Duke Pesta
Published online: 31 July 2014
# Springer Science+Business Media New York 2014
Over the last forty years, postcolonial criticism has become a dominant
mode of critical discourse for the profession of literature and Renaissance
studies in particular, with The Tempest serving as terminus a quo for many
such discussions across historical periods and academic disciplines.1 During
this timeânot counting courses in Shakespeare, Renaissance drama, or early
modern literatureâThe Tempest has been taught in English departments at
the undergraduate or graduate level in freshman seminars; surveys of Great
Books; capstone courses; writing and composition courses; seminars on
literary theory, Marxism, postcolonialism, and race, gender, queer theory;
early American literature and transatlantic literature courses; surveys of
American literature; and courses on Romanticism, modernism, modern drama,
Third World literatures, postmodernism, Chicano/a literatures, Afro-Caribbean
literatures, and diaspora literatures. Outside English departments, the play has
been taught in such varied disciplines as African American studies, American
studies, anthropology, comparative literature, cultural studies, education,
environmental studies, film studies, history, linguistics, modern languages,
Native American studies, oppression studies, peace studies, philosophy,
Acad. Quest. (2014) 27:273â285
DOI 10.1007/s12129-014-9433-4
1The tradition viewing The Tempest through colonialist lenses has a long history outside the West, dating to the
nineteenth century. Writers from the Caribbean, Africa, and Central and South America have associated the play with the
gamut of evils linked to colonialism. For a sampling of this criticism, see Emir RodrĂguez Monegal, âThe
Metamorphoses of Caliban,â Diacritics 7, no. 3 (Fall 1977): 78â83; Richard Rodriguez, Hunger of Memory: The
Education of Richard Rodriguez: An Autobiography (Boston: David R. Godine, 1982); Roberto FernĂĄndez Retamar,
Caliban and Other Essays, trans. Edward Baker (Minneapolis: University of Minnesota Press, 1989); Roberta FernĂĄndez,
â(Re)vision of an American Journey,â in In Other Words: Literature by Latinas of the United States, ed. Roberta
FernĂĄndez (Houston, TX: Arte Publico Press, 1994), 282â98; and Antonio C. MĂĄrquez, âVoices of Caliban: From Curse
to Discourse,â Confluencia: Revista HispĂĄnica de Cultura y Literatura 13, no. 1 (1997): 158â69.
Duke Pesta is associate professor of English at the University of Wisconsin, Oshkosh, Oshkosh, WI
54901; [email protected] He is associate editor of Milton Quarterly.
political science, psychology, religious studies, sociology, theater, and
womenâs studies.
Surely no other work of literature has been as assigned, deconstructed,
interdisciplinized, revisioned, trivialized, and ventriloquized as The Tempest.
Overwhelmingly, those who have included a reading of .
Lecture 3Realism, Naturalism, and the Short StoryIntroduction.docxSHIVA101531
Â
Lecture 3
Realism, Naturalism, and the Short Story
Introduction
Many readers see similarities between Melville's Bartleby and Gogol's clerk in "The Overcoat," and these two stories typify many of the traits we have come to associate with realism. As literary Romanticism began to give way to more realistic traits in writing, a group of French and European writers definitively overturned literary conventions and heralded a new way of writing fiction. Literary realism continued to flourish and dominate the literary scene in Europe and North America well into the 20th century. As writers began to experiment with this new type of fiction, they felt free from the constraints of traditional literary structures and began to incorporate other literary techniques such as impressionism, naturalism, and regionalism into their short stories. Often minimizing the very real biases they brought with them to their works, they enthusiastically embraced realism as a more objective way to convey the truth of human life through fiction.
Nineteenth Century Realism
Before and during the early 19th century, the short story form was generally considered to be formulaic and simplistic. Writers merely followed a pattern in which the plot rose dramatically to a crisis and then quickly resolved itself. Enlightenment and even Romantic writers often employed stock or flat characters, or presented characters who allegorically stood for character traits or who were extraordinary in some way. A literary movement developed in France in the mid-19th century that had writers championing the ordinary person as a fitting subject for literature. In 1857, the French novelist, Champfleury, wrote a description of the goals of this new movement, which he called "Le Realisme" (Drabble, 1996, p. 824). His title produced the term realism, which has been associated with these writers and the many British, European, and American writers who were influenced by them.
