Thesis (doctoral)--Universidad Complutense de Madrid, 1997. / Includes bibliographical references (p. [199]-222).

No description available.

This study examines and also evaluates the literary sources of Gulliver's Travels.

University of Macau / Faculty of Arts and Humanities. / Department of English

The aim of this thesis is to understand the presentations of characters¡¦ identity problems in Jonathan Swift¡¦s Gulliver¡¦s Travels and Daniel Defoe¡¦s Robinson Crusoe in relation to their respective genre and to see how the presentations reflect the social ambience and the cultural development in eighteenth-century England. This thesis consists of five chapters. In chapter one, I will briefly summarize the social conditions in eighteenth-century England. This summary of social conditions will show eighteenth-century England as a society of conflicts and contrasts between old and new values. Two key words here, old and new values, will allude to the development of literary genres in eighteenth-century England. Novel is a term which first appears around this time in the history of literary writing and which refers to a new type of genre. As people have varieties of life styles, so do authors have a new genre to work with. However, this newness, either in a social or cultural context, coexists with the old values. In the context of literary writing, the novel, as a genre, has to compete and cooperate with one of its precursors, the genre of satire. In chapter two, I will try to understand the relationship between novel and satire in the light of another genre, utopia. Even though the utopian element in satire is a counterpoint, meaning the dystopian stance, of utopian traditions, there still is a strong sense of community in satirical writings. Compared with satire, the sense of individuals is the core of the genre of the novel. Realism, marked by Ian Watt, is a new trend in novel writing and it is highly connected with the idea of individualism instead of the sense of community. In order to see this difference, Swift¡¦s Gulliver¡¦s Travels and Defoe¡¦s Robinson Crusoe are the two texts that I will use in chapter three and four for detailed discussions. As for the second part of chapter two, I try to single out the idea of travel with the intention to see its importance in eighteen-century England. In chapters three and four, my concern turns to characters¡¦ identity problems in the two travel narratives: Gulliver¡¦s Travels and Robinson Crusoe. Compared with each other, the characters of the two travel narratives have different identity problems and this difference is important in the way of symbolizing the different concerns of each genre: satire for a sense of community and novel for individualism. Moreover, in terms of the different endings in the two travel narratives, Gulliver and Crusoe¡¦s experiences of their identity problems also suggest an important social condition, which is the different possibilities of life, in eighteenth-century England. In conclusion, I will give an overall review of the whole thesis.

Thesis ed., 1930, has title: The English traveller and the new science, 1660-1732. / "A Bison book." Bibliography: p. [161]-173.

Traditionally, Chinese regarded China as the centre of the world, displaying little interest in foreign lands. Before the 1840s, although there were records of a few brave pilgrims traveling to huge distances, Chinese travel literature was dominated by essays and diaries written about the natural scenery of China. In the late Qing, a period of transformation during which Chinese society was challenged by the West and later Japan, Chinese intellectuals, realizing China’s weakness, traveled to these countries in search of remedies for the state. The resulted burgeoning travel literature contains not only firsthand information of the West and Japan at the time, but also details about individual responses to the foreign lands they visited. Despite the relatively small amount of research done on these writings, they are, indeed, the most significant archival materials for the study of the early perceptions of the Chinese of the West in the modern period. Among these travelers, Wang Tao (1828-1897) is certainly worthy of discussion. Apart from being a reform pioneer, Wang Tao was also being pioneering to be the first intellectual to travel to Europe and Japan. His two travelogues, Manyou suilu and Fusang youji, however, have only been used as references in biographical research, neglecting the fact that they consist of not only unprecedented journeys of a Chinese intellectual, but also Wang’s constant evaluations of home politics, of which he carefully laid out in the form of travelogue. This dissertation aims to explore the two travelogues, and is particularly concerned of their relationship with the historic context, the author’s motives of writing and other foreign travel writings of the time. The two travelogues stand out both in subject maters and the subtle ways Wang (re)constructed Europe and Japan. They can be seen as a manifesto of Wang’s views on himself, China and the world. While many travelogues of the same period were written in a data or analysis-based style, Wang Tao embodied his observations abroad, his criticism and vision of the future China, his personalities, assumptions and expectations and the spirit of his time with a highly refined language in the two accounts, and had make them intriguing works of literature.

