This dissertation seeks to consider the colonial experiences of Britain in Ireland and India in a comparative context – to contrast their encounters with, and explorations of, early modern Ireland with the late seventeenth- and eighteenth-century Indian subcontinent. The early experience in Ireland helped shape the developing British belief in their own superiority, leading them to draw distinctions between themselves and other peoples. This laid the groundwork for later endeavours, notably in India. While separated by time and space, these British colonial experiences shared several important characteristics. Early modern Ireland provided the British with important guidelines and models for behaviour, many of which were later adopted in India. The manipulation of history in Ireland, the description of the Gaelic Irish in travel accounts and the application of the law as a tool of reform all provided valuable patterns for the ways in which the British structured their later empire in India.

In the latter half of the seventeenth century, the first-person overseas voyage narrative enjoyed an unprecedented degree of popularity in England. This thesis is concerned with texts written by travellers and the increasing perception that such information might be useful to those engaged in newly-developing scientific specialisms. It draws upon a wide range of texts including geographiae, physico-theological texts, first-person voyage narratives and imaginary voyage prose fictions. The main focus of the thesis is on the movement away from traditional encyclopaedic geographical textbooks whose treatment of non-European countries comprised an amalgam of unattributed information and a mass of traditional and erudite beliefs, towards a priontising of eyewitness accounts by named observers. Following an introductory survey of the production of an indigenous body of geographical literature in England, the first chapter traces the decline in popularity of traditional geographiae and the separation of regional description from general theories of the earth. The second chapter shows how in the Restoration period the concerted efforts of Fellows of the newly-established Royal Society resulted in a significant increase in the number of overseas travel narratives being published. The third chapter looks at the way in which the Royal Society's campaign developed from its initiation in 1666 to the close of the century, focusing on the response of travellers to the Society's requests for information. The fourth chapter considers the way in which earlier accounts were advertised as fulfilling contemporary expectations of this type of discourse. The fifth and sixth chapters concern fictitious voyage narratives. Imitative of a genre the value of which was increasingly seen as residing in its veracity, these fictions adapted in accordance with the changes being introduced to real voyage accounts whilst continuing to perpetuate the archaic myths and traditional beliefs which had been ehminated from factual geographical description. Appended to the thesis is a list of accounts of voyages and travels outside Europe, printed in the Philosophical Transactions (1665-1700). Also listed are reviews and abstracts of geographical texts, inquiries concerning specific locations and directions and instructions aimed at seamen, with brief biographical information about the authors to indicate the range of contributors to that journal.

This dissertation seeks to consider the colonial experiences of Britain in Ireland and India in a comparative context – to contrast their encounters with, and explorations of, early modern Ireland with the late seventeenth- and eighteenth-century Indian subcontinent. The early experience in Ireland helped shape the developing British belief in their own superiority, leading them to draw distinctions between themselves and other peoples. This laid the groundwork for later endeavours, notably in India. While separated by time and space, these British colonial experiences shared several important characteristics. Early modern Ireland provided the British with important guidelines and models for behaviour, many of which were later adopted in India. The manipulation of history in Ireland, the description of the Gaelic Irish in travel accounts and the application of the law as a tool of reform all provided valuable patterns for the ways in which the British structured their later empire in India.

The aim of this thesis is to investigate the potential of travel blogs, as a form of popular new media travel writing, to renegotiate conventional discourses about the ‘Middle East’. By conducting a critical discourse analysis on six travel blogs authored by female writers from both the US and the ‘Middle East’, this thesis examines representational practices found in travel narratives, discloses their discursive tendencies, and interprets those in a sociocultural context. Thereby, the analysis draws on a twofold theoretical approach. Postcolonial theory, on the one hand, allows to relate the findings of the analysis critically to the colonial heritage that is inseparable from the genre of travel writing and that informs the discourse about the Oriental ‘other’. Affordance theory, on the other hand, makes it possible to examine how blogging can be seen as a tool that allows disrupting common practices of ‘othering’ in travel writing. The analysis shows that travel blogging has transformative potential and can, mainly through the affordances of self- representation and innovative expression, challenge long-established discourses about the ‘Middle East’. Limiting factors of this potential are mostly arising from neo-imperialistic structures that carry traces of the colonial past. Essentially, the results of this thesis imply that the genre of travel writing is evolving in new media and that it expands the discursive framework of media representations, making it a promising site for future research seeking to explore transcultural encounters and the societal implications of such.

