Imaginary Journeys Research Articles

Inventing the London of Literary Tourists: Walking the Romantic City in Leigh Hunt's “Wishing-Cap” Essays

Whereas scholarship on London literary tourism has tended to focus on the Victorian Age and early twentieth century, this essay locates the origins of the practice in the Romantic period, linking it specifically to the Cockney familiar essay as cultivated by Leigh Hunt. Beginning in the 1820s but continuing throughout his career, Hunt published numerous essays on London's literary and memorial charms. Recognizing a persistent demand for Londoniana in the marketplace, he depicted the metropolis as a realm of friendly literary ghosts and endless associative layers. In doing so, he helped create the expandable yet walkable London (still with us) of the literary tourist. This essay aims to provide a sense of how Hunt as a Romantic essayist and virtual tour guide came to be read by Victorians and by Anglophiles across the Atlantic. Hunt emerges from this discussion as an early and influential theorist of the intersections between real and imaginary travel, a proponent of literary tourism as a means to self-culture, and an under-acknowledged influence on one of Britain's principal heritage industries.

Bottersnikes and Other Lost Things: A Celebration of Australian Illustrated Children's Books (review)

Reviewed by: Bottersnikes and Other Lost Things: A Celebration of Australian Illustrated Children's Books Claudia Söffner Juliet O'Conor , Bottersnikes and Other Lost Things: A Celebration of Australian Illustrated Children's Books. Carlton, Victoria: The Miegunyah Press 2009 262pp ISBN 9780522856514 AUS $59.99 As its title suggests, this beautifully produced tome traces the history of illustrated books for children published in Australia within the past two centuries. Juliet O'Conor, who is responsible for the collection of children's literature held at the State Library of Victoria, has drawn upon this "most comprehensive public collection of Australian children's books [in the world]" to present children's literature enthusiasts with a variety of works from Down Under. O'Conor's focus is "not based purely on [the] literary or artistic merit" of the books - as she herself points out in her introduction. Her intention is rather to juxtapose popular works and lesser-known illustrations and thus draw attention to the great diversity of material available to Australian children and situate it within a wider [mostly Anglo-European] context. Divided into five broad thematic chapters entitled "Schooldays," "Morality and the Family," "Home and Land," "Journeys," and "Other Worlds," the book explores the general development of various genres, popular themes, and common motifs (alphabet books, fantasy, environmental conservation, imaginary journeys, fairies, anthropomorphic characters, etc.). In addition, it provides spotlights on selected authors and illustrators (Sheila Hawkins, David Henry Souter, May Gibbs), iconic works ("Blinky Bill" or "Seven Little Australians") and interesting literary forms ("cultural fantasy," "toy fantasies," "children's annuals," "the fox fable"). Even though it is by no means a comprehensive history of illustrated Australian books and also [intentionally?] omits a few important artists, the wealth of images included and the perspicuous text make this a valuable introduction into this nation's literary and artistic heritage that clearly invites further research. [End Page 70] Copyright © 2011 Bookbird, Inc.

