No description available.

This thesis explores the Picturesque as a visual aesthetic that is often self-consciously employed in the travel accounts of British women in India in the first half of the nineteenth century. It addresses how three women - Fanny Parks, Marianne Postans, and Emily Eden - made use of the language of aesthetics, in particular that of the Picturesque (a style deemed especially appropriate for women travellers) in a variety of ways: first, to help them understand and relate to their experiences in this foreign land; second, to convey these experiences to their audiences back home; and, third to carve out what frequently becomes a feminised space within the established (and predominantly masculine) field of travel writing. The approach is largely historicist in order to situate the authors (and artists) within their contemporary cultural, social, and political context. My work builds upon that of literary scholars Elizabeth Bohls, Nigel Leask, and Sara Suleri in its interweaving of historical research and visual aesthetics with a literary analysis of travel writing and colonialism, bringing to bear their insights on authors previously little or not at all addressed in critical literature. Expanding on the notion of the 'Indian picturesque', which Leask begins to shape in his work, I bring Parks, Postans, and Eden into dialogue with the suggestions of Bohls and Suleri that women travel writers adapt the traditionally masculine ideal of the Picturesque aesthetic. After an introduction and two chapters which explore the broader themes concerning the development of the Picturesque and its influence on British artistic representations of India, I briefly summarise how this visual aesthetic came to be applied to written texts about travels in the region, beginning with the texts produced by male travellers, and with a specific focus on the travel narrative of Captain Godfrey Charles Mundy, whose accounts are referenced in Fanny Parks' work. My thesis then offers three case studies considering each writer in order of their arrival in India - starting with Fanny Parks' autobiography of her travels (published in 1850), followed by the published works of Marianne Postans in the 1830s, and through to those of Emily Eden, relating to her travels in the same decade and published in 1866. Aside from drawing on the aesthetics of visual art, the discussion of each author also addresses the importance of other sources to which they allude that enable aesthetic responses to India's landscape and peoples.

This master´s degree essay aims to analyze and confront two travel memoirs on the Sami people, an indigenous group living in the geographical area of Northern Norway, Swedish and Finnish Lapland and Kola Peninsula in Russia. The descriptions were taken out of a Swedish work by Gustaf von Düben Om Lappland och lapparne, företrädesvis de svenske (1852) and a Polish one written by Faustyna Morzycka Z dalekiej północy: Norwegja, Szwecja, Danja, Islandja i Laponja (1896). The study focuses on the narrative aspects of the actual human representations on the examined topic. The working hypothesis is that the images of Sami people vary strongly depending on the specific bias of the writer i. e. nationality, background or gender. Additionally, the study points out the specification of two different political, social and historical contexts and shortly discusses the model reader´s role in the writing process. The results of the study indicate that there are several differences appearing in the examined travel literature depending on the author.

This dissertation investigates the online travel writing of Swedish cruising sailors. The aim is to analyze how crews in online travelogues describe ongoing experiences, and to show how the journeys, the stories and the storytelling are mutually related to one another. As journeys are both the plots of the stories and the contexts for the storytelling, the travelogues in question challenge established narrative definitions. The analysis combines Amy Shuman’s folkloristic research on immediate storytelling with historian Reinhart Kosellecks’ perspectives on time as situated and subjective. Storytelling is thereby understood as a contextual and variable practice: conditioned, enabled and limited by the writers’ current position and point of view, and by a series of practical, technological, narrative and social factors. The study is based on ethnographic fieldwork online and offline. The material primarily consists of four crews’ blogs and web pages, written texts, photographs, and readers’ comments. Interviews were conducted with the main informants and an additional fifteen crews in Sweden and in the harbours of Horta and Las Palmas. As the analysis show, the sailors’ write and publish updates from ever-changing positions in time and space, thereby depicting their journeys as a practical and cognitive process. These stories are to a great extent motivated by and directed towards the future, as sailors long for warmer destinations and worry about upcoming passages. The sailors write for a real-time audience partly consisting of families and friends, who anxiously wait for new updates. Writing is therefore sometimes perceived as a work-like task, and the sailors must develop strategies in order to write entertaining and exciting stories without further troubling their readers. The study’s result indicate that online storytelling can be understood as a process, which cannot be separated from the described events, nor from its everyday contexts. Stories, storytelling and experiences are understood as integrated with each other, since the storytelling as a practice become an established part of the everyday life during journeys.

For my senior thesis, I have compiled essays that cover traveling to Aix en Provence for the month of June 2103 and growing up in East Tennessee. This project should exhibit my skills as a writer in the nonfiction category. I describe personal experiences, portray characters, and attempt to show readers a world that they may not otherwise have been able to experience. I blend narrative essays with travel writing to show overall how these two components create an intercultural experience that work to inform and answer each other.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Using the travel writings of Amerigo Vespucci, the voyage of Pedro Álvares Cabral and Jean de Lérys book, History of a Voyage to the Land of Brazil, Also Called America, this thesis will investigate the role of the individual in the narrative of New World contact. This thesis specifically moves against the tendency in New World historiography to rely upon meta-narratives and a singular, universal European presence to explain the circumstances of the New World contact. This project seeks to gain greater understanding of the unique and divergent representations of indigenous cultures contained within travel writing by being sensitive towards the travel writers individual characteristics such as educational background, religion and participation in intellectual endeavours. The specific example used in this thesis will be the Tupínamba of coastal Brazil and will be supported by the anthropological understandings we have about this extinct indigenous group. Overall, this thesis seeks to show that in the creating of metanarratives regarding the New World experience of Europeans, it is easy to forget that the word European is as meaningless as the word Indian in terms of academic usefulness.

