La presente tesi di dottorato è il primo studio complessivo sui rapporti di Alessandro Manzoni con la cultura anglosassone, considerati nelle due direzioni: da una parte, le possibili influenze della letteratura inglese sulle sue opere, dall’altra la fortuna dell’autore in Gran Bretagna e negli Stati Uniti nell’Ottocento. Manzoni, infatti, non fu complessivamente incompreso o ignorato nei paesi anglosassoni, come ritenevano alcuni studiosi. Al contrario: personaggi importanti del mondo letterario e culturale apprezzavano e citavano le sue opere, e le numerose traduzioni, recensioni, antologie e libri sull’Italia testimoniano che questo autore era noto tra il pubblico colto. Tra gli episodi più importanti della fortuna di Manzoni nell’Inghilterra vittoriana si possono ricordare: due recensioni di Mary Shelley, influenzata dalla prospettiva risorgimentale (che era in realtà ambivalente verso Manzoni); e un romanzo della scrittrice Charlotte Yonge, legata al movimento di Oxford, che apprezzava particolarmente "I promessi sposi" per i valori cristiani. Negli Stati Uniti, i pregi del romanzo erano riconosciuti da intellettuali attenti alla cultura italiana contemporanea, come Emerson e Margaret Fuller. / This dissertation is the first overall study on Alessandro Manzoni’s relationship with the English-speaking world, considered along both lines: possible influences from English literature on Manzoni’s works, and Manzoni’s reception in Great Britain and the United States in the XIXth century. Manzoni was not ignored or misunderstood in those countries, as some critics believed. On the contrary, distinguished men and women from the literary and cultural world read, liked and quoted his works. Indeed, the great number of translations, reviews, anthologies and books on Italy dealing with Manzoni testifies that the Italian author was well-known among the educated reading public. Two important episodes of Manzoni’s reception in Victorian England can be mentioned: two reviews by Mary Shelley, who was influenced by the issues of the Italian Risorgimento (not totally sympathetic with Manzoni); a novel by Charlotte Yonge, the novelist of the Oxford movement, who admired Manzoni’s "Promessi sposi" for its Christian values. In the United States, the merits of Manzoni’s work were acknowledged by Emerson and Margaret Fuller, who showed interest and consideration for the contemporary Italian culture.

La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la péninsule. Johann Georg von Dillis et Ludwig Richter se rendent en Provence au début du XIXe siècle dans le cadre d’un voyage princier. Puis, au milieu du siècle, Johann Wilhelm Schirmer choisit consciemment de parcourir le sud de la France et découvre alors une nature différente de celle de l’Italie. Cette étude a pour but d’établir un corpus d’œuvre, permettant à la fois de documenter la présence d’artistes allemands en Provence, mais aussi de dégager les motivations derrière le voyage, et de montrer comment leur perception de la nature provençale évolue du XVIIIe au XIXe siècle. Ce travail propose une analyse de la place de cette région dans l’histoire artistique, culturelle et littéraire et examine les sources littéraires et visuelles dont les artistes allemands avaient pu avoir connaissance. Les différents cas d’artistes étudiés montrent l’évolution du regard artistique allemand sur la Provence et illustrent la difficulté de faire entrer ce territoire dans les canons de l’époque ce qui s’exprime particulièrement dans la peinture allemande. / Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting.