Glimpses from a Train Window: Some Reflections on Phronesis and Pedagogy

Glimpses from a Train Window:Some Reflections on Phronesis and Pedagogy Stan Garrod (bio) As i set out to write this paper, I feel I must position myself, as poststructuralism invites, and as is only fitting for a geographer, as a passenger on an imaginary train passing through a landscape of the mind, an "inscape" synthesized from impressions and experiences over a lifetime spent in learning and teaching. I am a near dead-white (well, swarthy) heterosexual male of mixed immigrant stock, semi-nomadic by nature, with roots in both the country and the city, and whose routes regularly take him by air, sea, and land to nearby islands and to far-distant ancient civilizations, both European and Oriental, giving broad dimensions of time and space to the situatedness of my theoretical perspective, my "traveling theory" to use the term coined by Edward Said. By training a historical geographer, I have spent the past thirty-five years teaching geography, history, environmental studies, mathematics, and classical literature (in translation, alas). I have tried to avoid teaching "social studies" despite having had to work under that shadow for so many years. During that time, I have raised children, renovated old houses, learned to grow Italian tomatoes, and written more than thirty books on geographic, historic, and environmental topics. [End Page 17] Myth, literature, the visual arts, theatre, and music enchant me; the worlds of the imagination are as real to me as are the empirical data I have collected in the field and from archival sources. The "real" world and the opportunities for learning found therein are equally compelling for me; I am much more at home both as a learner and as a teacher outside the classroom or library than I am in such institutional settings. Geography is my field of study, and I make sense of the world best in the field. School was (and often still is) a less than comfortable place for me; as a child I struggled against its strictures and narrow box-like structures, finding my freedom in imaginary journeys through the pages of books or National Geographic. Even more liberating were the traveling studies I was fortunate to experience as a child because my father worked for the Canadian Pacific Railway (whose motto, "Spans the World," emblazoned in white against the Tuscan red of every box car of that time stimulated my mind and sent it traveling across time and space) and had passes on every major railway, steamship, and (latterly) airline in North America and many overseas as well. My first journey took me from Halifax to Vancouver by rail in the fall of 1947. Each year since then, I have made at least one major rail trip; I have spent a good deal of the last half century with my nose pressed against the window, watching the landscape roll on cinematically past my viewing screen, seeing my own reflection in the window, noting the reflections of others observing me, and trying to visualize the geomorphological, biological, and human stories written on the environment on which and through which I am traveling. Words and images from other journeys often pop into my head as I watch the written world go by, such phrases as "we were halfway across Europe and half way through the Middle Ages" from Hermann Hesse's Journey to the East take on new meanings when remembered on a train traveling from Paris to Prague with a group of high school students. I sometimes have similar experiences when flying but usually only when passing over vast regions of extraordinary beauty: the high Arctic in mid-summer, the Prairies covered with snow, their geological and human histories written in a fine spidery hand in black on white, or the Alps in late spring when sunlight crystalizes on glacial surfaces while the deep colours of spring emerge in the alpine valleys and meadows. As a graduate student in geography, I participated in seemingly endless debates about the nature of geography, most of which concluded that "geography is what geographers do," a cop-out which left me dissatisfied. This led me, inspired by the philosophical writings of Clarence Glacken and David Harvey, to formulate...

Geomorphosites and Geotourism in the Parks of the Abruzzo Region (Central Italy)

The geomorphologic landscape of the Abruzzo region is a good example of the variety and complexity of processes and morphogenetic events in Italy. Complex Meso-Cenozoic palaeogeographies are still reflected by the main mountain chains of Abruzzo and enable both scientists and tourists to make imaginary journeys through ancient, long vanished, coral atolls and blue deep seas. Valleys of glacial origin, alluvial cones, actual soils and palaeosoils still preserve the memory of these ‘by-gone-worlds’, with unique geomorphosites scattered throughout the region. The educational enhancement of geomorphological themes has been pursued in Abruzzo, known as the ‘region of parks’ par excellence and a ‘green lung’ of Europe, with the creation and placement of information panels and theme trails. Within this framework, in this paper we report on the methods, initiatives and activities that have been undertaken for the enhancement of the geological landscape and geomorphosites, mainly through geological trails and geological information panels but also by contributing to the identification of possible new geomorphosites. Geological trails and information panels are mostly based on different types of tools, such as three-dimensional (3D) reconstructions, aimed at providing a 3D perception of geologic processes and elements, landform highlights, aimed at increasing the perception and identification of landforms and processes as well as their impact on the landscape, and palaeo-geographic reconstructions and cartoons, aimed at presenting the evidence of landscape evolution.

