O relato de viagem, considerado pela crítica como um gênero literário menor, muitas vezes ocupa um lugar periférico na obra de um escritor. Misturado a crônicas, diários, memórias, compõem um conjunto de escritos que a crítica, muitas vezes, se abstém de analisar e classificar. Roberto Arlt, escritor e cronista do jornal El Mundo, realizou algumas viagens como correspondente desse diário. As crônicas resultantes dessa experiência, apesar do pouco interesse da crítica, se configuram importante material, que nos permite recuperar a visão do cronista sobre os lugares visitados e sobre o próprio viageiro que, também se mostra através do relato de sua viagem. Esta dissertação pretende, a partir da leitura da série de crônicas Aguafuertes Españolas e Aguafuertes Africanas, mostrar a imagem da Andaluzia e norte do Marrocos a partir da representação que faz viageiro Roberto Arlt da realidade observada e, também, como vai tecendo sua imagem de viageiro e convencendo o leitor, valendo-se de recursos da retórica, a aceitar suas escolhas e opiniões no decorrer da viagem. / The travel writing, considered by the critics as a minor literary genre, often takes a peripheral place in a writers work. Mixed to chronicles, diaries, memories, it makes up a series of writings that the critics, frequently, absents itself from analyzing and classifying. Roberto Arlt, writer and journalist, went on a few trips as a correspondent for the newspaper El Mundo. The chronicles, immediate product from this experience, despite of the little interest from the critics, constitutes an important material, which allow us to recover the writers vision about the visited places and about the traveler who also shows himself through the report of his journey. This dissertation intends to recover the image of Andaluzia and north of Marrocos represented by the traveler Robert Arlt, in the series of chronicles Aguafuertes Españolas and Aguafuertes Africanas and, also show how the writer builds his image of traveler and convinces the reader, taking in resources from the rhetoric, to accept his choices and opinions along the journey.

No fim do século XVIII, ocorreu a Viagem Filosófica ao Rio Negro (Região Amazônica, Brasil) do naturalista Alexandre Rodrigues Ferreira. Realizada entre 1783 e 1792 foi a primeira expedição científica patrocinada pelo Império Português, naquele vasto território, a qual produziu um enorme volume documental, com registros de grande riqueza e diversidade, na área da agricultura, botânica,etnologia, economia, zoologia e antropologia. No presente estudo, realizou-se uma releitura analítica da obra de Alexandre Rodrigues Ferreira, ou seja, a Viagem Filosófica ao Rio Negro, enaltecendo contextos históricos que a antecederam, bem como comparando-a com obras de viajantes, como Gabriel Soares de Sousa (1587) e André João Antonil (1711).As obras desses três autores parecem ter um papel social e econômico em comum, podendo-se dizer que seus textos têm uma razão política. Todos eles parecem ser influenciados ou motivados pelo mercantilismo. A expedição realizada por Ferreira recebeu influências da modernidade e do iluminismo, bem como das peculiaridades da reforma pombalina de Portugal.A Viagem Filosófica ao Rio Negro de Alexandre Ferreira da Silva é uma obra de grande importância no mundo colonial português, sendo um verdadeiro tratado de história natural, agropecuária e economia do Brasil, mas que ainda é pouco divulgado nos circuitos acadêmicos. O trabalho de um homem, servidor fiel de Sua Majestade que, com poucos recursos e uma equipe reduzida, fez o primeiro grande levantamento socioeconômico e ambiental da Amazônia brasileira. / In the late XVIII century was the Viagem Filosófica ao Rio Negro (Amazon Region, Brazil) of the naturalist Alexandre Rodrigues Ferreira. Conducted between 1783 and 1792 was the first scientific expedition sponsored by the Portuguese Empire, that vast territory, which produced a huge volume documentary with records of great wealth and diversity, in agriculture, botany, anthropology, economics, zoology and anthropology. In the present study, there was na analytical rereading the work of Alexandre Rodrigues Ferreira, the Viagem Filosófica ao Rio Negro, highlighting historical contexts and comparing it to traveler works as Gabriel Soares de Sousa (1587) and André João Antonil (1711). The works of these three authors seem to have a social and economic role in common and could be said that his texts have a political reason. They all seem to be influenced or motivated by mercantilism. The expedition carried out by Ferreira received influences of modernity and the Enlightenment as well as the peculiarities of Pombal reform Portugal. The Viagem Filosófica ao Rio Negro of Alexandre Ferreira da Silva is a great work of importance in the Portuguese colonial world and is a true treatise of natural history, agriculture and Brazil\'s economy, but that is still not well known in academic circles. The work of one man, faithful servant of His Majesty that, with few resources and a reduced staff, made the first major socioeconomic and environmental survey of the Brazilian Amazon.

