Travel Journals Research Articles

Julien Gracq Studies

Julien Gracq (1910–2007) was generally considered to be the doyen of French letters at his demise on 22 December 2007, aged ninety-seven. Born Louis Poirier in Saint-Florent-le-Vieil (Maine-et-Loire), Gracq took his nom de plume in 1939 at the time his first novel, Au château d’Argol, was published. Professor agrege of history and geography, notably at the Lycee Claude-Bernard in Paris from 1947 until his retirement in 1970, Gracq began writing fiction almost by accident. His works, published by the Librairie Jose Corti, were collected in the Bibliotheque de la Pleiade, under the masterly direction of Bernhild Boie. Translated into twenty-six languages, they touch on all genres: novels, poetry, theatre, short stories, translations, autobiographical essays, literary criticism, and occasional writings, including notebooks, travel journals, prefaces, and interviews. Gracq is one of the rare literary figures to have appeared in the Pleiade and on agregation examinations during his lifetime, a prestige marking him out as an exceptional writer. The exception gracquienne, however, is a double-edged one, indicating not only the singularity of a writer whose syncretic style defies labelling, but also, unfortunately, a dearth of critical interest in his works, especially in the UK and other anglophone academies, as Beatrice Damamme-Gilbert has recently pointed out in French Studies Bulletin. Author of an excellent Bakhtinian study of Gracq’s lyrical remapping of the Nantes of his adolescence, Damamme-Gilbert finds this gap all the more surprising, given Gracq’s stature in France and his familiarity with British cultural history. Among academics based in North America, too, substantive publications are few, with only one book in English. Even in

Palms and Temples: Edward Lear's Topographies

Palms and Temples:Edward Lear's Topographies Richard Maxwell (bio) Edward Lear's paintings and drawings were often reproduced in books. Publishing successes during his lifetime included his parrot portfolio, the Audubon-like Illustrations of the Family of Psittacidae (1832); several travel journals, accompanied by his own lithographs; and, from 1846 onwards, nonsense poems matched by brilliant doodlings. The present essay explores Lear's lifelong fascination with topography and topographical images, emphasizing, particularly, his relations with Alfred Tennyson, his favorite contemporary author.1 Lear gave Tennyson a copy of his Journals of a Landscape Painter in Albania (1851); the poet responded by writing a generous, if slightly misjudged, lyric, "To E. L." During several subsequent decades, Lear worked on the never-quite-finished "Landscape Illustrations of Tennyson." Considered in sequence, the Journals, "To E. L," and the "Landscape Illustrations" illuminate Lear's developing theory of book illustration. These closely linked examples show how codex formats could heighten the impact of Lear's visual work. Lear's big topographical oil paintings generally got a mixed response; his real flair was for imagining books whose images bore a charged relation to words (preferably, but not necessarily, his own). The Journals' plates become artifacts of travel (objects rather than pictures of objects) while the plates of "Illustrations" gain an unusual expressiveness by evoking simultaneously two different genres of landscape portfolio. In both cases, Lear's engagement with basic features of books (that they usually contain words; that their pages are permanently ordered) redefines the value of his own artistic career. Journals of a Landscape Painter in Albania Lear's vivid writing surprised some early reviewers. Writing in the Quarterly Review, Richard Ford notes of the Illustrated Excursions in Italy (1846): "Prepared by annual experience of the stereotyped stuff of illustrated books, we began by only looking at the engravings; but by and bye, from an accidental glance at a sentence or two we found ourselves tempted on—and so on, until we read the entire letter-press—to be well repaid by much new observation, nice marking of manners, genuine relish for nature, and quiet dramatic humour."2 Similar praise could have been applied to Lear's "Views of Rome and Its Environs" (1841), his Journals of a Landscape Painter in Albania (1851), [End Page 73] and his Journals of a Landscape Painter in Southern Calabria (1852). In fact, no other group of mid-Victorian travel books exhibits so balanced an attention to words and images—or so close an integration between them. Illustrated Excursions in Italy is the largest, most magnificent of these accounts; the Albanian tour is the most self-conscious. Lear's preface observes that, to the "unlearned tourist," Albania is a "puzzle of the highest order." It is mountainous, with bad roads, and remains prone to violent rebellions against Ottoman authority. Travel requires permits that can be granted only from Istanbul. The ancient geographical names with which people might associate Albanian landscapes are "thwarted and confused" by more recent "Turkish divisions," and by a "third set of names" used by local tribes. The "races, religions, and national denominations" of Albania are almost impossible to untangle. All in all, Lear suggests, "a good dragoman, or interpreter, is absolutely necessary, however many languages you may be acquainted with."3 Lear had a "good dragoman," his servant Giorgio, yet his Journals present him as a latter-day Dr. Syntax, plagued with misfortunes while in search of the picturesque. When it rains, his glasses fog up. He falls off his horse, or the horse sinks in the mud. He is regularly threatened by packs of dogs. There are inconvenient additions to the party, like an old gentlemen who falls into a river and has to be rescued from it. Lear endures political rants by peculiar hosts. He has to share lodgings (sometimes rooms) with mules, geese, and, on one occasion, a hostile whirling dervish. He picks at dismal food, or must overeat in order to express his gratitude. The most pervasive of these "penalties for the picturesque" is the trip's sheer noisiness. At night, when Lear is trying to sleep, horses champ straw, streams gurgle, an aged scholar scribbles and coughs, or...