Literary works of realism are classified as such when they share most of the following characteristics:
ï·Â Â Â Â Â Â Â Â Â Â Â Â They present the difficulties and daily experiences of the ordinary man or woman.
ï·Â Â Â Â Â Â Â Â Â Â Â Â Their authors are more concerned with characterization than with other elements of fiction, as the human individual is their primary concern.
ï·Â Â Â Â Â Â Â Â Â Â Â Â They are set in local, specific, and highly-detailed settings.
ï·Â Â Â Â Â Â Â Â Â Â Â Â Their writers "stress 'sincerity' as opposed to the 'liberty' proclaimed by the romantics" (Drabble, 1996, p. 824).
ï·Â            Their authors view fiction writing almost as a form of journalistic documentation, in which they can convey a slice of life or snapshot of ordinary people and events accurately and as objectively as possible.
ï·Â Â Â Â Â Â Â Â Â Â Â Â They contain accurate description and dialogue, including the use of local accents and speech patterns faithfully reproduced.
ï·Â Â Â Â Â Â Â Â Â Â Â Â They explore all aspects of the common person's life, including situations and events that are sordid, unbecomin ...
Lecture 3Realism, Naturalism, and the Short StoryIntroductio.docxSHIVA101531
Â
Lecture 3
Realism, Naturalism, and the Short Story
Introduction
Many readers see similarities between Melville's Bartleby and Gogol's clerk in "The Overcoat," and these two stories typify many of the traits we have come to associate with realism. As literary Romanticism began to give way to more realistic traits in writing, a group of French and European writers definitively overturned literary conventions and heralded a new way of writing fiction. Literary realism continued to flourish and dominate the literary scene in Europe and North America well into the 20th century. As writers began to experiment with this new type of fiction, they felt free from the constraints of traditional literary structures and began to incorporate other literary techniques such as impressionism, naturalism, and regionalism into their short stories. Often minimizing the very real biases they brought with them to their works, they enthusiastically embraced realism as a more objective way to convey the truth of human life through fiction.
Nineteenth Century Realism
Before and during the early 19th century, the short story form was generally considered to be formulaic and simplistic. Writers merely followed a pattern in which the plot rose dramatically to a crisis and then quickly resolved itself. Enlightenment and even Romantic writers often employed stock or flat characters, or presented characters who allegorically stood for character traits or who were extraordinary in some way. A literary movement developed in France in the mid-19th century that had writers championing the ordinary person as a fitting subject for literature. In 1857, the French novelist, Champfleury, wrote a description of the goals of this new movement, which he called "Le Realisme" (Drabble, 1996, p. 824). His title produced the term realism, which has been associated with these writers and the many British, European, and American writers who were influenced by them.
Literary works of realism are classified as such when they share most of the following characteristics:
ï·Â Â Â Â Â Â Â Â Â Â Â They present the difficulties and daily experiences of the ordinary man or woman.
ï·Â Â Â Â Â Â Â Â Â Â Â Their authors are more concerned with characterization than with other elements of fiction, as the human individual is their primary concern.
ï·Â Â Â Â Â Â Â Â Â Â Â They are set in local, specific, and highly-detailed settings.
ï·Â Â Â Â Â Â Â Â Â Â Â Their writers "stress 'sincerity' as opposed to the 'liberty' proclaimed by the romantics" (Drabble, 1996, p. 824).
ï·Â Â Â Â Â Â Â Â Â Â Â Their authors view fiction writing almost as a form of journalistic documentation, in which they can convey a slice of life or snapshot of ordinary people and events accurately and as objectively as possible.
ï·Â Â Â Â Â Â Â Â Â Â Â They contain accurate description and dialogue, including the use of local accents and speech patterns faithfully reproduced.
ï·Â Â Â Â Â Â Â Â Â Â Â They explore all aspects of the common person's life, including situations and events that are sordid, unbecomi ...
aim of this paper is to study and analyse various aspects of the historical novel, i.e., need for fiction in a historical narrative, the defining features of historical fiction and the rise of the historical novel etc.