Daoist Imagery of Body and Cosmos, Part 2: Body Worms and Internal Alchemy

This article presents Daoist visual representations of body and cosmos, drawing extensively on illustrations and diagrams from texts preserved in the Mingdynasty Daoist Canon. To examine how the Daoist perception of body and cosmos unfolded over time, I discuss images of four types: body gods, imaginary journeys to stars, body souls/worms, and the body transformed in internal alchemy—the first two in JDS 3 (2010), the next two here.

Autobiography, Corporeality, Seriality: Nanni Moretti’s Dear Diary as a Narrative Archipelago

I have never understood islands, with that water around them, poor things. -Patrizia, gazing out at Lisca Bianca from a luxurious yacht, in Michelangelo Antonioni's L'Avventura (1960) THE PRECEDING LINE OF DIALOGUE, Spoken by a character named Patrizia only a few minutes before one of the imposing, white-cliff Aeolian Islands gobbles up another woman, Nana, and sets Michelangelo Antonioni's missing-person anti-mystery in motion, resonates with most people's generally held presumptions concerning islands: that they are poor inscrutable things cut off from continents, from communities, from civilizations. Indeed, as small bodies of land surrounded on sides by water, as places of exile for dissidents and political prisoners, as the semantic bedrock for the Western literary tradition of shipwreck and beach narratives (from Robinson Crusoe to Lord of the Flies), and more recently, as settings for reality TV series where intentionally marooned contestants test their survival skills, desert and their iconography are typically exploited in popular discourse and media representations as exotic and paradisiacal yet ruggedly unforgiving sites marked by isolation and peril. One perennial cliche in particular- no man is an island- speaks to the secluded nature of while suggesting that, despite attempts to the contrary, a person can never fully escape his or her social context or interpersonal network of friends and family, business associates and coworkers, distant acquaintances, and random passersby. As any vacationer to the increasingly overrun Galapagos or Nantucket can confirm, island life and the archipelagean imagination, although predicated on remoteness and isolation, also signify community and togetherness. Few film genres mine this complex island dialectic of community and isolation more deeply than autobiography, an artistic mode or venture that hinges on the self-introspection and need to get away from it all intrinsic to cinematic life-writing, while opening up the epistemologica! coordinates of this hermetic endeavor to encompass an externalized delegation of subjectivity and authorial collaboration. Autobiographical filmmakers may very well be solitude-seekers enjoying little contact or communication with others. But they likewise lean on the industrial exigencies of a cinematic praxis that calls for a clandestine participation in their work. Insofar as it traces a course that is both introverted and outwardly directed and, indeed, collective, autobiographical inscription can be likened to an islandiary, a term coined by Cuban-Mexican author Julieta Campos in her 1993 book The Fear of Losing Eurydice. The pages of Campos's novel, which revolves around an imaginary travel diary, are flanked by spacious margins containing floating islands of quotations about archipelagos. As Monsieur N., the protagonist of the novel, states, Every text is an island. Similarly, every autobiographical text and its author seem to function metaphorically as an archipelago of self, as an island-chain of reflection and discursively constructed identity, situated at a remove from the larger body of humanity yet necessarily dependent on the existence of others in defining the boundaries or setting the horizons of one's subjectivity. How such an identity might be conveyed cinematically has been the subject of several important studies over the past two decades, dating back to the path-clearing efforts of Jim Lane, Paula Rabinowitz, Michael Renov, and other scholars who have examined the personal, political, and poetic dimensions of contemporary documentary filmmaking. Although various literary terms falling under the umbrella expression personal cinema continue to be used interchangeably- for example, journal, diary, autobiography, and essay are often conflated in ways that deny their individual specificity- an inter-generic slippage is actually helpful in cataloging their similarities, particularly their shared focus on the seemingly solitary yet collaborative act of authorial inscription. …

