This thesis will consider the question of the intended audience of Jippensha Ikku’s十返舎一九, ōraimono (educational book) Togakushi Zenkō-ji ōrai 戸隠善光寺往来(1822) as preface to an annotated translation completed using free online xylographic editions. Published in the midst of rising literacy rates and a boom in religious pilgrimages, this work would have been popular among women of the late Edo era. Analysis of the ōraimono genre will reveal that this work, was intended as a practical guidebook for Zenkō-ji pilgrimages rather than for use as a classroom textbook. An experienced traveler guides a dutiful son and mother from Edo (Tōkyō) along the Nakasendō and Hokkoku Kaidō roads to Zenkō-ji Temple and Togakushi Shrine in Shinano Province (Nagano). The mother character in Togakushi Zenkō-ji ōrai, though not the direct recipient of the expert traveler’s knowlege, will be revealed as a sort of hidden protagonist central to the entire narrative. Lastly, I will attempt to settle disputed publishing information, arguing that Nishimiya Shinroku 西宮新六was the first publisher and Moriya Jihei 森屋治兵衛printed subsequent editions. Serious in tone, this work demonstrates Ikku’s versatility as a departure from his famous slapstick travelogue, Tōkaidōchū Hizakurige (Shank’s Mare).

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

La littérature française des voyages présente un univers complexe, bien souvent ancré à l'identité culturelle du pays. Cependant la clôture de ce système littéraire n'interdit pas la présence d'une large intertextualité et la possibilité de comparaisons avec l'histoire de l'art et la production artistique italienne analysée par les auteurs. À l'intérieur du voyage français en Italie, Gênes reste une étape encore inconnue dont l'approche des auteurs envers son patrimoine artistique n'a jamais était suffisamment étudiée. La présente thèse de doctorat a donc pour objet celui de comprendre la perception du patrimoine artistique génois dans les journaux français de voyage entre le XVIIe et le XVIIIe siècle. La recherche, à travers une étude critique et détaillée, a donc comme but non seulement celui de déterminer les divers processus culturels qui ont contaminé le goût et les préférences artistiques des voyageurs durant leur permanence à Gênes, mais aussi celui de comprendre l'approche de ces derniers à l'égard de la production artistique locale. / This project aims to be a critical study on how the artistic heritage of the city of Genoa is perceived in French travel literature from the 17th and 18th centuries.To this date no study has examined in depth what was the French travelers view on the artistic work they encountered and how their view and taste was heavily influenced by the art literature conventions of the Royal Academy of Paris.This research is a comparison study between travel literature, art literature and local guides of the of the time. The purpose of the work is therefore to determine which were the wider cultural processes that influenced the taste and preferences of the travelers and, more specifically, to understand what was their view on the Genoese artistic production.