La position a priori anti-ottomane, élaborée par des philosophes comme Volney et Montesquieu, en Syrie a été largement partagée par les voyageurs du XIXe siècle et même complétée par l'ensemble des travaux réalisés tout au long du XIXe siècle. Ainsi, voyageurs scientifiques, philosophes, consuls, journalistes ou même poètes, se sont presque tous impliqués dans l'élaboration et la circulation des clichés et des idées reçues sur la Syrie et sur le système turc en Syrie perçu comme une tyrannie globale. Les voyageurs participent ainsi avec leurs écrits, directement ou indirectement, à pérenniser la vision du « despotisme oriental» élaborée par leurs prédécesseurs et relayée dans un premier temps par Volney. Celui-ci, à peine arrivé en Syrie en 1783, dénonçait la misère dont il rendait aussitôt responsables les Turcs. Les autres voyageurs ont presque tous fait le concept de despotisme oriental et ont approuvé dans leurs récits l'auteur du Voyage en Égypte et en Syrie. D'une manière générale, on comprend que l'espace syrien évoque aux voyageurs des souvenirs ancestraux et leur rappelle un passé aussi bien religieux qu'historique parfois très proche. Par là-même, la Syrie, exotique, mythique ou pittoresque, a représenté un intérêt tout particulier pour les voyageurs-écrivains, les touristes et les scientifiques en quête d'exotisme et d'un retour aux sources. / The a priori anti-Ottoman position, developed by philosophers such as Volney and Montesquieu, in Syria, was largely shared by travelers in the 19th century. This preconceived philosophy was reinforced and "completed" by the entire collection of works written throughout the 19th century. Traveling scientists, philosophers, consuls, journalists, and even poets were almost all involved in developing and circulating ideas and clichés regarding Syria and the idea that Turkish rule in Syria was tyrannous. Travelers, as well as their writings, directly or indirectly perpetuated the vision of "Oriental tyranny." This vision, developed by predecessors, was first communicated in writing by Volney. In 1783, he had barely just arrived in Syria, when he began denouncing the misery he encountered, forwhich he held Turkish officials immediately responsible. Other travelers almost all supported the idea of "Oriental Tyranny" and agreed with the author of Voyage en Egypte et en Syrie in their writings.Generally speaking, Syria makes travelers think of their forefathers and reminds them of the past (in both a historic and religious context) that is in reality not that distant from the present. Moreover, those in search of getting back to the basics and the exotic; traveling writers, tourists, and scientists, took a particular interest in the exotic, mythic or picturesque Syria.

This thesis examines the representation of Italy and Italians in Henry James’ Daisy Miller and E.M. Forster’s Where Angels Fear to Tread. In a close reading of the two novels, with the use of the theory of the Triangle of Representation and the concept of Imperialist nostalgia, recurring themes in connection to the Grand Tour have been found. While both novels have already been studied in connection to the concepts of freedom, family, and homosexuality, not much has been written about the novels in connection to the Grand Tour studies and representation. Divided into three sections, this paper first defines representation and Christopher Prendergast’s Triangle of Representation, both in close connection to the concept of the gaze. Then, it gives a short historical context of the Grand Tour, to give the reader the necessary background for understanding both of the analysed novels. It then continues explaining the idea of nostalgia and, more specifically, Renato Ronaldo’s concept of Imperialist nostalgia. Finally, the paper analyses the two novels in detail in connection to the mentioned theory, connecting the two authors to the Grand Tour and their experiences in Italy.

This thesis examines travel to continental Europe as undertaken by several generations of Irish Protestants between 1660 and 1727. Historians draw parallels between the Protestant Ascendancy in Ireland and other polities in ancien régime Europe, but these demand an exploration of contemporary encounters. Research on the Irish in Europe concentrates on Catholics without much regard to Protestant experiences, while work on English or British travel overlooks ways in which Irish Protestant voyages differed. This thesis analyses the experiences of Church-of-Ireland families from the gentry, nobility and aristocracy, especially the Southwells, Percevals, Molesworths, Molyneuxs, Boyles and Butlers. Correspondence, notebooks and financial accounts reconstruct their voyages, mainly to France, Italy, the Low Countries and Germany, and their attitudes towards the practice of travel. Journeys to other destinations are incorporated, as are the voyages of neighbours, acquaintances and employees. Purposes varied, but travel was consistently considered an opportunity for 'improvement'. The thesis follows the successive preoccupations of travellers, beginning with demonstrations of 'fitness to travel'. Wealthy young men were judged according to criteria that privileged anglicisation and Protestantism, though linguistic skill was a more socially-comprehensive standard. Advisors emphasised civil conversation and written observation, but warnings to avoid 'countrymen' were ignored. The company of English-speaking travellers and Irish Catholic expatriates created distinctive European experiences. Foreign hosts often saw uncomplicated Englishmen, though some recognised Irish difference. Anglican travellers held qualified membership of a 'Protestant international', drawing on a cross-confessional 'stock of friends'. Travellers received tuition that complicates perceptions of travel as 'informal' education and they memorialised experiences through souvenirs and gifts. Voyages encouraged some into English residence and identifications, though others brought improvements home to Ireland. 'Improvement', as it related to wealthy Church-of-Ireland families, functioned not as a binary between approved England and disdained Ireland but a triangular exchange in which continental Europe featured prominently.