âWhat is Adolescent Literature?â- A question rarely contentious in discussion among the scholars, critics, theorists and intellectuals of literature. Is it written for the implied readers, for general readers or is it the mode of narration, characters, language or any other intertexuality that marks it as an âAdolescent Literatureâ? Considering a few decades of literary tropes and criticism, one can understand, how it had been a major issue of critical discourse on the development of Queer Theory, Feminism, Structuralism and post-structuralism to attain the present status. The terms âChildrenâs Literatureâ and âAdolescent Literatureâ are interchangeably used by most of the writers. Then- should we understand âChildrenâs Literatureâ is also about adolescent or âAdolescent Literatureâ itself implies the literature for âchildrenâ? Significantly, no literary texts are categorized as âInfantsâ Literatureâ, âChildrenâs Literatureâ âYoung Adult or Adolescent literatureâ, âAdult Literatureâ or âOld-Age Literatureâ. British critic John Rowe Townsend raises somewhat similar problematic question, - âSurely Robinson Crusoe was not written for children, and do not the Alice books appeal at least as much to grown-ups?; if Tom Sawyer is Childrenâs Literature, what about Huckleberry Finn?; if the Jungle Books are Childrenâs Literature, what about Kim or Stalky? And if The Wind in the Willows is Childrenâs Literature, what about The Golden Age? And so on.â The implication of Townsendâs argument is that no literature can be categorized based on any stage of human development. The prevailing trends to study such texts as either Bildungsroman or Entwicklungsroman are replaced in the post war practices. Of late, psychological study of human development after Sigmund Freud and G. S. Hall has aroused skeptical voices against the conventional study of the texts. Nevertheless, the publication of The Catcher in the Rye marks a new beginning in this strand of writing fictions. The production of Rushdieâs Midnightâs Children started as seminal text. Today, psychoanalysis, polyphony, heteroglossia, sexuality and power are some popular and dominating mode of studying such fluid literary texts.
For the last decade I have been writing on the subject of pioneering and travelling, as well as the psychological and the spiritual journey of life. I am not unaware of the significance of such writing as an expression of one's philosophy and religion, of one's sociology and ideology, indeed of the very apparatus of one's life. I have written literally hundreds of prose-poems and essays on the themes of travel interwoven with their variegated personal and societal significances.
My prose and poetry is, if nothing else, a definition of my identity, of the way I see my life, see life in general and the complex society in which I live. What follows in this essay is a collection of several pieces, several prose-poems, that I tie together somewhat tenuously for the sake of this exercise, this special posting on the subject of travel. I hope readers find some of the connections I make, often tangentially, on this subject of travel stimulating and provocative.
Dr Guido van Meersbergen and Dr Natalya Din-Kariuki,
University of Warwick
The âDecolonising Travel Studiesâ project led by Natalya Din-Kariuki (English and Comparative Literary Studies) and Guido van Meersbergen (History) seeks to make visible and challenge the indebtedness of both academic and public histories of travel to Eurocentric notions rooted in the colonial past. The primacy long accorded both in formal education and popular narratives (e.g. in museum exhibitions, public commemorations, literature and film) to concepts such as geographic discovery, naval exploration, or scientific advance, bound up with notions of heroism and national pride, has cemented the centrality of the white male traveller with claims to being the first European to set foot in a place or describe it. This systematic privileging of certain forms of travel and its recording to the exclusion of others in the way travel history is commonly understood points towards the structural inequalities of race, gender, and class built into the knowledge we consume as much as the institutions that produce it. The proposed workshop will consist of two parts. The first will introduce the âDecolonising Travel Studiesâ project as a practical example of an attempt to bring decolonial thought to bear on research, teaching, and institutional culture, the latter referring to our work with a leading British publisher of travel accounts with its own history of colonial entanglement. The second part will encourage participant to identify and reflect on the role colonial travel and travel writing has played in the formation of disciplinary knowledge in different academic fields (e.g. geography, history, literature, anthropology, cartography, natural and earth sciences) as well as the ways in which the practice of travel continues to be shaped by structural inequalities today. The aim will be to expose the erasures enacted in traditional narratives of travel and imagine alternative histories viewed from a plurality of vantage points.