This dissertation examines a cluster of texts centered on Hizakurige 膝栗毛, or Shank’s Mare, by Jippensha Ikku 十返舎一九 (1765-1831), the first eight installments of which were published annually between 1802 and 1809 in the city of Edo, now Tokyo. The series follows its ruffian protagonists Yajirobē 弥次郎兵衛 and Kitahachi 喜多八 on a picaresque journey, as they make their way down the Tōkaidō highway 東海道 (literally, “Eastern Seaboard Road”) on a largely spurious pilgrimage to the Grand Shrine at Ise. Hizakurige rapidly established Ikku as a major figure in the world of gesaku 戯作 (roughly, “vernacular popular writing”) at the turn of the 19th century, and remains one of the most famous, enduringly-popular pieces of gesaku ever written, known at least in passing to most people in contemporary Japan. Despite this, there has been no dissertation-length study of Hizakurige written in English until now. Accordingly, I investigate the roots of its immense popularity by examining the nuanced layers of laughter and enjoyment—or warai 笑い—that Yaji and Kita’s stories have brought to the readers of Hizakurige over the last two centuries. To do so, I explore a variety of sources, media, and genres that Jippensha Ikku drew upon to build the multifaceted and dynamic world of Hizakurige-related texts—or Hizakurigemono 膝栗毛物—with the groundbreaking first eight installments serving as the unifying nadir for my inquiries. I start with an in-depth introduction to Ikku’s life and his works, detailing his experiences as a writer, illustrator, playwright, poet, traveler, and, eventually, as a person with physical disabilities, which reveal much about the tone, style, and contents of Hizakurige. I examine scholarship on Ikku’s work has to date, and propose frameworks centered on the intertwined structural and compositional concepts of sekai 世界 (literally, “world”) and shukō 趣向 (roughly, “innovation”) in gesaku as conceptualized by Nakamura Yukihiko 中村幸彦 (1911-1998). The second chapter revolves around the role played by kyōka 狂歌 (comic poetry) in Ikku’s development as a creator of gesaku. Centered on two compilations of kyōka edited and illustrated by Ikku—Ikyoku suzukuregusa 夷曲十廻松 (Rustic Rhymes: Rustling in the Pines, 1799) and Ikyoku azuma nikki 夷曲東日記 (Rustic Rhymes: A Diary of Eastern Times, 1800)—the chapter makes use of a framework that hinges on shukō to analyze the structural and poetic techniques that kyōka poets had at their disposal to create meaning, develop narratives, and, ultimately, instill their poetry with wit and amusement. I take up the topic of Nansō kikō tabisuzuri 南総紀行旅眼石 (Travels to Nansō with a Glittering Ink-stone: The Gem-sights of the Journey, 1802) in the third chapter. Although it is an illustrated, kyōka-centric, two-protagonist travelogue written by Ikku in the same year as the first installment of Hizakurige, Tabisuzuri appears to have been a total flop. To discover why this might be, I examine the bibliographic and biographical context in which Tabisuzuri came to be written, explore how the poetically dense paratextual apparatus of its various prefaces function, and analyze a series of linked scenes from the main body of Tabisuzuri that are the direct progenitors for two of Hizakurige’s most infamous episodes. In the fourth chapter, I consider Hizakurige in the context of travel writing, beginning with the prefatory matter of Hizakurige, then discussing the influence of two groups of travel texts upon the development of Hizakurige: first, Chikusai 竹斎 (1621), by Toyama Dōya 富山道冶 (date of birth unknown -1634), and Tōkaidō meisho ki 東海道名所記 (Record of Famous Sites of the Tōkaidō, 1659), by Asai Ryōi浅井了意 (c. 1612-1691); and, second, a trio of illustrated guidebooks (Meisho zue 名所図会) written in 1780, 1796, and 1797 by Akisato Ritō 秋里離島 (fl. 1770-1830). In a comparative analysis, I show how the two-person protagonist structure of Hizakurige draws on models frequently seen in travel writing, and investigate how Yaji and Kita’s characterization is enlivened through their depiction both as equals and as lovers. I also investigate how and why Ikku makes increasingly extensive—but decreasingly innovative—use of motifs taken from the illustrations in Ritō’s Meisho zue series. Finally, in the fifth chapter I examine how Hizakurige is deeply influenced by shukō drawn from performative genres—particularly kyōgen—and how Hizakurige is imbued with a kind of “latent performativity” that offers a hybrid mode of engagement with the text that sits at the intersection between “reading” and “performing.” I contend that this latent performativity comes about through the operation of Hizakurige’s shukō, both as individual, discrete shukō that function in the context of a single moment of the text, and as more extended, structural “macro-shukō” that shape broader swaths of the text’s character and have a greater impact upon the development of Hizakurige’s sekai. Accordingly, I investigate how Ikku imitates and innovates upon shukō drawn from two kyōgen plays—Dobukacchiri どぶかっちり (“Kerplunk”) and Kitsunezuka 狐塚 (“Fox Mound”), exploring the key characteristics of these two kyōgen pieces, and carrying out comparative analyses of the relevant scenes in Hizakurige. Over the course of the dissertation, I attempt to offer a variety of answers to one central question: why does Hizakurige matter, and what is its significance for our understanding of the development of gesaku in the late Edo period (1603-1868)? I contend that Hizakurige is important not just because of its immediate success, or its subsequent influence on surrounding textual and dramatic genres, or its enduring popularity, but also because it demonstrates the need for a more fruitful approach for the study of early modern Japanese popular literature: one predicated not just on genre, but on the intertwined interactions of sekai and shukō.