Em busca de uma cidade perdida

This paper tries to recreate, through fragments of the memory of the locals, a city that no longer exists. An imaginary travel is performed, where streets, places and persons are characters. The so-called fragments were extracted from a research in progress, which has used the Oral History methodology as a tool. They allow us to make the construction of a narrative based on the representation that each individual has made of the city. They also allow us to draw the sketch of a map in which streets, squares, movie theaters, bars and prostitution zones appear. After all, one sees the birth of an invisible city. The focus is directed at downtown, where people used to go to movies, clubs and theater, and to walk in the squares or just show up the new fashions. The locals made their prays, but also listened to the Army and Police Music Bands, that performed jazz, blues, tango, and a few native songs. Downtown was the place where new technologies could be first seen, as the spoken cinema, the automobiles, the motorcycles and the bicycles. Thus it was the place where the symbols of modernity were first perceived.

Le temps économique et le temps psychologique du voyageur dans un aéroport international

Une revue au service de la Recherche en management au sens le plus complet et de l’action en entreprise selon le principe toujours d’actualité de Grémillard qu’« un cadre à hautes responsabilités ou un chef d’entreprise vaut autant par ce qu’il sait que par tout ce qu’il accepte d’apprendre »La première revue française de management qui compte 47% de ses ventes à l’étranger, a été créée en 1965, sous le nom de direction et gestion des entreprises, cette ancienne revue d’école est devenue la référence francophone dans le domaine de la recherche en management en prenant pour titre La Revue des Sciences de Gestion.Ses auteurs sont de toute nationalité (Europe, Amérique du Nord, Afrique notamment) enseignants universitaires, consultants, cadres dirigeants ou experts.Cette revue généraliste au contenu rédactionnel affûté est destinée aux directions générales des entreprises, aux chercheurs et universitaires, aux étudiants de bon niveau … Elle offre une synthèse pluridisciplinaire sur les idées, les courants de pensée, les méthodes qui naissent et se développent dans le monde des affaires, dans tous les domaines qui intéressent la vie des organisations au sens le plus vaste qui soit : entreprises, associations ou organismes publics …Les articles sont choisis à un Comité scientifique de lecture de renommée internationale qui valident les thèses les plus innovantes de la recherche et de la pratique managériale …Stratégie et structure, organisation et gestion, ressources humaines, finance, comptabilité, gestion, marketing, communication, informatique, recherche & développement … constituent les principaux thèmes de recherche abordés.Outre les articles de fond, cette revue bimestrielle propose une sélection de livres du domaine ainsi que des appels à communication pour des colloques de niveau international.

Going places sitting down

This article will explore the dynamic spatial perspective created by juxtaposing giant and miniature worlds in Hiraki Sawa's Going Places Sitting Down (2004). In Hiraki Sawa's digital artworks, fantastic miniature worlds are layered, illuminated, and exhibited across a triptych of digital screens. Sawa's works, particularly, Going Places Sitting Down (2004), but also Dwelling (2002) and Spotter (2002) reveal the proximity between human-sized and miniature worlds. Within Sawa's digital projections, imagined worlds are layered across ordinary spaces, often reinventing the home as a site of imaginary travel. A play with scale in these domestic spaces reveals miniature dynamic sites of fantasy. Sawa uses digital technologies in the production and exhibition of miniature worlds. In On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection , Susan Stewart draws from the publication of Micrographia; Or Some Physiological Descriptions of Minute Bodies Made By Magnifying Glasses, With Observations and Inquiries There Upon (1665), to reveal the inextricable link between the miniature and new technologies when she asserts that the miniature “speaks … from the invention of the microscope, the mechanical eye that can detect significance in a world the human eye is blind to” (Stewart 1983, p. 40). A similar dynamic is visible in the shift to the digital in the new millennium. Sawa uses processes of digital compositing, layering disparate worlds across the moving image triptych to uncover new worlds. Going Places Sitting Down provides a primary example of digital technologies that are used to destabilize, revitalize, and recreate space, investing magic in the ordinary that enchants and invites a reflective engagement across the three screens.