This presentation was delivered at Reimagining Higher Education: journeys of decolonising at De Montfort University, Leicester, on Wednesday 8th November 2023.
Operation âBlue Starâ is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
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Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
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1. Barbara Schaff
0 Introduction
In the anglophone world, at least since the nineteenth century, travel writing has
counted among the most prolific genres. The vast sections in bookstores devoted to
travel, the international success of British travel writers such as Graham Greene,
Bruce Chatwin, Jan Morris, and more recently Robert Macfarlane, and the popular-
ity of travel as a topic for TV documentaries suggest its ongoing attraction for ever-
wider audiences. Despite the popularity and commercial success of the travel book,
travel writing studies is thought to have appeared fairly late as an academic re-
search area. In recent years it has developed from a relatively niche field of study to
what has now become a vibrant and prolific research field within the humanities.
The google ngram viewer, for example, shows a nearly linear, 45 degrees line up-
ward for the term âtravel writingâ from about 1980 onwards. Since then, Literary
Studies has increasingly embraced the importance of travel writing, challenging its
previously marginal status insofar as it has accompanied a general critical reflec-
tion of the English canon.
In doing so, the historical specificities, narrative diversity and complex formal
aspects of travel writing have continued to present scholars with classificatory chal-
lenges. Many have commented on how difficult a generic demarcation turns out to
be. Tim Youngs, for instance, discusses an impressive array of approaches towards
defining the genre in his Cambridge Introduction to Travel Writing (see 2013, 1).
Travel writing is a mercurial category, involving, and sometimes combining, ele-
ments of autobiography, memoir, diary, letters, journalistic reportage, fiction, po-
etry, satire, or travel guide. The contributions in this volume serve to illustrate this
generic fluidity: Ralf Haekelâs chapter on Lord Byronâs Childe Haroldâs Pilgrimage
(â 18) and Ralf Hertelâs chapter on W. H. Audenâs Journey to a War (â 26) invite us
to consider how far poetry can be subsumed under the heading travel writing, and
Laurence Williams observes how Defoe deploys similar aesthetic and narrative
strategies in his Home Tour account and Robinson Crusoe (â 9). Susan Pickford
shows how the boundaries between the private letter and the guidebook reportage
are elided in Mariana Starkeâs Letters from Italy (â 16), and how Starke moves from
the subjective tone of a correspondent to the authoritative voice of a travel guide.
Susanne Schmid draws similar attention to the blurred line between documentation
and fiction in V. S. Naipaulâs travel writing (â 27). And lastly, contemporary writers
such as Robert Macfarlane (â 31), often classified under the rubric of New Nature
Writing, invite us to rethink the concept of travel altogether.
In order to do credit to the hybrid essence of the genre, this handbook has
opted for a generous and inclusive definition of travel writing. By including texts
which transgress (and at the same time highlight) the boundaries between fact and
https://doi.org/10.1515/9783110498974-001
2. fiction, prose and poetry, the subjective travelogue and the descriptive guidebook,
it goes beyond Jan Bormâs much quoted definition of travel writing as
any narrative characterized by a non-fiction dominant that relates (almost always) in the first
person a journey or journeys that the reader supposes to have taken place in reality while as-
suming or presupposing that author, narrator and principal character are but one and the
same. (Borm 2004, 17)
Even if one were to delimit travel writing to the criteria adumbrated by Borm, one
would still be confronted with perennial questions about the truthfulness and au-
thenticity of the travel experience on the one hand and its later literary representa-
tion on the other. One of the distinctive markers of travel writing is, after all, its
procedural nature: a collection of notes written on the spot is transformed into a
more coherent and complete narrative back home, revised, even self-censored, and
then turned into a publishable text by editors. Barbara Korte has observed how this
process tends to involve a move from fact to fiction: âThe actual experience of a
journey is reconstructed, and therefore fictionalized, in the moment of being toldâ
(2000, 11). To regard travel writing as a carefully crafted literary enterprise is to rec-
ognise it as an inherently citational genre (â 6 Intertextual Travel Writing), rich in
literary allusions and references. Such self-conscious forms of literariness serve not
only to counter an all too easy focus on autobiographical factuality, but also under-
line the genreâs reliance on fictional and non-fictional traditions.