No description available.

The early modern age was a period of great discoveries, formulation of new ideas and new methods for scientific inquiry. It was also a time of increased travel within Europe among nobility and people of learning. In this essay a number of Swedish learned men are followed in their journeys, through their own diaries and autobiographies, to centers of learning in England, France, Italy and other countries. The essay investigates how the journeys reflect the formation of academic and scientific institutions in Europe, such as scientific societies and journals, and experimental practices. It also studies the nature of personal interactions and the mechanics of international social networks, and the role of travelers in this context. It also looks at how Sweden, as a country in the periphery of Europe, could take advantage of this kind of international travel and become part of the new developments on the continent.

The present study inquires into the problematization of attention in the reception and distribution of photography in 19th-century Sweden. It investigates how photography’s alleged abundance of detail and indiscriminate reproduction became a problem in the reception of the medium. The problem became urgent when photographs were put to use by established discourses; specifically, when used in printed publications meant for a public. The thesis therefore argues that the problem of attention had a profound influence on how printed photographic or photographically illustrated editions (photo-texts) were modelled and arranged. For this purpose, the study affirms a particular focus on attention practices: the various ways in which the printed editions aim to regulate the reader’s attention before the supposedly distractive image. Specifically, the thesis focuses on how texts in these printed editions are arranged or juxtaposed in relation to the image, how they speak of and to the images, what values they reflect, and what effects they could be said to produce. Consequently, the present study is more than an investigation of a problem; it is also an inquiry into the various attempts to overcome this problem. The problem and its responsive practices will have different characteristics in the various contexts of individual discourses. Therefore, the study situates the problem of attention in four prominent genres of 19th-century photography: the topographical albums of photographic views, art books with photographic reproductions, the scientific atlas, and the photographically illustrated travelogue. These genres and forms of publication, as well as the discourses of attention relating to them, are discussed in separate chapters. Every chapter departs from a specific Swedish photographic edition from the nineteenth-century. In sum, the thesis aims – with its focus on the problematization of attention – at giving a new historical perspective on the emergent relation between photography and the printed word.

