Made available in DSpace on 2015-04-11T13:41:46Z (GMT). No. of bitstreams: 1 Agenor Cavalcanti de Vasconcelos Neto.pdf: 591335 bytes, checksum: 94a4c23436a92e723b113b909295781b (MD5) Previous issue date: 2012-12-07 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / A descrição do etnógrafo Koch-Grünberg, na obra Dois anos entre os indígenas, foi nosso objeto primário. Investigamos a narrativa do ritual de danças e máscaras contida na obra com vistas a compreender como a máscara articula as relações simbólicas que estão presentes no ritual e que são representadas na literatura estudada. Nesse contexto, a máscara é tomada como um dado que confirma a existência da crença em um mundo metafísico, funcionando como porta de entrada para a abordagem do autor acerca da cultura imaterial dos grupos representados. Problematizando o método neo-kantiano adotado por Koch-Grünberg, respondemos à seguinte questão: quais são os termos e operações que o antropólogo utilizou para representar o mundo segundo a ordem ritual dos indígenas visitados? Com o auxílio da filosofia de Nietzsche, questionamos esse encontro da ciência alemã e da religião dos indígenas do alto rio Negro no início do século XX

Douglas Adams and Jonathan Swift are satirists who lived and worked 250 years apart. Swift's eighteenth-century text, Gulliver's Travels, tells the story of an Englishman's adventures during numerous sea voyages that bring him into contact with fantastical peoples and places. Adams's twentieth-century text, The Hitchhiker's Guide to the Galaxy, relates a hapless Englishman's trials and tribulations during an intergalactic voyage which takes him and his companions to bizarre destinations. This study considers key similarities and differences between the texts. Resonances between Gulliver's celestial navigation in the eighteenth century and Arthur Dent's navigation among those very heavenly bodies in the twentieth century are explored. The novels are examined for evidence of satire, the travel genre, proto science fiction and mock science fiction and for generic similarities between the works. Through a process of elimination, Gulliver's and Arthur Dent's respective journeys are abstracted, summarised and represented graphically. Communication theory and linguistic trends during the Enlightenment and the twentieth century, as well as the science and technology of each era are also briefly reviewed. This study finds that, through the exploitation of the journey as literary device which allows Gulliver and Arthur Dent to view England and Earth from different places and from different times, both Swift and Adams are able to comment on and satirise humankind. The illustrations of the journeys highlight the differences between the two novels in terms of structure and adherence to markers of time and place. Lemuel Gulliver's journeys are shown to be radial voyages with England as the core location of departures and arrivals, whereas Arthur's appear to be random and follow neither the expected and known rules of travel, nor the laws of time and space. The study furthermore considers the nature of the locations visited and finds resemblances and differences between the authors' and readers' known worlds, and the fictitious worlds described. This naturally leads to a consideration of the degree of alienation experienced by the protagonists and, indeed, humanity. Finally, the texts are examined for communication problems faced by the protagonists. The conclusion of this study suggests that in Gulliver's Travels and The Hitchhiker's Guide to the Galaxy both Adams and Swift show their awareness that language is not neutral, and that it possesses the power to entertain, inform, deceive and destroy. Both texts function metonymically to highlight the perilous complexity of the human condition and show that humanity's journey through space/time in the twentieth century remains as treacherous as one by sea during the Enlightenment. / Dissertation (MA)--University of Pretoria, 2017. / English / MA / Unrestricted

This thesis examines and compares two travel accounts in the regions of Phocis and Boeotia in Greece, as they appear in the book of Sir William Gell “The Itinerary of Greece: With a Commentary on Pausanias and Strabo and an Account of the Monuments of Antiquity at Present Existing in that Country (1819) and on the two volumed book of Edward Dodwell A Classical and Topographical Tour Through Greece: During the Years 1801, 1805, and 1806, Volume 1 & 11 (1819). More specifically, the thesis explores the extent of the area that these travelers managed to cover during their routes, the places with historical and archaeological interest that they mentioned at least, their moves among the various chronotopes, and the use of their predecessors’ texts for on their routes. With the use of digital platforms such as Recogito, their travel accounts have been annotated, tagged, aligned with ToposText gazetteer and Wikidata, exported as .csv files, and further processed using OpenRefine. By having as a ground theory approach the social construction of space, as Lefebvre has defined it, the thesis, with the assistance of ArcGIS and Python and the necessary manual steps, explored the topics as mentioned above. The analysis of these topics provided interesting results to the thesis. It showed the differences in the area coverage of the two travelers in Phocis and Boeotia. It also highlighted their accuracy in the discovering of ancient places and buildings. Moreover, it delineated their moves through the different chronotopes and the vital role of the physical environment as a bridge for these moves. Ultimately, this thesis revealed the crucial role of their predecessors’ travel accounts for their navigation on the respecting. Mainly, it made clear the vitality of the travel accounts of Strabo and Pausanias. These results were clearly connected with the social construction of space and time from the two British travelers based on their cultural background.