O relato de viagem, considerado pela crítica como um gênero literário menor, muitas vezes ocupa um lugar periférico na obra de um escritor. Misturado a crônicas, diários, memórias, compõem um conjunto de escritos que a crítica, muitas vezes, se abstém de analisar e classificar. Roberto Arlt, escritor e cronista do jornal El Mundo, realizou algumas viagens como correspondente desse diário. As crônicas resultantes dessa experiência, apesar do pouco interesse da crítica, se configuram importante material, que nos permite recuperar a visão do cronista sobre os lugares visitados e sobre o próprio viageiro que, também se mostra através do relato de sua viagem. Esta dissertação pretende, a partir da leitura da série de crônicas Aguafuertes Españolas e Aguafuertes Africanas, mostrar a imagem da Andaluzia e norte do Marrocos a partir da representação que faz viageiro Roberto Arlt da realidade observada e, também, como vai tecendo sua imagem de viageiro e convencendo o leitor, valendo-se de recursos da retórica, a aceitar suas escolhas e opiniões no decorrer da viagem. / The travel writing, considered by the critics as a minor literary genre, often takes a peripheral place in a writers work. Mixed to chronicles, diaries, memories, it makes up a series of writings that the critics, frequently, absents itself from analyzing and classifying. Roberto Arlt, writer and journalist, went on a few trips as a correspondent for the newspaper El Mundo. The chronicles, immediate product from this experience, despite of the little interest from the critics, constitutes an important material, which allow us to recover the writers vision about the visited places and about the traveler who also shows himself through the report of his journey. This dissertation intends to recover the image of Andaluzia and north of Marrocos represented by the traveler Robert Arlt, in the series of chronicles Aguafuertes Españolas and Aguafuertes Africanas and, also show how the writer builds his image of traveler and convinces the reader, taking in resources from the rhetoric, to accept his choices and opinions along the journey.

This study investigates the woodcuts of African dress in Cesare Vecellio's 1598 costume book Habiti antichi et moderni di tutto il mondo. While Vecellio's book has been previously studied to understand its contribution to sixteenth-century conceptions of human variation across geography and Venetian identity making, I concentrate instead on the book's intended function. In doing so, I show how its woodcuts of Africans, should be understood primarily as proposals for costumes to be used in new artistic productions. Vecellio situated his representations of African costume in a highly organized geographic framework that was shaped by travel narratives. These texts recorded voyages motivated, in part, by European political and economic interests in Africa. However, the resulting associations deposited in Vecellio's woodcuts are neutralized or at least complicated by the representations' hybridity, their inclusion in an early modern collection, and their status as models for artists to manipulate. Vecellio explained that all of the representations in Habiti antichi et moderni di tutto il mondo displayed antiquity (antichità), diversity (diuersità), and richness (la richezza). Sixteenth-century theater directors insisted on these qualities for costume, which promoted both the imitatio naturae and superatio naturae of artistic productions. Costumes could simultaneously contribute to a painting or a theatrical performance's decorum and propriety by differentiating and correctly identifying figures, and its grazia or pleasure with their exoticism and sumptuousness. This study suggests that in their intended use, the images of African costume were participating in "translations" of African dress into costumes for European paintings and theater. During this process, they accumulated new meanings. The dressed figures were copied from art objects with varying degrees of removal from immediate African encounters and combined with texts from published travel narratives to create mythic bricolages of Africans. The decontextualized costumes, organized into a sartorial collection with a categorization that readers understood as flexible, were tentatively defined vestmentary signs available for further signification within potential artistic contexts.

This thesis documents a personal journey that asks the reader to consider the volatility of genres and their use value as a hierarchy and/or in the Academy. It places itself in the limitary disciplines of cultural studies, gender studies and fiction, and offers a map of a journey across disciplines. The thesis (w)rites against the grain of the patriarchal Order, and the author articulates gender as a variable in knowledge making and takes an experimental approach to the collection and analysis of data through reading and writing strategies. The use of the bracket is to make a ritual of (w)riting and a contingency of (k)now-ing. The thesis comes in three parts, all of which are interrelated. Parts one and two contain collections of the author's short stories and poetry and Part three is comprised of her correspondence. / Doctor of Philosophy (PhD)