This essay aims to investigate the representations of inner Eurasia’s indigenous religions in the texts of west Europeans from the Age of Reason. Primary sources for the study are texts of John Bell, Lorenz Lange, Anders Pihlström and Philip Johan Tabbert von Strahlenberg. The inquiry attempts to map correlations between the authors’ positions, attitudes and their representations of the local religious traditions. Since the theoretical starting point for this study is discourse analysis from the perspective of historiography and sociology of knowledge, the investigated phenomenon is placed in a system of background factors, or dispositifs, which include aspects of epistemology and colonialism. The conclusion of this inquiry is that all authors constitute the indigenous religions in the discourse of heathendom but do so in a variety of ways employing different patterns of interpretation.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-25T18:17:18Z No. of bitstreams: 1 Ismael Calvi Silveira_.pdf: 1189288 bytes, checksum: 713509772e677b825627a6d330738f6b (MD5) / Made available in DSpace on 2016-04-25T18:17:18Z (GMT). No. of bitstreams: 1 Ismael Calvi Silveira_.pdf: 1189288 bytes, checksum: 713509772e677b825627a6d330738f6b (MD5) Previous issue date: 2015-05-22 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho se propõe a investigar a trajetória do relato da “Expedição Malaspina”, que teve curso durante os anos 1789-1794. Apesar de ter sido escrito desde 1789 até meados de 1796, o relato permaneceria em forma de manuscrito até 1885 devido a intrigas políticas nas quais seu autor se viu envolvido depois de retornar à Espanha de maneira inicialmente triunfal. Propomo-nos aqui a estudar os diferentes contextos que envolvem a obra, bem como as tensões e relações entre a ciência, a política e o discurso colonial no século XVIII e no XIX que nela se refletem. Dividimos esta obra em três momentos: primeiro, temos o contexto anterior à expedição, onde apresentamos as bases nas quais Malaspina desenvolve seu pensamento político e científico e os termos nos quais ele elaborará o seu discurso. O segundo período corresponde aos anos em que a expedição foi levada a cabo, ou seja, entre 1789 e 1794, quando investigamos o contexto no qual o relato foi escrito, bem como a avaliação que o capitão italiano faz da situação das colônias americanas e da política que a Coroa espanhola empregava para governá-las. Por último, analisamos o contexto de publicação da obra no século XIX, buscando compreender diferentes leituras realizadas por diferentes comunidades de leitores e as tensões e coerções sofridas por estes grupos através da publicação do relato em 1885. / This work intends to investigate the trajectory of the report written by Alejandro Malaspina after he concludes his expedition, which took course during 1789-1794. Despite having been written since 1789 until 1796, the report would remain unpublished until 1885 due to political plots in which Malaspina took part after his triumphal return to Spain. We propose to study the different contexts that integrate the report, such as the tensions and relationships between science, politics and colonial speech during the 18th and 19th centuries. This study has been split into three sections: first we present the context previous to the expedition, in which Malaspina created the foundations of his political and scientific thought as well as the terms in which he would formulate his own speech. The second period corresponds to the years in which the expedition took place, that is, between 1789 and 1794 - here we shall study the context in which the report was written, as well as the evaluation of the Spanish colonies and politics made by the Italian captain. Last but not least, we will analyze the context of publication in the late 19th century, trying to comprehend the different readings made by different reader communities and the tensions and coercions they suffered due to the publication of the report in 1885.

Made available in DSpace on 2016-04-26T14:58:08Z (GMT). No. of bitstreams: 1 Marcia Miyuki Iwai.pdf: 530529 bytes, checksum: 3711914198b6c937427b6a9bc5057983 (MD5) Previous issue date: 2010-05-21 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This monograph intends to investigate the genre adventure novel of the end of the 19th century and beginning of the 20th century, and the ways in which this genre builds the images of the Other. Considering that this Historical moment corresponds to the period of expansion of the European colonial empires, and of organization of the working class and feminist movements, the intension of this study is to make a reflection about the representations of workers, women, colonized peoples, and Nature in the adventure novels, as well as to think about the images of the Self, or of the heroes in these books men, Europeans, bourgeois, and colonizers. Starting with the analysis of the novel The Lost World, written in 1912 by Arthur Conan Doyle, we firstly studied the themes of the discovery of a new land, its exploitations, and the relations between the heroes and the inhabitants of this land. Secondly, we analyzed the weapons used by the heroes to conquer this land: Science, War, and Word. In a third moment, we made reflections about the images of the Feminine in the novel: the feminine identity of the land, the absence or the vilanization of the feminine characters, and the production and consumption of the adventure novel (which is usually described as a masculine genre) as the rejection of a so-called Feminine Literature. Finally, we studied the protagonists of the novel, or the virile heroes, and the world that they intend to build. Thus, from the analysis of The Lost World, which we regard as a model adventure novel, we made comparisons with other novels in the same genre, so that we could establish themes, rules, and conventions which can characterize the genre adventure novel / Esta dissertação se propõe a investigar o gênero romance de aventura do fim do século XIX e início do século XX, e as maneiras como esse gênero constrói as imagens do Outro. Considerando-se que a fase de sua produção corresponde ao período de expansão dos impérios coloniais e de organização dos movimentos operários e feministas europeus, a intenção deste trabalho é refletir sobre as representações presentes nesse gênero romanesco sobre as classes trabalhadoras, as mulheres, os povos colonizados e a Natureza, bem como pensar a imagem do Eu, ou dos heróis dessas obras homens, europeus, burgueses e colonizadores. A partir da análise do romance de aventura O mundo perdido, escrito em 1912 por Arthur Conan Doyle, foram estudadas, em primeiro lugar, as questões do descobrimento de uma nova terra pelos heróis, a sua exploração e a relação desses heróis com os habitantes desse lugar. Em segundo lugar, foram analisadas as armas usadas pelos protagonistas para a conquista do território a Ciência, a Guerra, a Palavra. Em terceiro lugar, foi feita uma reflexão acerca da imagem feminina no romance: o caráter feminino do território, a vilanização ou a ausência de personagens femininas, a escritura e leitura do romance de aventura (que se descreve como um gênero masculino) como rejeição a uma literatura considerada feminina. Por fim, foram estudadas as próprias personagens dos heróis viris e o mundo que eles constroem. Dessa maneira, partindo da análise de O mundo perdido, visto como um romance de aventura modelar, foram feitas comparações com outros romances do mesmo gênero, para que possam ser levantados temas, regras e convenções que caracterizem o gênero romance de aventura