Seen from a historical perspective, the diversity of the genre in terms of its dis-
courses (â 2), purposes and practices (â 5) is even more obvious. In the course of
its development the genreâs topics and concerns have also been on the move. What
Carl Thompson described as a marker for travel writing in the interwar period,
namely that it could be used to engage with worldly affairs and politics, act as cul-
tural commentary, relate a series of adventures or explore subjectivity, memory and
the unconscious (see Thompson 2011, 58), is certainly not exclusive to this particu-
lar period. Notwithstanding travel writingâs hybrid generic features, literary schol-
ars have always tended to focus on the relative autonomy of a genre with its own
formal aspects such as language, tropes, and narrative structures. In an attempt to
do so they have drawn, for instance, on narratological approaches to space, such as
Juri Lotmanâs exploration of the semantics of space in literary texts (1990) or
Mikhail Bakhtinâs concept of the chronotope as the interplay between time and
space (1981). In particular, they have explored the aesthetic representation of sub-
jectivity in relation to factual reportage in order to come to terms with the most cen-
tral concern of any travel writing: the mediation between the I and the Other, or, as
Casey Blanton has framed it, the Self and the World (see 2002).
From a Cultural Studies point of view, the increasing importance of travel writ-
ing in the humanities corresponded with what might be regarded as a postmodern
focus on space as an epistemological category. This was explored among others by
the French poststructuralist theorists Michel Foucault, Henri Lefebvre and Michel
2 Barbara Schaff
3. de Certeau, culminating in Edward Sojaâs announcement that the so-called spatial
turn had arrived in the mid-1990s. As a practice concerned with the signification of
places, with the experience of otherness, with displacement, exile, border-crossing
and contact zones, travel writing provided critical theory with useful terms to ana-
lyse human relations from a spatial angle. This approach sometimes resulted, as
Julia Kuehn and Paul Smethurst have remarked (see 2015, 2), in an overuse and
generalisation of travel metaphors in critical theory which had become too far re-
moved from the actual genre. When, for example, de Certeau explored the struc-
tural analogies between walking and language in his essay âSpatial Storiesâ and
concluded that âEvery story is a travel story â a spatial practiceâ (1988, 115), it
might be argued that he produced a paradigm more helpful for narratology than for
the analysis of travel or travel writing.
Cultural Studies in particular has turned to travel writing as a genre which negoti-
ates key issues of culture: identity, exchange, knowledge transfer, mobility, hegemony,
the confrontation between the I and the Other, and much more. As a genre which by
its nature reaches across borders, travel writing is always necessarily involved in pro-
cesses of cultural translation, in consequence of which it mediates knowledge about
the strange and unfamiliar. Recent compendia such as companions, introductions, an-
thologies and handbooks (with which the present volume dovetails) have acknowl-
edged the overall cultural importance of travel. When Raymond Williams published
his seminal Keywords: A Vocabulary of Culture and Society in 1976, it did not include
one single term relating to travel or mobility. Thirty years later, a new and revised edi-
tion (Bennett, Grossberg and Morris 2005) included âmobilityâ and âtourismâ as new
terms, marking their amplified relevance for culture and society. In 2019, Forsdick,
Kinsley and Walchester published Keywords for Travel Writing Studies: A Critical
Glossary, indicating both the importance of travel practices as well as travel writ-
ing as a fundamental cultural phenomenon. Similarly, introductions to travel
writing have proliferated in the twenty-first century: Patrick Holland and Graham
Hugganâs Tourists with Typewriters: Critical Reflections on Contemporary Travel
Writing (2000), Peter Hulmeâs and Tim Youngsâ Cambridge Companion to Travel
Writing (2002), Casey Blantonâs Travel Writing: The Self and the World (2002),
Carl Thompsonâs Travel Writing (2011), Tim Youngsâ Cambridge Introduction to Travel
Writing (2013), Paul Smethurst and Julia Kuehnâs New Directions in Travel Writing
Studies (2015), Carl Thompsonâs Routledge Companion to Travel Writing (2015), Robert
Clarkeâs Cambridge Companion to Postcolonial Travel Writing (2017) and Alasdair
Pettingerâs and Tim Youngsâ Routledge Research Companion to Travel Writing (2020)
all testify to the significance of travel writing as key resource for cultural analysis.