Daoist Imagery of Body and Cosmos, Part 1: Body Gods and Starry Travel

This article presents Daoist visual representations of body and cosmos, drawing extensively on illustrations and diagrams from texts preserved in the Mingdynasty Daoist Canon. To examine how the Daoist perception of body and cosmos unfolded over time, I discuss images of four types: body gods, imaginary journeys to stars, grotesque spirits and body worms, and the body transformed in internal alchemy—the first two in this part, the next two in JDS 4 (2011). The current work hopes to contribute to interdisciplinary studies of Chinese art, religion, and science. From the visual perspective, it hopes to add to the ongoing examination of charts or maps ( tu 圖) and to enrich our understanding of the representation and perception of what “body” means in Chinese visual culture. In terms of Daoist studies, my dominantly visual approach aims to complement the many textual approaches on this topic. This study also adds to the growing scholarship of Daoist art, which has so far focused more on public devotional paintings and statuary and less on private imagery associated with meditation and visualization.

Modern Social Imaginaries by Charles Taylor The Modern Self in the Labyrinth: Politics and the Entrapment Imagination by Eyal Chowers (review)

[MW5 8.1 (2008) 111-127] ISSN 1470-8078 Book Reviews Charles Taylor, Modem Social Imaginaries (Durham and London: Duke University Press, 2004), 215pp. ISBN 0-82233-255-8. £14.50. Eyal Chowers, The Modem Self in the Labyrinth: Politics and the Entrapment Imagina tion (Cambridge, MA: Harvard University Press, 2004), 250pp. ISBN 0-67401-330-1.£32.50. Max Weber famously talked about the difficulties of maintaining an autonomous existence under the bureaucratized conditions of modern life, and challenged those who would wish to be seen as having a vocation (Beruf) to meet the demands of the day. In his own search for the 'sources' of the modern self, Charles Taylor has endeavoured to outline his own vision of what selfhood entails in the modern era, and where it has come from. Both Weber and Taylor too are incredibly interested in the place of religion in modern life, but whereas Weber's account of religion was always primarily historical and tied to questions of the uniqueness of occidental development, Taylor brings to his own writings a deeply suggestive Catholicism, which he uses to counter the claims of an apparently atomistic contemporary liberal ism. In his recent book on modern social imaginaries, Taylor attempts to provide a brief genealogy of something like the myths we have come to live by, and the events which he thinks might well come to dominate our sense of community at particular moments; the case of the funeral of Diana, Princess of Wales is one of the examples that comes out here. But there is a wider historical vision, as one would both hope and expect, from Taylor's investigation. The book opens with a discussion of the 'modern moral order' as seen through Grotius and Locke—and although the two are not quite conflated, they do run together. Natural rights discourses are given key analytical purchase for their impact on our understanding modernity itself, and Taylor focuses on Locke especially as a figure that tied consent to property, religion and money, arguing that 'the require ment of original consent, via the halfway house of Locke's consent to taxation, becomes the fully-fledged doctrine of popular sovereignty under which we now live' (p. 5). Today, this has grown in 'extension' and 'intensity' (p. 5). From an initial use in discussions of governmental legitimacy, to a reformulation of God's providence and cosmological order—the idea of secularization, which he does seem to take over somewhat from Weber's schema—Taylor thinks these basic ideas have become more than an intellectual theory, and transformed into a social imaginary. The natural law 'hermeneutic of legitimation' (p. 7) highlights the fact that the modern moral order as social imaginary travels on another axis, from the herme neutic to the prescriptive, and on this journey becomes associated with various ideas about the relationship between law and history (e.g., the ancient Constitution© Max Weber Studies 2008, Global Policy Institute, London Metropolitan University, 31 Jewry Street, London, EC3N 2EY. 112 Max Weber Studies in English discourse), the importance of hierarchy (ranging from Platonic theories of the Forms to theories of correspondence and complementarity (the King's two bodies for example) (pp. 9ff., also p. 16). Such ideas contain 'ontic' components— they are ideas that make claims about their realizability. But, .. .the modern idealization of order departs radically from this. It is not just that there is no place for a Platonic-type Form at work: connected to this, whatever distribution of functions a society might develop is deemed contingent; its justification is instrumental and it cannot itself define the good. The basic normative principle is, indeed, that the members of society serve each other's needs, help each other. In this way, they complement each other. But the particular functional differ entiation they need to take on to do this most effectively is endowed with no essential worth. It is adventitious and potentially changeable. Mutual respect and interest make up the new normative order, and it is judged, as is the organization of society, along instrumental grounds (p. 13). This is a secular modification of Locke's account of divine order and providence, tied to the proper use of...