A new form of foreign travel called “voluntourism” has emerged in Sweden. In advertisements that invite to “make a difference”, travel agencies promote short- term aid opportunities at for example orphanages or schools in Africa, Asia, and Latin America. International volunteer work is nothing new. Rather, the volunteer agencies have entered an old and established organizational field. Using theories of new institutionalism and the analytical phrase “the story about”, this thesis investigates the way international aid work originated and evolved, and how commercial volunteer agencies entered the field. The thesis is partly based on historical data from organizational reports, biographies of aid work icons, and interviews with volunteers active during the 1960s and 1970s. Additionally, it makes use of contemporary data from interviews with representatives from volunteer travel agencies and volunteers. It also includes an analysis of how the travel agencies present their business operations on their websites. The thesis concludes that travel agencies apply the common perception of international aid work’s characteristics when marketing volunteer travels. This common perception can be traced through the evolution of international aid work. Travel agencies attract volunteers by offering access to this exclusive field. The volunteers are well-educated young women from middle class families. They are looking for experiences from international aid work, perspective on their own lives, and first-hand knowledge of local and traditional societies in poor countries. Nevertheless, due to the esteem in which the organizational field is viewed, a brief period spent as an aid worker is considered a desirable qualification for a job applicant. I interpret volunteer travel as a “grand tour”.

Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.

This thesis analyses the Spanish part of Philipp Sigmund of Dietrichstein's grand tour which took place from 1671 to 1672, examining various archival sources, such as correspondence, spending overviews, instructions, and route plans. It looks into the motivations behind and circumstances of the grand tour, describing its participants, course, and Philipp Sigmund's activities in Spain. A key part of the thesis is an edition of transliterated correspondence from the journey to Spain, including an analysis of internal and external characteristics of the letters. Keywords: grand tour, traveling, Spain, Dietrichstein, Philipp Sigmund of Dietrichstein, 17th century, aristocracy

Sweet Briar House is one of the best documented sites in Virginia, with sources ranging from architectural drawings and extensive archives to original furnishings. Sweet Briar House was purchased by Elijah Fletcher, a prominent figure in Lynchburg, Virginia, in 1830. Thirty years later it passed into the possession of his daughter Indiana Fletcher Williams, and remained her home until her death in 1900. In her will, Williams left instructions for the founding of Sweet Briar Institute, an educational institution for women that exists today as Sweet Briar College. This dissertation examines Sweet Briar House in three distinct phases, while advancing three theses. The first thesis proposes that the double portico motif introduced by Palladio at the Villa Cornaro in the sixteenth century became the fundamental motif of Palladianism in Virginia architecture, generating a line of offspring that proliferated in the eighteenth century and beyond. The Palladian plantation (Sweet Briar House I, c. 1800) featured this double portico. In 1851, following the return of the Fletcher children from an extended Grand Tour of Europe, the house was remodeled as an Italianate villa (Sweet Briar House II, 1851-52). The second thesis advances the contention that by renovating their Palladian house into an asymmetrical Italianate villa, the Fletcher family implemented an ideal solution between the balanced façade that characterized the Palladian Sweet Briar House I and the fashion for the Picturesque that dominated American building in the second half of the nineteenth century. In 1876, the Williams family traveled to the Centennial Exhibition in Philadelphia, where visitors were presented with an unimaginable array of artistic possibilities from countless eras and nations, exactly the conditions that the Aesthetic Movement needed to flourish in America. The third thesis maintains that the Williams family’s decision to transform Sweet Briar House into an Aesthetic Movement retreat was inspired by their reaction to the Centennial, and in particular by their appreciation for the Japanese objects presented there.