THE DIMENSIONS OF TRAVEL JOURNALISM

Much of the existing empirical research on journalism focuses largely on hard-news journalism, at the expense of its less traditional forms, particularly the soft-news areas of lifestyle and entertainment journalism. In focusing on one particular area of lifestyle journalism—the reporting of travel stories—this paper argues for renewed scholarly efforts in this increasingly important field. Travel journalism's location at the intersection between information and entertainment, journalism and advertising, as well as its increasingly significant role in the representation of foreign cultures makes it a significant site for scholarly research. By reviewing existing research about travel journalism and examining in detail the special exigencies that constrain it, the article proposes a number of dimensions for future research into the production practices of travel journalism. These dimensions include travel journalism's role in mediating foreign cultures, its market orientation, motivational aspects and its ethical standards.

TRAVEL JOURNALISM AND ENVIRONMENTAL CONFLICT

Although travel journalism can have considerable influence in one of the world's largest marketplaces, a definition remains elusive and the genre continues to be under-explored. The explanation may be a scholarly ambivalence towards the use of the word “journalism” to describe texts characterized by subjectivity and a conspicuous proximity to tourism advertising. Yet not all travel journalism is tourism's handmaiden. Drawing on examples of US and British newspaper and magazine travel articles that criticize forestry practices in Australia's island state of Tasmania, this paper attempts to understand better the genesis and deployment of political comment in a genre routinely subsidized and besieged by government public relations. The paper argues that travel journalism that subverts traditional expectations of the genre through its mediation of environmental conflict can usefully be understood as a textual manifestation of the cosmopolitan interplay of culture and environment arising out of transnational and cross-genre discourse. Noting Ulrich Beck's faith in the media to promote active political cosmopolitanism, the paper hypothesizes that further analysis of travel journalism has the potential to provide surprising insights into journalism, public relations and the mediation of global concern.

Ars Reminiscendi: Mind and Memory in Renaissance Culture ed. by Donald A. Beecher, Grant Williams (review)