The tendency to stage appreciation for and attention to nature as a passive, guiltless enterprise was necessary for eighteenth-century colonial claims to space, but it also remains a very deeply entrenched aspect of environmentalist attitudes today. Indeed, innovations that shaped the technological interpretation and inscription of place in the latter eighteenth century have strongly situated contemporary North American environmental discourses.<p>This thesis explores the methods of spatial representation in Samuel Hearnes <i>A Journey from Prince of Waless Fort, in Hudsons Bay, to the Northern Ocean</i>(1795) and William Bartrams <i>Travels Through North and South Carolina, Georgia, East and West Florida, The Cherokee Country, The Extensive Territories of the Muscogulges or Creek Confederacy, and the Country of the Choctaws</i> (1792). Both ecocritical and postcolonial methods underlay an analysis of the discourses and rhetorics of space exhibited in the North American travel writing of these two late-eighteenth-century writers. A first move monitors how landscape accrues not only as a product of descriptive techniques, frames, and screens, but also as a process whereby narrative identity is formed against and within a represented landscape. A second move locates these texts as versions of Mary Louise Pratts anti-conquest, in which the hero-explorer of colonial encounter is staged as both passive and innocent.<p>Two primary results from this research into the relationship between literature and environment are reported. First, according to conventions of ecocritical analysis, Hearne and Bartram implement two very different modes of spatial representation in travel narratives from the same period; in the broadest strokes, Hearnes text is deeply anthropocentric and only partially engages in eighteenth-century vogues of natural history, while Bartrams is compellingly and precociously ecocentric as well as deeply invested in the commerce of Linnaean systemizations of nature that revolutionized natural history in the period. Second, this disparity in representational method is correlated not only with variances in the ecological (or green) sensibilities of the authors, but also with distinctions in the colonial functionality of the texts, verifying that literature of place, despite the putative object of description, always already maintains significant valencies in social registers.

The tendency to stage appreciation for and attention to nature as a passive, guiltless enterprise was necessary for eighteenth-century colonial claims to space, but it also remains a very deeply entrenched aspect of environmentalist attitudes today. Indeed, innovations that shaped the technological interpretation and inscription of place in the latter eighteenth century have strongly situated contemporary North American environmental discourses.<p>This thesis explores the methods of spatial representation in Samuel Hearnes <i>A Journey from Prince of Waless Fort, in Hudsons Bay, to the Northern Ocean</i>(1795) and William Bartrams <i>Travels Through North and South Carolina, Georgia, East and West Florida, The Cherokee Country, The Extensive Territories of the Muscogulges or Creek Confederacy, and the Country of the Choctaws</i> (1792). Both ecocritical and postcolonial methods underlay an analysis of the discourses and rhetorics of space exhibited in the North American travel writing of these two late-eighteenth-century writers. A first move monitors how landscape accrues not only as a product of descriptive techniques, frames, and screens, but also as a process whereby narrative identity is formed against and within a represented landscape. A second move locates these texts as versions of Mary Louise Pratts anti-conquest, in which the hero-explorer of colonial encounter is staged as both passive and innocent.<p>Two primary results from this research into the relationship between literature and environment are reported. First, according to conventions of ecocritical analysis, Hearne and Bartram implement two very different modes of spatial representation in travel narratives from the same period; in the broadest strokes, Hearnes text is deeply anthropocentric and only partially engages in eighteenth-century vogues of natural history, while Bartrams is compellingly and precociously ecocentric as well as deeply invested in the commerce of Linnaean systemizations of nature that revolutionized natural history in the period. Second, this disparity in representational method is correlated not only with variances in the ecological (or green) sensibilities of the authors, but also with distinctions in the colonial functionality of the texts, verifying that literature of place, despite the putative object of description, always already maintains significant valencies in social registers.

Using the travel writings of Amerigo Vespucci, the voyage of Pedro Álvares Cabral and Jean de Lérys book, History of a Voyage to the Land of Brazil, Also Called America, this thesis will investigate the role of the individual in the narrative of New World contact. This thesis specifically moves against the tendency in New World historiography to rely upon meta-narratives and a singular, universal European presence to explain the circumstances of the New World contact. This project seeks to gain greater understanding of the unique and divergent representations of indigenous cultures contained within travel writing by being sensitive towards the travel writers individual characteristics such as educational background, religion and participation in intellectual endeavours. The specific example used in this thesis will be the Tupínamba of coastal Brazil and will be supported by the anthropological understandings we have about this extinct indigenous group. Overall, this thesis seeks to show that in the creating of metanarratives regarding the New World experience of Europeans, it is easy to forget that the word European is as meaningless as the word Indian in terms of academic usefulness.