Leif Søndergaard and Rasmus Thorning Hansen, eds., Monsters, Marvels and Miracles: Imaginary Journeys and Landscapes in the Middle Ages. Odense: University Press of Southern Denmark, 2005. Paper. Pp. 210 plus 32 black-and-white and color figures; black-and-white figures. $26.

Leif Søndergaard and Rasmus Thorning Hansen, eds., Monsters, Marvels and Miracles: Imaginary Journeys and Landscapes in the Middle Ages. Odense: University Press of Southern Denmark, 2005. Paper. Pp. 210 plus 32 black-and-white and color figures; black-and-white figures. $26.

Leaving China: Media, Migration and Transnational Imagination. By Wanning Sun. [Lanham, Boulder, London, Oxford: Rowman and Littlefield, 2002. 243 pp. $24.95. ISBN 0-7425-1797-7.

Leaving China is, in part, a study of the televisual and filmic representation of Chinese emigration. The book is partly autobiographical, since it draws on the author's own lived experience as a China-born scholar established abroad. The author, born in the PRC, is now based in Australia, but as the list of acknowledgements indicates, she is imbricated in a global network of China-related academics. The other strand of Wanning Sun's research is imaginary travel and virtual migration: the Chinese spectator's consumption of a filmed elsewhere – especially the elsewhere inhabited by émigré Chinese.This is a book about recent migration from the PRC and Chinese perceptions of emigration. Leaving China does not attempt to address the history of the older diaspora of the 19th and 20th centuries, for instance, the now forgotten communities whose story is told in the Chinese-Australian writer Brian Castro's book Birds of Passage (Allen & Unwin, 1983). In the parts of the book that focus on lived migratory experience, Sun is concerned more with people like herself, her generation, and her class.

Pope's 'Figur'd Worlds'

To travel overseas was one of Alexander Pope's dearest wishes. It is well known that his infirmities thwarted that desire. What has been recognized only infrequently is the extent to which he journeyed in his mind. This article offers a conspectus of imaginative travel in the poet's thought and verse. The greater part of the article attempts to locate the foreign places and peoples that most interested him, a journey from France and Italy, via the eastern Mediterranean, to Africa, the Americas, and the Far East. From this gazetteer of ancient lands and modern states it becomes apparent that Pope experienced the world through, and his authorship bears the influence of, dioerent senses of ‘figuring’: the writings of those abroad (a descriptive sense); and works of art and artefacts (a crafted sense). To these forms of mediation a further, rhetorical, sense applies: in his poetry the world is also presented in figures of speech—similes and metaphors, and metonyms and synecdoches, which draw on the descriptive and the crafted for their comparisons and associations. Pope's own world has received a deal of biographical and literary-historical attention; informed by those same disciplines, this essay provides a narrative atlas of the world in Pope.