自從2004年台澳簽署「打工度假」(Working Holiday)協定以來，每年台灣青年赴澳人數不斷增加，在國內掀起一股「壯遊」的熱潮。然而相關新聞報導與國內的研究卻發現，到澳洲打工旅遊的台灣年輕人，因為語言能力比不上當地人，所以多從事耗費體力的工作，而且工作穩定度低、危險性高、容易遭遇黑工問題等等，使台灣打工旅遊者的勞動環境越形惡劣。但在筆者的研究中，發現打工旅遊者卻輕忽勞資問題，必且拒絕承認自己為「台勞」。因此，本文的焦點在於探討台灣打工旅遊青年如何從自身「主體」性的眼光，去看待自己同時打工、又同時旅遊的行為？他們對自己抱持著怎麼樣的「想像」來理解打工旅遊的經驗？這樣的「想像」又是如何被塑造出來？ 本研究採質性研究方法，包括深入訪談、參與觀察、線上民族誌與非侵入性研究，並使用這些不同來源的資料進行交叉分析，以確認資料之信度與效度。在分析架構上，從「結構」和「個體」這兩者的互動展開，首先討論澳洲與台灣政府在塑造「打工旅遊」上扮演的角色，再來探討台灣青年在打工旅遊的過程中，對於自我身分的認同如何演變的過程。最後，本研究使用Giddens (1991)所提出的「現代性的反思性」來理解台灣青年如何將打工旅遊理解為自我敘事的一部份：逃離台灣變成一種自我實現的追尋，與既有的生命歷程斷裂。本文以此研究結果，來回應既往文獻研究的不足之處，並提醒台灣打工旅遊者對於「壯遊」的想像，可能會掩蓋澳洲惡劣的工作環境與勞動剝削的事實。 / Since Australia’s “Working Holiday Maker Visa Agreement” was signed with Taiwan in 2004, the number of Taiwanese working-holiday makers in Australia has grown rapidly every year. “Grand Tour” became a popular concept in Taiwan. According to the related literature, most Taiwanese working-holiday makers had no choice but to participate in the primary labor market in Australia due to the lack of English ability. They usually encountered highly risky, unstable, and even illegal working environment. However, the study found that Taiwanese working holiday makers ignored the nature of their employment and refused to call themselves “Tai Lau” (Taiwanese laborers). As a result, the study analyzed how Taiwanese working holiday makers think of themselves when they worked and traveled at the same time? What imagination did they have on their working holiday experience? In what ways was the “imagination” structured? The study was conducted by using qualitative research methods, which included in-depth interviewing technique, participant observation, unobtrusive methods, and online ethnography. Data collected through different channels and methods were triangulated to check the reliability and validity of data. The analytical framework focused on the interaction between “social structure” and “individual.” First, the study examined how Australian and Taiwanese governments both played the important roles in shaping and enforcing the working holiday policy. Second, this study explored the process in which Taiwanese working-holiday makers’ self-identities were changed when they were in Australia. Glidden’s (1991) concepts of modernity and self-identity were found to be particularly relevant in understanding Taiwanese working holiday makers’ self-narratives. They escaped from Taiwan to seek self-fulfillment, and their lives and identities in Australia were separated from their original life trajectories. The findings of this study can contribute to current tourism research by pointing out that the imagination of a “Grand Tour” may cover up the difficult working environments and exploitation faced by working-holiday makers.