A fact that most of these introductions seem to take for granted (and therefore
rarely mention) is that travel writing is not a genre which evolved equally in a
European or even world literary context but was predominantly shaped by the
British. A nation of seafarers, traders, explorers and colonialists which became the
dominant power in the nineteenth century, the British have formed a corpus of
0 Introduction 3
4. travel writing over centuries that is beyond compare. It is, of course, not exclusive
and it has not evolved without intertextual relations with other travel writing cul-
tures or writers. One thinks here of the Jesuit tradition, or iconic European figures
such as Marco Polo, Amerigo Vespucci or Alexander von Humboldt. And yet over
the past half millennium, no other nation has contributed to the genre of travel
writing a comparable number of texts while addressing the whole globe with such a
diversity of themes, styles and purposes. The novel may rightly be called a Western
genre, merging in its development many influences such as, for instance, the
Spanish tradition of the Picaresque, the Anglo-American tradition of protestant in-
dividualism, the German Bildungsroman, Russian realism, French naturalism and
South American magical realism, but in this process of development no single na-
tional tradition set the tone for the whole. With regard to travel writing, the British â
with some notable exceptions â have held hegemonic power in the field and, to use a
phrase coined by Mary Louise Pratt, âproduced the worldâ for a European readership
(2012, 5).
In the wake of Edward Saidâs Orientalism (1978), which drew on many trave-
logues in order to support its argument of the Western hegemonic construction of
the Orient, Postcolonial Studies has turned to travel writing as a model within
which colonialist and imperialist ideologies can be traced and deconstructed. More
recently, scholars have contested such a reductive view of cross-cultural encounters
as âsimple relations of domination and subordinationâ (Clark 1999, 3) and explored
postcolonial travel writing as forms of âwriting backâ or of producing cultural
knowledge outside the frame of Western knowledge production (Youngs 2013, 116).
In her chapter on Samuel Johnsonâs A Voyage to Abyssinia, Sarah Fekadu-Uthoff
discusses Wendy Belcherâs theoretical paradigm of discursive possession (see 2012)
which introduces a model to theorise the agency of the other as a form of transcul-
tural intertextuality. These recent nuanced approaches contest former âpostcolonialâ
notions of the overwhelming colonialist and imperialist quality of most of British
travel writing. However, a focus on transculturality and transnational connections
does not mean that travel writing is free from all ideological constraint. Rarely are trav-
elogues written by distant observers â more often, as the examples of Ralegh (â 8),
Cook (â 14), Bird (â 21), Kingsley (â 22) and others in this volume show, they are
embedded in issues of colonial control as well as the critique of conquest (see Clark
1999, 5). What is more, the reception of travel writing is also determined by ideological
frameworks. One can see how throughout history travel writing â like any other liter-
ary texts â is reassessed and reinterpreted. Johannes Görbert and Katharina Nambula
show with the examples of James Cook (â 14) and Mary Kingsley (â 22) how authors
can be glorified or demonised in accordance with changing dominant political values,
geopolitical contexts and interests.
One obvious category highlighting the ideological embeddedness of travel writ-
ing is gender. Many feminist scholars have taken the mythological configuration of
travelling Ulysses and stay-at-home Penelope as a starting point to explore the
4 Barbara Schaff
5. different conditions shaping a female tradition of travel writing. Sara Mills (1991)
has coined the term âdiscourses of differenceâ to describe the relation of women
travellers to colonialism and their position within conflicting discourses: feminin-
ity, feminism, and patriarchal imperialism. In this volume, Elizabeth Bohls dis-
cusses gender as the most distinctive category in travel writing but also includes
race as a category for a more nuanced analysis of colonial travel writing (â 3). For
the larger part of history women had had neither the financial means nor any insti-
tutional support to travel, and they suffered from the social and moral constrictions
that forbade them to travel independently. And yet, as this volume amply shows,
women travellers have had a considerable influence on the canon of British travel
writing.