(Dis)Connecting Tourism and Photography: Corporeal Travel and Imaginative Travel

Many connections between mobility and photography are traced and established in this article. It is shown that photography entered discourses of tourism before photography was even invented. Sketching and image hunting were central to pre-photographic tourists and they voiced passionate desires for a machine that could easily fix the fleeting and elusive image of the camera obscura and Claude glasses. The difficulties that Talbot experienced while drawing a foreign prospect with the camera obscura led him to invent photography, while Eastman reinvented photography after realising through his own body that holiday picturing meant 'travelling heavy'. The early history of photography is intimately linked to travel and tourism: pre-photographic tourists desired photography and it became designed with the tourist in mind and later for 'travelling light'. Lightweight and reproducible, photographs were designed for movement too. They were crucial in putting the world on display and globalising the 'tourist gaze'. At a time where travelling was associated with fatigue, hassles and risks on the one hand and visual pleasures on the other, photographs seamlessly transported distant places to the convenient and safe armchair. They allow touristic visual consumption where no actual tourism takes place.

Time-Travel Days: Cross-Curricular Adventures in Mathematics

A visitor to Carol Pettigrew's grade-three class in North Vancouver, Canada, might be forgiven for skepticism when told that a mathematics class is about to start. The children, most wearing sheets pinned around them like tunics, have their heads down on their desks. Music plays while the teacher's voice quickly leads them back through the highlights of two millennia of history. Finally the music stops and Pettigrew announces, “And here we are, in an Ancient Greek school.” Unlike other imaginary journeys that elementary students take, the main purpose of these “Time-Travel Days” is to learn about the mathematics and mathematicians of previous ages. The children revel in the experience.

The Author as Hero: Self and Tradition in Bulgakov, Pasternak, and Nabokov

Introduction The New Novel Do Poets Have Integral Selves? The System of Literary Evolution The mise en abyme Chapter One: Mikhail Buigakov's The Master and Margarita The Self as Author and Hero Schizophrenia Parody and Tradition Thric e Romantic Authorship Chapter Two: Boris Pasternak's Doctor Zhivago The Figurative Shape of Identity Childhood and Authorship The Psychology of Poetry Separation The Inner Author Chapter Three: Vladimir Nabokov's The Gift The Structural Self: Geometry versus Geography Imaginary Journeys The Teleology of Tredition Death and Authorship Chapter Four: Psychology and the Russian Novel

Contexts for Women's Manuscript Miscellanies: The Case of Elizabeth Lyttelton and Sir Thomas Browne

ABSTRACT This article examines the manuscript miscellany of Elizabeth Lyttelton (Cambridge University Library MS Add. 8460), daughter of Sir Thomas Browne. From both her father's correspondence and her own manuscript it is clear that the extended family provided a congenial context for Lyttelton's literary activities. She compiled, and sometimes emended, extracts from the books she read to her father; poems about and by family members, Norfolk friends, and her father's and brother's associates; popular literature of the later seventeenth century. She shared her father's Royalist sympathies and his religious conformity, and she helped preserve his writing in print and manuscript. Dear Sister Betty, Though I make many journeys, yet I am confident that your pen and pencil are greater travellers. How many fine plaines do they passe over, and how many hills, woods, seas doe they designe? You have a fine way of not onley seeing but making a world; and whilst you sit still, how many miles doth your hand travell! I am only unfortunate in this, that I can never meete you in any of your voyages. (1) So wrote Edward Browne to his sister Elizabeth on 5 July 1669 from Venice. In this letter, written when Elizabeth was about nineteen years of age, Edward is contrasting his actual travels through Europe (printed in two accounts of 1673 and 1677, and revised in an edition of 1685) with her imaginary travels guided by her pen and pencil. Edward may have been referring primarily to her ability to draw and paint, skills we know she practised frequently from the references in the correspondence of their father, Sir Thomas Browne (for example, 'Beside limning, Bet. practiseth washing in black and colours and doth very well'), (2) but this passage is also an eloquent metaphor for Elizabeth's literary activities. Later in life she herself was to travel (to Guernsey, after her marriage to George Lyttelton in 1680) and to send home descriptions of that journey and her new life there, much appreciated by her father ('Thy letters are still our best divertion' and 'You discribed yr voyage very Prettyly', he wrote in letters of June 1681); (3) for a brief period her body joined her hand in its travels. Her brother's description places her in a private, domestic sphere, recording and even creating a world, but not actually experiencing it. Her literary activities, recorded in her father's correspondence and in her miscellany, however, demonstrate that she was in contact with a circle of like-minded people, that she had access to some of the most popular literature of the day, and that she was interested in playing an active role in the preservation of her father's literary reputation after his death. For Elizabeth Lyttelton the family offered a congenial space for manuscript compilation. Women did not typically have access to the main venues in which maleauthored miscellanies were produced: the universities and the Inns of Court, and also the tavern. (4) None the less, women were readers, owners, and later contributors to university miscellanies, as is the case with ElizabethWellden (Folger Shakespeare Library MS V.a.162) and Elizabeth Clarke (Folger MS X.d.177). Wellden added to a miscellany compiled in the 1630s at Christ Church, Oxford by several family members (Stephen Wellden and N. Wellden, who have signed the first folio) and Elizabeth Clarke transcribed two verses of a song into a licentious collection of jests and poetry compiled at Brasenose College, Oxford in 1595. Women also contributed to miscellanies produced at court, such as the early-sixteenth-century Devonshire manuscript (British Library MS Add. 17492) and Anne Cornwallis's collection from the 1580s (Folger MS V.a.89). (5) But the extended family was perhaps the most common context for the production of women's miscellanies. Ann Bowyer (Bodleian Library MS Ashmole 51) included poems by Ralegh, Churchyard, and Donne with the help of siblings, amidst handwriting exercises and moral precepts. …

