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It has been said many times that a picture is worth a thousand words. This familiar proverb describes the idea that complex stories can be told with just a single image and can give you as much or more information than a written or spoken text. One picture. One thousand words. It is in this limited space I have written. This thesis is a collection of prose written in response to photographs/images that have been taken, created, or found, and has been influenced by the combination of the visual and textual mediums of my disciplines (digital media and creative writing): striking images with textual commentary. While observing these photographs, readers bring with them emotional baggage, preconceived notions, memories and feelings. The written commentary (e.g., stories) attached to the photographs adds a new dimension to what the reader sees. The natural ambiguity of a photograph lends itself to conflicting interpretations, all of which enhance the work and bring us closer to a new and deeper meaning via textual-reader interaction.

In 1950, Roger and Louise Amory founded the Johann Fust Community Library in Boca Grande, Florida. After the death of Louise's son John Austin Amory III in 2018, John's son ­– and Roger Amory's namesake – donated a collection of Louise Amory's papers to the Library Foundation. The archive consists of 140 pages, mostly handwritten. Louise wrote most of the material between 1949 and 1954. As Executive Director of the Foundation, I solicited the help of one of our docent volunteers, and we took on the challenge of transcribing her writing. I was excited to undertake the resurrection of this 20th-century archive, and I began to research women's life-writing to set a framework. My original expectation was that the work would be diaristic, but my preconceptions required adjustment. An analysis of Louise Amory's writing soon led me to conclude that she wrote to create a record of the library's founding and that her audience was public, not private. While building the library, Louise and Roger purchased a boat, that they christened Papyrus, to provide library services to the islands around Boca Grande. Traveling aboard Papyrus introduced a maritime aspect to the Amorys' project and Louise's writing as she recorded these island-hopping journeys along with other yachting adventures. I came to see Louise's writing as a travel narrative that is also life-writing.

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Works on the Balkans currently face a crisis of representation--from Ivo Andric's fictionalized memory to Joe Sacco's humanitarian witnessing, the occidental reader must examine the Balkans within a historical context of colonialism to avoid misrepresentation. The goal of this study is threefold: to provide a firm historical grounding while observing the instruments of colonialism, to give an overview of Occidental travel writing on the Balkans with a particular focus on the formation and dissolution of Yugoslavia, and to suggest examples of travel texts that strive to read colonized worlds without losing sight of their own Occidental positioning or pretending that it does not exist. When approaching a contested space that involves a multitude of competing discourses, a hefty responsibility is thrust on both the reader and writer of Balkan representations to retain an awareness of counter and hidden discourses while resisting the urge to define, or even pursue, the definitive "true story" of the Balkans. Thus, an occidental reader of East Europe must be able to contextualize various and often contradicting texts without naturalizing recorded experiences. He or she must also maintain a poignant awareness of how Western imperialism has constructed and reconstructed the region by journalism, memoir, artificial borders, ethnography, classification, historical absolutism, and financial exploitation. If this work simplifies or answers "What is Balkan?" then it has failed utterly. We can only hope to further complicate and challenge the dominant discourse of Balkanism to keep the reader's mind alive and questioning rather than dead and assured. / Master of Arts

A construção do Estado brasileiro na primeira metade do século XIX foi um momento de debates políticos intensos em torno dos diversos projetos para a nação fundados no ideário liberal. A Igreja Católica, unida ao Estado sob o regime do Padroado Régio e ocupando uma posição central durante todo o período colonial, sofrerá forte ataque de parte dos membros do clero, entre os quais se destaca o padre Diogo Antônio Feijó, que defendia o regime regalista, desencadeando uma crise entre a Igreja brasileira e a Igreja de Roma. Estes conflitos perpassam a obra do viajante Daniel Parish Kidder que viveu no Brasil entre 1837 e 1840, a serviço da Sociedade Bíblica dos Estados Unidos, procurando difundir seus princípios religiosos de acordo com os padrões da modernidade. / The Brazilian States construction in the first half of 19th century was a moment of intense political debates around various projects for the nation based on liberal ideas. The Catholic Church united with the State under the Royal Patronage holding a central position during the entire Colonial Period would suffer a strong attack from some of the clergys members which stands out Father Diogo Antônio Feijó in defense of regalist regime triggering a crisis between Brazilian Church and Roman Church. These conflicts pervade the works of Daniel Kidder who lived in Brazil from 1837 to 1840, serving the American Bible Society in order to spread his religious principals according modernity standards.