Through the medium of translation into and from English, the corpus of British
travel writing has continually expanded and found itself situated within a global
web of travel writing. Its global impact was enhanced through its dissemination
and reception in other languages (see, for instance, Anna Jamesonâs reception in
Germany, â 19). Likewise, its discourses were shaped, as Susan Pickford and Sarah
Fekadu-Uthoff show in this volume, by other European travel texts translated into
English (â 4 Travel Writing and Translation, â 10 Samuel Johnson).
A further aspect that has recently gained prominence in travel writing studies is
the interdependence of travel and technology. Writers have always foregrounded the
modalities (and hardships) of their travels by referring to their means of conveyance â
the uncomfortable saddle or carriage, the unruly horse, or long and tiring foot jour-
neys. Freya Stark explored the desert in the 1930s in a motorcar, bemoaning, as
DĂșnlaith Bird argues (â 25), the loss of the romance of camelback travel. New tech-
nologies have always generated new forms of travelling and travel writing. However,
new technologies have, on the other hand, also often conjured up in travel writers a
nostalgia for more antiquated forms of travelling â on foot, on a donkey or a bicycle,
in order to resist the power of speed and its dangers of loss of perception. Walking
through the Lake District or the Scottish Highlands was for William and Dorothy
Wordsworth not just a consequence of their reduced financial circumstances but also
a critique of industrial forms of travel. As our own age has witnessed the emergence
of new forms of travelling â such as journeys to witness events, or Gap Year jour-
neys â so older, established forms of travelling are dying out. The bankruptcy of the
Thomas Cook group in September 2019, the company that did more than any other to
shape what had come to be regarded from the late nineteenth century until recently
as affordable organised tourism, might be seen as an effect of new technologies that
have engendered the shift from booking through old-fashioned agencies to online
bookings. At the same time, we have witnessed a shift from the old analogue written
and printed travel book to TV documentaries (â 30), travel blogs or vlogs.
As I write these very words, the SARS-CoV-2 pandemic is bringing global mobil-
ity to a standstill. In the midst of a lockdown, one thinks of Xavier de Maistre who,
imprisoned for duelling for 42 days in 1790, composed the ultimate parody of
0 Introduction 5
6. travelogues â A Journey Round My Room. At this moment we too are thrown back
on our resources as armchair travellers. Used to the amenities of modern media and
global leisure industries, we find ourselves suddenly limited to the vicarious pleas-
ures of reading about travel in books and magazines, watching TV travel documen-
taries, and remembering our own past journeys. The COVID-19 virus reminds us
that viruses travel and spread as fast and widely as humans themselves, inviting
many to reflect, sometimes for the first time, on the fact that the freedom to travel is
a privilege and cannot be taken for granted.
In conclusion, this handbook attempts to consider British travel writing both
from Literary and Cultural Studies points of view. Part I offers an expansive over-
view of the history of British travel writing and the various motives and practices
that have informed it over the centuries. The systematic questions addressed in
these first seven chapters stake out the important analytical categories relevant to
travel writing studies described in this introduction.
The close reading chapters are intended to steer a middle course between intro-
ducing readers to some of the most iconic British travel writers and their works,
while also providing the opportunity to explore writers who have not yet garnered
the critical attention that we feel they deserve. Some famous travel writers appear
in this volume not through the most renowned texts with which their names are
often associated, but sometimes with lesser known and lesser discussed works.
Admittedly, the selection that follows cannot pretend to be comprehensive. Given
the limitations of a single volume, difficult editorial choices had to be made and
many well-known and already much-discussed travel writers and texts could not be
included here. Readers already find ample information about them elsewhere.
I would like to thank the general editors of the de Gruyter Handbook Series,
Martin Middeke, Gabriele Rippl, and Hubert Zapf for commissioning this volume
and for their ongoing support. Viktoria Helms and Jasmina SovĆĄic have been invalu-
able in their scrupulous attention to the manuscript, in particular the index and
bibliographies, and Julia Heinemann has been the most observant and meticulous
copy-editor one could wish for: I owe them my sincere thanks.
Bibliography
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0 Introduction 7