No description available.

Partir, voyager chez « les infidèles » n’était pas chose aisée dans la Tunisie du XIXe siècle. D’abord, il fallait être un diplomate ou quelqu’un de très aisé pour pouvoir entreprendre un voyage. Ensuite, et pour chaque déplacement, il était nécessaire de se justifier pour légitimer son acte. Les raisons de ces déplacements sont multiples. Certains devaient accomplir des missions diplomatiques décidées par un gouverneur, d’autres entreprenaient un voyage de découverte et d’agrément. Dans cette étude, les voyageurs tunisiens ne sont pas tous de la même génération, et n’appartiennent pas non plus au même milieu culturel et social. Ils ont néanmoins reçu la même éducation religieuse. La variété des influences, des observations et des analyses permet d’élargir le regard porté sur l’Autre. Ce travail de recherche traite les questions suivantes : comment perçoit-on l’Autre (l’Européen) quand on est musulman ? Comment l’Occidental reçoit-il le Tunisien chez lui ? Comment l’écriture en rend-elle compte ? Ce choix thématique ainsi qu’une sélection de voyageurs nous permet d’avoir un aperçu global sur l’évolution de la littérature de voyage en Tunisie au XIXe et jusqu’au début du XXe siècle. / Leaving 19th-century Tunisia to travel among the ‘Infidels’ was no easy thing. First, only diplomats or rich people could afford to travel. Then, for each journey, it was necessary to provide a justification. Reasons for travelling might be varied: some had to undertake a diplomatic mission on behalf of a ruler, others went on a journey for discovery and pleasure. The Tunisian travellers discussed in the present study belong to different generations, and come from different cultural and social backgrounds; they have however received the same religious education. Multiple influences, together with observations and analyses, induce them to broaden their gaze on the ‘Others’ (i.e.Europeans). My research project raises the following questions: what image of the ‘Others’ does a Muslim form ? how do Western people receive their Tunisian guests ? what account do writings give of these experiences? Such a thematic approach, together with a focus on selected travellers, allows us to have an overview of the evolution of travel literature in Tunisia in the 19th and early 20th centuries.

This thesis is concerned with a comparison of works written by GDR authors Hanns Cibulka, Waldtraut Lewin a Christine Wolter which deal with the motif of the journey to Italy. The analysis is based on spatial and intercultural theories, which are presented in the first part of the thesis. The genre of travelogue, the motif of the Italian journey in the German-language literature and political conditions for the creation and publication of travelogues in the GDR are also introduced. The core of the thesis is the comparison of eleven texts, especially travelogues, regarding the spatial and social dimension of travelling. The first aspect covers reflections of Goethe's Italian journey and the function of travelling, as well as the depiction of nature, urban space and architecture and the treatment of the garden motif. Regarding the second aspect, the author follows the narrative technics used in portraying the mediators between the travelling writers and the Italian culture, as well as in the depiction of tourists or strangers. An additional question of the study is whether (and possibly how) the writers reflect on the GDR regime against the background of the Italian scenery.