REVIEWS 229 Ars Reminiscendi: Mind and Memory in Renaissance Culture, ed. Donald A. Beecher and Grant Williams (Toronto: Centre for Reformation and Renaissance Studies 2009) 440 pp. The Western textual tradition of the ars memoriae, or art of memory, begins as advice for the rhetorician. Three classical treatises well-known in the Middle Ages described the practice of mentally organizing and recalling imagery in the service of oratory: De inventione by Cicero, Institutio oratoria by Quintilian, and the Rhetorica ad Herennium by an unknown author (formerly attributed to Cicero). Medieval treatises, however, were less likely to associate the memory arts with speechmaking than with ethics; Albertus Magnus (1193–1280) and Thomas Aquinas (1225–1274) wrote of developing the art of memory as a religious duty. The Renaissance witnessed a proliferation of ars memoriae texts, by Jacobus Publicius (fl. 1462–1470), Giulio Camillo (1480–1554), Matteo Ricci (1552–1610), Giordano Bruno (1548–1600), Robert Fludd (1574–1637), and many others, several of whom developed “systems of memory” that were connected to hermeticism or the occult. In 1929 Ludwig Volkmann (“Ars memorativa”) described the complexity of this rich and unusual literary tradition , which was brought to the attention of a new generation of scholars with the publication of Paolo Rossi’s Clavis universalis: Arti mnemoniche e logica combinatoria de Lullo a Leibniz (1960) and to numerous English-speaking scholars with Frances Yates’s The Art of Memory (1966). In the last decades, several important studies related to the ars memoriae include: Herwig Blum’s Die antike Mnemotechnik (1969), Jonathan Spence’s The Memory Palace of Matteo Ricci (1984), Mary Carruthers’s The Book of Memory: A Study of Memory in Medieval Culture (1990), Janet Coleman’s Ancient and Medieval Memories. Studies in the Reconstruction of the Past (1992), and Lina Bolzoni’s The Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press (2001). This impressive collection of sixteen essays edited by Donald Beecher and Grant Williams takes for its topic Renaissance memory. As Beecher observes in his introduction and postscript, the subjects of recent studies on Renaissance memory have been limited neither to ars memoriae treatises nor to mnemonic devices such as the memory palace. Rather, scholars have broadened their research to include: memory in connection with literary forms, such as travel writing, memoir, commonplaces, ricordanze, diary, and autobiography; memory as a faculty of cognition described by philosophers and physicians; memory in relation to personal, collective, and cultural identity; the significance of the printed book and the development of the library on memory; and social memorializing . Hence Beecher and Grant have organized their volume thematically into six sections of two or three essays: “Revisioning the Classical Art of Memory”; “Manuscripts, Commonplace Books, and Personal Recollection”; “Learning, Rhetoric, and the Humanist Challenge”; “Ethics and Memory in English Literature”; “Nations, Historiography, and Cultural Identity”; and “Natural Memory vs. Artificial Recollection.” The essays can only briefly be described here. In the first section, Brenda Dunn-Lardeau investigates the mnemonic architecture and the organization of images of exempla in loci memoriae in Jehan Du Pré’s Le Palias des nobles Dames (1534), a text in the tradition of the defense of illustrious women. An- REVIEWS 230 drea Torre illustrates how early modern mnemonic imagery might influence other arts by relating patterns of imago memoriae in two anonymous fifteenthcentury ars memoriae manuscripts at the Bibliothèque Sainte-Geneviève (MSS 3368 and 2521) to emblems located in the wooden choir of St. Giustina’s church in Padua and to the panegyric Il memoriale by Emanuele Tesaura (1592–1675). Wolfgang Neuber examines the creation, reception, and dissemination of early modern printed images of cannibalism, especially those involving depictions of New World natives, in order to consider how cultures employ mnemonic imagery when constructing their own collective memory. The second section includes essays by James Nelson Novoa, who transcribes from aljamiado (Castilian written in Hebrew letters), translates, and analyzes the Arte a la memoria, a unique Sephardic text. Kenneth R Bartlett contemplates why Sir Thomas Hoby (1530–1566), the English ambassador to France and pioneering translator of Castiglione’s Il Libro del cortegiano (1561), copied into his travel journal, The Travail and Lief of...

Travel Journal

Travel Journal Get access Reginald Harris Reginald Harris Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 35, Issue 2, June 2010, Page 96, https://doi.org/10.1353/mel.0.0091 Published: 01 June 2010