La thèse traite de l'évolution de l'écriture du voyage à l'ère de la mondialisation, notion qui comprend l’accélération et la banalisation des moyens de transport et l'interconnexion planétaire par les nouveaux moyens de communication. Comment les nouveaux modes de voyage ont influencé la pratique de l'espace d'une part, et la perception de l'exotisme et de l'altérité d'autre part ? La profusion des images de l'Ailleurs fait-elle du voyage un déjà-vu ou la découverte reste possible ? C'est à ces questions que cette recherche apporte un début de réponse. Le corpus comprend Les mots étrangers de l'écrivain grec Vassilis Alexakis,. Le carrousel sicilien de l'écrivain anglais Lawrence Durrell, Le jour des morts de l'écrivain néerlandais Cee Nooteboom, La montagne volante de l'écrivain autrichien Christoph Ransmayr et le Ravissement de Britney Spears de l'écrivain français Jean Roli. Dans un premier temps, cette recherche comparatiste aborde l'évolution formelle à la fois synchronique et diachronique . Ensuite l'étude s'interroge si les motivations du voyage contemporain ainsi que la création de l'imaginaire par le biais des nouvelles technologies. La recherche se penche sur les étapes importantes du voyage (le départ, le passage des frontières, l'arrivée, le retour) ainsi que sur différents modes de voyage (tourisme, voyage, quête, errance, globe-trotting) afin d'identifier les évolutions. La question de l'exotisme et de l'altérité ainsi que celle du post-colonial sont abordée. Cette étude porte également sur l'exotisme spatial et l'archipélisation du monde. Enfin, sont abordés les exotismes nouveaux, comme l'exotisme de proximité, l'eisotisme et l'exotisme virtuel. / The thesis studies the evolution of the travel writing in the globalization era. By globalization we mean the speeding up and the banalization of transports and also the planetary interconnexion due to the new technologies. How the new travel types (tourism, globe-trotting) influence the practice of space in one hand, and the perception of the exoticism and the othemess on the other hand ? ls travel a déjà-vu because of the great number of images of the whole world, or discovery is still possible ? This research gives some answers to these questions. The corpus is composed of Foreign Words by the Greek writer Vassilis Alexakis, The Sicilian Carousel by the British writer Lawrence Durrell,Ali Soul's Day by the Dutch writer Cees Nooteboom , n Flying Mountain by the Austrian writer Christoph Ransmayr and Britney Spears' Kidnapping by the French writer Jean Rolin. This comparative literature research studies the evolution of the form, synchronie as diachronie. Then this study examines the motivations of nowdays travel and the creation of the imaginary through new technologies. The research reviews the important moments of the travel (departure, border crossing, arriva retum) and the different types of travel (tourism, quest travel, roaming, globe-troning) in order to identify the evolutions. This study concerns the questions of exoticism and otherness and also of the postcolonial. lt is also about the exoticism of different spaces and the « archipelization (fragmentation) of the world. Finally, the question of new exoticisms, like proximity exoticism, eisoticism and virtual exoticism, is approached.