A construção do Estado brasileiro na primeira metade do século XIX foi um momento de debates políticos intensos em torno dos diversos projetos para a nação fundados no ideário liberal. A Igreja Católica, unida ao Estado sob o regime do Padroado Régio e ocupando uma posição central durante todo o período colonial, sofrerá forte ataque de parte dos membros do clero, entre os quais se destaca o padre Diogo Antônio Feijó, que defendia o regime regalista, desencadeando uma crise entre a Igreja brasileira e a Igreja de Roma. Estes conflitos perpassam a obra do viajante Daniel Parish Kidder que viveu no Brasil entre 1837 e 1840, a serviço da Sociedade Bíblica dos Estados Unidos, procurando difundir seus princípios religiosos de acordo com os padrões da modernidade. / The Brazilian States construction in the first half of 19th century was a moment of intense political debates around various projects for the nation based on liberal ideas. The Catholic Church united with the State under the Royal Patronage holding a central position during the entire Colonial Period would suffer a strong attack from some of the clergys members which stands out Father Diogo Antônio Feijó in defense of regalist regime triggering a crisis between Brazilian Church and Roman Church. These conflicts pervade the works of Daniel Kidder who lived in Brazil from 1837 to 1840, serving the American Bible Society in order to spread his religious principals according modernity standards.

Syftet med denna uppsats är att undersöka hur historiska reseberättelser kan användas i svenskundervisning på gymnasiet. Detta gjordes genom en analys av Fredrika Bremers Hemmen i den nya världen (1853–1854) och Henry Morton Stanleys Hur jag fann Livingstone (1872) där genretypiska teman och konflikter identifierades utifrån bland annat Carina Lidströms genrekriterier och personabegrepp. De teman som analyserades är: persona, läsarens man på plats, mötet med andra kulturer samt kvinnligt och manligt. Dessa utgjorde tillsammans med bland annat Kathleen McCormicks litteraturdidaktiska repertoarteori grunden för den avslutande didaktiska diskussionen.  Resultatet visar att både Bremers och Stanleys reseberättelser har många teman och konflikter som lämpar sig för undervisning, bland annat att de visar på ideologiska motstridigheter i sin samtid, och att reseberättelsen som genre har hög didaktisk potential bland annat genom sin position mellan fakta och fiktion. / The aim of this essay is to examine how historical travel writing can be used in the teaching of Swedish in the upper secondary school. This is done by an analysis of Fredrika Bremer’s Homes in the New World (1853–1854) and Henry Morton Stanley’s How I Found Livingstone (1872), where the genre-specific themes and conflicts are identified, using Carina Lidstöm’s genre criterias. The themes are persona; the reader’s ”man on the scene”; meeting of other cultures, and female and male gender roles. Together with Kathleen McCormick’s literary didactic repertoire theory, these themes form the basis for the closing didactic discussion.  The results show that both Bremers’s and Stanley’s travelogues have many themes and conflicts that are suitable for teaching, including signs of ideological contradictions in their time, and that travel writing as a genre has a high didactic potential through its position between fact and fiction.

The critical attention that has been given to Vita Sackville-West’s travel literature has primarily focused on the relationships between these texts and the novels of Virginia Woolf on account of the intimate relationship that existed between the two writers. I argue in this paper that Sackville-West’s travel accounts are worthy of study in and of themselves. This report explores the ways that the genre of travel literature was changing in the early twentieth century through Vita Sackville-West’s Passenger to Teheran (1926). Critics such as Marie Louise Pratt have noted that eighteenth- and nineteenth-century British travel accounts had been used as a way to transmit technical knowledge of, and authority over, the East. Sackville-West’s text throws this tradition of the genre into question through its focus on the traveler’s subjectivity. Working from Michel de Certeau’s ideas regarding railway travel and incarceration, I want to demonstrate that the traveler’s subjectivity is augmented by her position as a passenger in various modes of mobility. Ultimately I argue that the privileging of imagination and subjectivity over scientific knowledge found in Passenger to Teheran unravels the traditional epistemology of travel writing which positions the traveler as an authority figure on the East, and instead positions Sackville-West as a traveler-aesthete. This shift in the role of the travel writer reveals that while Pratt’s description characterizes some travel writing, Sackville-West’s travel project is more concerned with discovering the creative potential that travel can stimulate in the mind rather than purporting to reveal facts about the outside world. / text