This dissertation examines the theme of travel in the work of Karel Čapek (1890-1938), both in his travelogues and fiction. Instead of assuming travel as a conventional departure to another destination, journey and return home, Čapek experimented with the topic, popular in interwar literatures and arts, as an example of the avant-garde interconnectedness between different genres and arts. Čapek used three approaches to express his experiences of traveling. First, he founded his own aesthetics of the so called “marginal forms” or “low-brow genres” which he simultaneously interpolated in his prose. Their use, which greatly changes the perspective on travel writing, is visible in comparison between Čapek’s and previous travelogues (chapter 1). Secondly, he introduced skaz as stylized spoken language to Czech literature, and changed the traditional roles of the narrator and his addressees in travelogues (chapter 2). Thirdly, he used visual elements of language, combined verbal and visual arts (illustrations and drawings) in the narrative (chapter 3). Finally, all these elements he interpolated to his prose (chapter 4) through the intertextual links with travelogues. On the example of the theme of travel in Karel Čapek’s work, my dissertation revisits some current definitions of the historical avant-garde. It shows that the recent theories, predominantly developed on the examples from Western European and Russian arts, cannot be fully applied to local artistic movements. First, it shows that the notion of the avant-garde cannot be just confined to the writers who called themselves “avant-garde” (such as Karel Teige or Vladislav Vančura). Instead, it should be also expanded to other writers, such as Karel Čapek, marginal to the avant-garde mainstream. Second, the analysis of the theme of travel in Karel Čapek’s opus shows that the Czech avant-garde was not destructive towards its literary heritage. Instead, it offered an alternative reading of tradition through artistic experiments. In extension, it also provided a new understanding of the cultural and literary identity.

This dissertation examines the theme of travel in the work of Karel Čapek (1890-1938), both in his travelogues and fiction. Instead of assuming travel as a conventional departure to another destination, journey and return home, Čapek experimented with the topic, popular in interwar literatures and arts, as an example of the avant-garde interconnectedness between different genres and arts. Čapek used three approaches to express his experiences of traveling. First, he founded his own aesthetics of the so called “marginal forms” or “low-brow genres” which he simultaneously interpolated in his prose. Their use, which greatly changes the perspective on travel writing, is visible in comparison between Čapek’s and previous travelogues (chapter 1). Secondly, he introduced skaz as stylized spoken language to Czech literature, and changed the traditional roles of the narrator and his addressees in travelogues (chapter 2). Thirdly, he used visual elements of language, combined verbal and visual arts (illustrations and drawings) in the narrative (chapter 3). Finally, all these elements he interpolated to his prose (chapter 4) through the intertextual links with travelogues. On the example of the theme of travel in Karel Čapek’s work, my dissertation revisits some current definitions of the historical avant-garde. It shows that the recent theories, predominantly developed on the examples from Western European and Russian arts, cannot be fully applied to local artistic movements. First, it shows that the notion of the avant-garde cannot be just confined to the writers who called themselves “avant-garde” (such as Karel Teige or Vladislav Vančura). Instead, it should be also expanded to other writers, such as Karel Čapek, marginal to the avant-garde mainstream. Second, the analysis of the theme of travel in Karel Čapek’s opus shows that the Czech avant-garde was not destructive towards its literary heritage. Instead, it offered an alternative reading of tradition through artistic experiments. In extension, it also provided a new understanding of the cultural and literary identity.

This thesis analyzes the Ottoman travellers&rsquo / perception of &ldquo / the East&rdquo / in the late Ottoman Empire. In doing that, it links the Ottoman intellectual debates on the concept of civilization to their perceptions on the non-European lands and peoples. It mainly argues that the Ottoman intellectuals&rsquo / attempt to create a synthesis between the material elements of Western civilization and their own morality resulted in a perception of the East different from the Western perceptions. While the Western perceptions envisage a monolithic, unchanging and static East, the Ottoman perceptions vary in accordance with the temporal and spatial setting as well as with the intellectual inclinations of the travellers. Hence, this thesis contributes to the literature by fulfilling the gap about the Ottoman perceptions of the concepts of civilization and the East, by questioning the limits of existing literature on the Ottoman perception of the East which defines it as Orientalist/colonialist, by attracting attention to the use of Ottoman travel literature in understanding the Ottoman identity and their perception of the world, and, finally, by underlining the importance of the Ottoman perceptions of civilization and the East in understanding the historical roots of the &ldquo / identity question&rdquo / in Turkey.

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Thesis (Ph.D.)--Tufts University, 2002. / Adviser: Sonia Hofkosh. Submitted to the Dept. of English. Includes bibliographical references (leaves 291-310). Access restricted to members of the Tufts University community. Also available via the World Wide Web;