Cette thèse confronte les manifestes du mouvement Étonnants Voyageurs et l’œuvre d’Olivier Rolin. D’emblée située dans l’histoire contemporaine de la France, elle met en lumière les mécanismes de la mondialisation littéraire entendue comme phénomène planétaire. La dimension mondiale de la littérature française est appréhendée dans sa relation aux littératures étrangères qui incluent aussi les autres littératures francophones, à partir de l’analyse du discours manifestaire dans son rapport à l’histoire et au cadre institutionnel. À partir d’une approche multiscalaire, qui croise la transdisciplinarité et la systémique, cette étude resitue la « littérature-monde » dans son héritage littéraire français et montre en outre que l’ouverture aux littératures francophones concourt au renforcement du centre parisien. L’articulation socio-historique et poétique du corpus met en avant un triple mouvement de mondialisation : celle-ci résulte d’abord, à la suite d’une crise dans le champ littéraire, d’un ensemble de stratégies de singularisation mises en œuvre par des écrivains périphériques centraux et étrangers qui entendent contester les canons traditionnels ; elle répond ensuite à l’exigence ressentie par les écrivains d’élaborer des arts poétiques du monde ou du réel, des pratiques de conquête de l’ailleurs et de cosmopolitisme, après un trauma national ou individuel qui implique la détestation de la nation d’origine ; elle correspond enfin au besoin de créer des œuvres susceptibles de construire un imaginaire qui serait le reflet de la mondialisation contemporaine. Il est alors possible de percevoir la mondialité dans les programmes littéraires et dans la littérature viatique en France comme une production qui s’élabore en réaction aux circonstances propres à l’ère du temps et comme une conséquence du jeu entre tradition et modernité / This thesis confronts the manifestos of the Étonnants Voyageurs movement and Olivier Rolin’s work. From the outset in the contemporary history of France, she highlights the mecanisms of literay globalization understood as a global phénomenon. The global dimension of French literature is apprehended in its relation to foreign literature, which also include other Francophone literatures, from the analysis of the speech in its report to history and the institutional framework. From a multiscal approach, which crosses transdisciplinarity and systemic, this study resituates the « world literature in French » in its French literay heritage and shows that openess to francophone literature contributes to the strengthening of the Parisian center. The socio-historical and poetic articulation of the corpus puts forward a triple movement of globalization : this one results at first, following a crisis in the literary field, from a set of singularization strategies is implemented by central and foreign peripheral writers who intend to challenge traditional canons ; it then responds to the demand felt by writers to develop poetic arts of the world or the real, the practices of conquest of elsewhere and cosmopolitism, after national or individual trauma which implies the detestation of nation of origin ; finally, it corresponds to the need to create works likely to construct an imaginary that would relfect contemporary globalization. It’s then possible to perceive globality in the literary programs and the viatic literature in France as a production which develops in reaction to the circumstances proper and as a consequence of the interplay between tradition and modernity

This dissertation examines narratives of early modern women travelers and the spectacles these women produced as a strategy to negotiate gender paradigms that aimed to silence and immobilize women. In María de Zayas's short novel “La esclava de su amante” (1647), the protagonist's journey to North Africa gives her the tools she needs to publically address her rape. Historia de la Monja Alférez (c. 1626) is the autobiography of Catalina de Erauso, whose constant movement on both sides of the Atlantic allows her to construct a spectacle of hybridity that both entertains her audiences and authorizes her many transgressions. Finally, Viaje de cinco religiosas capuchinas de Madrid a Lima (1722) highlights the masses of people who clamor to catch a glimpse of the itinerant nuns, creating a spectacle that reaffirms the women's importance in the social hierarchy of the Spanish Kingdom. In these three baroque texts, I highlight the construction of the female traveler's body and the suffering it endures while crossing great distances. I examine the ways in which each text reimagines or reorganizes the traveler's social relationships and her place in early modern Hispanic society. Through an analysis of spectacle based on the mediation of these relationships, I interrogate the image of women travelers and the power that image has to push back against a gendered social hierarchy.

Contemporary French identity issues are often conceived spatially in popular imagination and political discourse. France and French identity have been mapped into a series of imagined exclusionary spaces through media representations and political rhetoric. This dissertation argues that artists in the fields of film, rap music and fiction are actively yet often indirectly intervening in French identity debates by reframing the question of “integration” and by demonstrating that not only can one be simultaneously French and “other,” but that French identity is always already more complex and transnational than prevailing discourses of “imagined” identity will admit. This is done most effectively, I contend, by avoiding the clichéd and reductive spaces and spatial categories that inflect the debate. The works I examine employ travel and motion to move beyond the discursive ghettos such as beur or banlieue cinema or “minority” music and fiction. While often less overtly political these responses are more effective than the more typical banlieue narrative of clash and confrontation with power. Taking examples from cinema, I argue that the road movies I address are effective weapons of the weak precisely because they avoid the traps inherent in representing the banlieue. My analysis demonstrates that the discursive ghetto is not always a bad thing for a filmmaker because referring to representational stereotypes can open the possibility of more readily “trapping” the viewer and therefore forcing him/her to actively participate in the process of decoding the author’s positioning. Often works attempting to contest spatial exclusion run the risk of simply falling into entrenched binary conceptions of society, reinforcing what the viewer already thinks they know about life in the suburbs or as a minority in general. Looking beyond cinema to music and literature, I demonstrate how artists are mobilizing narrative of space and identity to re-chart France with “hyphenated” perspectives, from African and Algerian to Portuguese and Pied-noir. / text

Thesis (M.A.)--Miami University, Dept. of English, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 59-61).