TREATMENT OF EYE POSITION, ALIGNMENT, AND MUSCLE MOVEMENT PROBLEMS IN THE NEW MILLENNIUM

Paradoxically, as we look to the year 2000 and on, current care of eye movement problems will show an increasing lack of acceptable treatment if continued at the same pace and intensity. Continuity of concern does not translate into inevitable solutions as per death and taxes. Our early ancestors were aware of eye alignment problems since the last millennium. Archaic Egyptian paintings and the surviving statuary from Mt. Vesuvius's volcanic eruption at Pompeii in 76 ad show strabismus problems such as esotropia or exotropia. Our ancestors thought these sufficiently important to depict them carefully. Today, thousands of surgeries are performed annually to align the eyes, yet little study has been given to enhance our ability to detect an eye's misalignment. Indeed, this subject was deemed of such little importance that a statistically sound assessment of thresholds of just-detectable cosmetic strabismus was rejected in three medical journals before finding a home in one. 8 But is it sufficient for us to have a goal of cosmesis to the extent of the perceiver believing the subject has aligned eyes? Shouldn't we be paying at tention to the visual function possible with and without alignment? By definition, our binocular problems would not exist if we had cyclopean eyes. But aside from the imaginary journeys of Ulysses in the Iliad and recent science fiction novels and movies, the evolutionary scale does not favor a cyclopean eye, which is rare in both concept and actuality. Only genetic accidents give us a poorly functioning cyclopean freak. The cyclopean eye would offer some advantages, but redundancy of a spare eye for vision would not be one of them. Initially, the two eyes seem to have been given to fish and other animals to provide a wide field of vision. As we move up the animal scale, an increasing overlap of the visual fields is seen with more than three fourths overlap in the primate, giving opportunity for both eyes to work together and to generate a third dimension. But, unless cortical correspondence matches retinal image positions, visual confusion or diplopia results. We know that a constant esotropia will result in an amblyopia of the temporal retina of the deviating eye, yet no routine reports of binocular visual fields are provided in medical records. Indeed, exotropes are fond of pointing out to the clinician some unusual feats of a large field, such as seeing addresses on both sides of a street simultaneously.

Brian Friel's Imaginary Journeys to Nowhere

Brian Friel's Imaginary Journeys to Nowhere