Dissertation (Ph.D.)--University of Toledo, 2009. / Typescript. "Submitted as partial fulfillment of the requirements for The Doctor of Philosophy degree in History." Bibliography: leaves 220-250.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Neste trabalho investigam-se as viagens artísticas como práticas do duplo movimento de atravessar o desconhecido e ser atravessado pelas potências do imprevisível. Identifica-se a experiência viajante como uma forma de ensaio da existência e, na busca por essa compreensão, são estudados quatro movimentos distintos: narrar, atravessar, ser atravessado e bordejar. Trata-se, aqui, de apresentar relações entre a narrativa poética e a experiência viajante através daquilo que esses procedimentos provocam de desestabilizador no sujeito da razão. Busca-se investigar o que poderia haver de próprio no conhecimento do viajante, compreendendo-o como um saber adquirido na passagem pelo incógnito. Faz-se uma digressão pela margem, em uma caminhada ao redor da noção de eixo desconhecido, buscando compreender as potências das obras de arte que se dão como travessia pelo desconhecido e alguns efeitos provocados por essa forma de incursão. Chega-se, por fim, à noção de que a travessia artística implica em uma espécie de desvio, pois ser atravessado pelo incógnito não pode ser sucumbir às potências perigosas do mundo, sendo antes um exercício de bordeja-las, de deslizar por suas margens em um jogo de investidas e recuos no qual a obra de arte é criada / In this work, practices of artistic travel are investigated as the double movement of crossing the unknown and being crossed by the powers of the unpredictable . The travel experience is identified here as a kind of existence essay and, in the search of that comprehension, four distinct movements are studied: narrating, crossing, being crossed and tacking. The relations between poetic narrative and travel experience are presented here with emphasis on the destabilizing potency of these procedures. We seek to investigate what could be the singularity of the traveler knowledge, understanding it as a wisdom acquired on a passage through the incognito. We also study the concept of margin, walking around the notion of unknown axis , seeking to understand some particularities of works of art that are defined as crossings through the unknown and some effects caused by this form of incursion. Finally, we get to the notion that an artistic journey requires a deviation, because being crossed by the incognito is not succumbing to the dangerous powers of the world , but rather an exercise of bordering them, sliding along its borders in a game of onslaughts and retreats in which the artwork is created

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Neste trabalho investigam-se as viagens artísticas como práticas do duplo movimento de atravessar o desconhecido e ser atravessado pelas potências do imprevisível. Identifica-se a experiência viajante como uma forma de ensaio da existência e, na busca por essa compreensão, são estudados quatro movimentos distintos: narrar, atravessar, ser atravessado e bordejar. Trata-se, aqui, de apresentar relações entre a narrativa poética e a experiência viajante através daquilo que esses procedimentos provocam de desestabilizador no sujeito da razão. Busca-se investigar o que poderia haver de próprio no conhecimento do viajante, compreendendo-o como um saber adquirido na passagem pelo incógnito. Faz-se uma digressão pela margem, em uma caminhada ao redor da noção de eixo desconhecido, buscando compreender as potências das obras de arte que se dão como travessia pelo desconhecido e alguns efeitos provocados por essa forma de incursão. Chega-se, por fim, à noção de que a travessia artística implica em uma espécie de desvio, pois ser atravessado pelo incógnito não pode ser sucumbir às potências perigosas do mundo, sendo antes um exercício de bordeja-las, de deslizar por suas margens em um jogo de investidas e recuos no qual a obra de arte é criada / In this work, practices of artistic travel are investigated as the double movement of crossing the unknown and being crossed by the powers of the unpredictable . The travel experience is identified here as a kind of existence essay and, in the search of that comprehension, four distinct movements are studied: narrating, crossing, being crossed and tacking. The relations between poetic narrative and travel experience are presented here with emphasis on the destabilizing potency of these procedures. We seek to investigate what could be the singularity of the traveler knowledge, understanding it as a wisdom acquired on a passage through the incognito. We also study the concept of margin, walking around the notion of unknown axis , seeking to understand some particularities of works of art that are defined as crossings through the unknown and some effects caused by this form of incursion. Finally, we get to the notion that an artistic journey requires a deviation, because being crossed by the incognito is not succumbing to the dangerous powers of the world , but rather an exercise of bordering them, sliding along its borders in a game of onslaughts and retreats in which the artwork is created