Alexandre-Gabriel Decamps (1803-1863) set out on his only trip to Greece and Turkey in 1828 to return to France and produce visual images of the Orient at a time when no major European artist had traveled to the Near East and at a time when the Orient had yet to be experienced, understood, and interpreted. Decamps’ highly original and personal interpretation of the Orient in painting has been studied by present-day scholars exclusively within the context of Romantic Orientalist genre painting. Studying criticism written on his work throughout the 19th century and working closely with his paintings, certain issues in his Orientalist paintings question the longstanding categorization of his work as solely Romantic Orientalist genre paintings. The fact that the artist never returned to the Orient; the fact that he invested his Orientalist landscapes with a Rembrandesque rather than Oriental light; his constant inclusion of contrasting opposites in the ostensibly subdued compositions he produced; the striking differences between his Oriental visual expressions and those of his Romantic contemporaries; and his own sentiment of being a failed artist, reveal alternative, less settled, readings of his work. Studying Decamps’ Orientalist oeuvre in its social and political contexts and taking into account the artist’s personal ambitions demonstrates the lasting resonance of this work, of the artist’s highly original working methods, and of his innovative technique. This study provides an assessment of Decamps’ Oriental work; it also delineates its relevance and influence in movements beyond Romanticism and into trends that developed during the late 19th and early 20th centuries. / Thesis (Master, Art History) -- Queen's University, 2008-12-11 20:43:05.08

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The aim of this research is to examine the much neglected body of writings on New Zealand and the Maori by German-speaking explorers and travellers during the colonising period of the 1840s to 1880s. To the nineteenth-century breed of visitor from Germany and Austria, 'Old' New Zealand often presented itself as an unexplored field of scientific curiosities, from botany and geology to ornithology and ethnology, at the same time as a paradise for immigrant workers. The investigation begins with an evaluation of the eighteenth-century account of Georg Forster, who accompanied Captain Cook on his second voyage to the South Pacific. Forster's account is entrenched in the early racial stereotypes and theories of the 'savage', and provides the first major primary source for all of German-speaking Europe up to the period under investigation. The second main source to be considered is the dominant 'paradise' image which evolved out of the propaganda of the New Zealand Company and continued right through the colonising era. The principal figures to be examined include Ernst Dieffenbach, the official Company naturalist, Friedrich August Krull, the first German Consul in New Zealand, Ferdinand von Hochstetter, the resident geologist on the Novara expedition, Julius von Haast, the founder and director of the Canterbury Museum, Andreas Reischek, the taxidermist and collector, as well as other notable visitors including Max Buchner, Franz Reuleaux, Otto Finsch, Alexander von Hübner and Robert von Lendenfeld. Thus, it is the goal of this investigation to analyse the perception of New Zealand and the Maori in selected works by German-speaking explorers and travellers who arrived in the colony between 1839 and 1889 through, first of all, confronting the prevailing stereotypes and images inherent in the philosophical attitudes of the eighteenth and nineteenth centuries towards the 'savage' and those present in the 'paradise' rhetoric of the British campaigners of colonisation, and secondly, examining the origins, patterns and evolution of their respective perceptions, impressions and opinions in order to reveal the true extent of their non-British 'Germanic' viewpoint.