本篇論文意在分析綏夫特<<格理弗遊記>>中的主體、客體、卑賤體的再現，嘗試以不同觀點來看遊記主人翁在四次航行中的遭遇。<<格理弗遊記>>為十八世紀著名的旅行文學，而旅行本身即被視作一種譬喻來闡述旅行者與旅行之間的關係。本論文我主要採用克莉斯蒂娃(Julia Kristeva)幾本書中的理論觀點來逐章論述。在<小人國遊記>中，格理弗以旅行者主體去觀察與再現異地事物。其中最顯而易見的是以「方便之計」來救火。此不經意的行為不僅帶入旅行者主體的議題，也進一步檢驗在家與旅行之間的關係。除了旅行者主體之外，格理弗作為一個發言主體背後代表一套語言規則。最顯著的例子是拉普塔與慧駰國的語言系統。此兩國的語言系統以及他們對於某些外在客體的描述提供讀者去了解語言背後的符號意義。除此之外，透過格理弗在慧駰國的所見所聞，尤其是犽猢的無所不在，造成格理弗不僅在身體上也在心理上產生認知的改變。而他的回程也代表著一項重要的意義：格理弗的改變源於他內在卑賤體(abject)的存在，而他的家人更讓他了解到自己是一位在家的陌生人。 / This thesis investigates the representation of the subject/object/abject in Jonathan Swift’s Gulliver’s Travels. In Chapter One, I give a short introduction to describe what and why I want to talk about these representations in this thesis. Following the introductory chapter, Chapter Two explores the representation of the subject and provides a prominent example of Gulliver’s urinating act in Lilliput. This behavior not only constructs Gulliver’s subjectivity, but also helps examine the idea of home. Kristeva’s idea of “the Semiotic and the Symbolic” and Freud’s concept of “fort-da” game are adopted to discuss the dynamics of travel and Gulliver’s traveling subject. Chapter Three examines the way to decode and encode what the strangers speak in alien lands. To address the problem of the linguistic system of the strangers, Kristeva’s idea of “materiality of language” is elucidated. I also offer two examples from the Flappers and the Yahoos to call into question Gulliver’s role as a speaking subject. Foucault’s idea of power and Kristeva’s concept of “genotext” provide a possibility to discuss the relation between the subject and the discourse. In Chapter Four, the representation of the abject is particularly presented by Gulliver’s voyage in the Houyhnhnm-land. The presence of the Yahoos elicits Gulliver’s psychological symptom and problematizes his subject. Moreover, Gulliver’s return to his homeland and his acting-outs suggest that Gulliver is a stranger to himself. Kristeva’s theory of abject offers an effective way to describe Gulliver’s transformation. By focusing on the representation of the subject/object/abject in Gulliver’s Travels, my thesis provides a more newfangled interpretation of this classical text.

From the adventures of Odysseus to those of the male Grand Tourist, travel has often been regarded as an important rite of masculine self-fashioning. However, as this thesis argues, travel and travel writing also provided a valuable opportunity for women's self-fashioning: journeys offered women a means of altering themselves, enabling them to assume a novel identity abroad and in text, whether it be a subversive or idealised version of themselves. Drawing upon Judith Butler's and Sidonie Smith's theories of performativity, this thesis investigates Victorian women travel writers' impulse to self-fashioning, and argues for travel writing as a performative act of identity-formation. Drawing on Butler's notion of subversive repetition, this thesis also demonstrates the ways in which the instability of women authors' narrative identities gives them a potential for agency, enabling authors to unsettle prescribed gender boundaries and challenge cultural constructions of femininity. In particular, I examine the constructed textual travel identities of the following nineteenth-century British women: Anna Jameson, Susan Horner, Emily Lowe, and Frances Minto Elliot. I highlight the discursive strategies that these four authors use in order to create certain images of themselves for their readers in their travelogues about Italy, all published (or, in the case of Horner, written) between the years 1826 and 1881. Jameson, Horner, Lowe, and Elliot also reconfigure traditional notions of travel and gender in their travelogues to articulate and perform definitions of selves that are not necessarily exemplary – at least not at first glance. I examine the ways in which these nineteenth-century authors adopt apparently undesirable selfhoods ('ill', 'intellectual', 'unprotected', and 'idle') and turn supposed weaknesses into strengths. This thesis also analyses the significance of Italy for the travel narrators and their self-representation in relation to the peninsula. Italy signalled a meaningful difference from Britain, and these authors represent it as a positive space for healing, intellectual growth, pleasure, fulfilment, and self-determination. The constructed identities of these four authors result in 'travel performances' that aim to persuade readers of the narrators' aptitude for travel and of their especially meaningful attachment to, experience of, and understanding of Italy. This thesis does not only provide a space for voices which have until now been little recognised in contemporary scholarship. It also sheds light on an important form of Victorian women’s writing that was a valuable route towards cultural and intellectual authority and self-empowerment, as well as a means of personal and professional self-fashioning.