Review

Reviewed by: Uncommon Women: Gender and Representation in Nineteenth-Century U.S. Women's Writing Katherine Adams Uncommon Women: Gender and Representation in Nineteenth-Century U.S. Women's Writing. By Laura Laffrado. Columbus: Ohio State University Press, 2009. vii + 187pp. $36.03. In Uncommon Women: Gender and Representation in Nineteenth-Century U.S. Women's Writing, Laura Laffrado maps the contested figure of female selfhood by analyzing autobiographical texts that simultaneously violate and reaffirm nineteenth-century gender conventions. Focusing on writers who confess to unorthodox behaviors—from unchaperoned travel to cross-dressing to premarital sex—Laffrado shows that they compensate by aligning themselves with the very prescriptions they challenge. In this double movement of transgression and compliance, she finds a self-conscious negotiation of the gendered limits, risks, and readerly expectations that beset women writers. She argues that these works reveal—and in some cases help to "reconfigure"—the tensions surrounding mid-century conceptions of female selfhood (105). Laffrado considers seven texts, primarily from the 1860s, and provides detailed biographical and historical context, with special emphasis on the gender dynamics of nineteenth-century print culture, the emerging discourse of sexology, and women's participation in the Civil War. The study begins with Sarah Kemble Knight's travel journal, which was published in the nineteenth century, although written in 1704–1705. Although it remains unclear how Knight's eighteenth-century self-representation should inform our understanding of nineteenth-century publicity, Laffrado uses the Journal's publishing history quite effectively, tracing multiple editions from 1825 to 1865 to explore trends shaping an emerging receptivity to US women's writing. The second chapter examines Fanny Fern's early columns from the Olive Branch and True Flag, written before the revelation of her identity as Sara Payson Willis. Laffrado intriguingly proposes that serial publication enabled Willis to endow Fern with a flexible, fluctuating selfhood that gave access to an unusually diverse range of topics and varied relationships with readers. She argues that this portrait of "mutability" should be understood as Willis's theorization of female identity (74). The third and fourth chapters, the strongest in the book, build on Elizabeth [End Page 286] Young's well-known analysis of the Civil War as a fertile context for challenges to gender norms. Laffrado's reading of Louisa May Alcott's Hospital Sketches is usefully framed by a discussion of women's contested entry into the nursing profession. She argues that Alcott fashions herself, via Nurse Tribulation Periwinkle, as simultaneously sister, brother, mother, and spinster—a combination that allows her to displace sexuality from scenes with male patients. Chapter four looks at Nurse and Spy in the Union Army, the memoir of Emma Edmonds, who cross-dressed to fight for the North. Focusing on Edmonds's representation of gender passing as "natural" to her love of country, Laffrado finds that Edmonds appropriates "a patriotric act" as a new sex-gender category (114). She argues that by challenging midcentury gender norms, women like Alcott and Edmonds helped to bring about the sexology movement, an "emerging sexual science [that] attempted to order, contain, and stabilize ambiguous and contradictory sex-gender constructions" (109). The book concludes by using Harriet Jacobs's Incidents in the Life of a Slave Girl to explore differences in material and ideological constraints for white and black women writers. This approach to questions about race is both awkward and inadequate and serves to underscore the absence of intersectional analysis in earlier chapters. Moreover, although the discussion examines numerous racially based differences, it does not address the central question: How does race shape that double movement of transgression and compliance? That said, one of the high points of the book is the reading of Jacobs's privileging of gentility as a quality that transcends embodiment and her own limited sexual choices (154–55). Readers may be disappointed that Uncommon Women doesn't do more to advance the scholarly conversations it engages. Discussions of individual writers and texts tend to focus on synthesizing previous interpretations, and many of the book's larger claims would benefit from a more considered approach. For example, where did nineteenth-century women's "visibility … threaten cultural disruption" and where did it...

A Quest for Harmony: The Role of Music in Robert Owen's New Lanark Community

As owner of the New Lanark cotton-mills from 1800, Robert Owen carried out a social experiment designed to transform the lives of his community of millworkers, through improved living and working conditions, free medical care and education. He intended to demonstrate how his ideas, if universally adopted, could transform society in general. Central to this experiment was his innovative and enlightened system of education in the Institute for the Formation of Character. This article looks in particular at the musical life of New Lanark and explores Owen's belief in the power of music to bind together people from different backgrounds, and to assist in the creation of a harmonious community. Lavishly funded musical activities played a major part in the curriculum, and in the life of the community as a whole. All this is well documented and fascinating insights into the lives of the New Lanark people are included in the travel journals and letters, some previously unpublished, of the many visitors who came to see Owen's model community.

Le Mezzogiorno des écrivains européens/Europeans Writing the Mezzogiorno ed. by Béatrice Bijon, et al

204 Reviews Shakespeare' by one reviewer (and not approvingly!), is discussed byMegan Con way as a chauvinist epic, which failed on the stage in part because of the authors vigorous stand against the execution of Louis XVI. When Dumouriez defected to theAustrians later in 1793, an 'unfortunate choice of protagonists', as Conway puts it (p. 235) saw de Gouge herself condemned to the guillotine. The French Revo lution provides Madelyn Gurtwith with two further occasions to discuss women's agency: Chenier's play about Charles IX which associated Marie-Antoinette ne gatively with theMedici, and Francois Chabot versus Claire Lacombe in a fierce rhetorical clash.What Gutwith calls 'small but smoldering' (p. 237) moments par ticularize the expulsion ofwomen from public life in republic and monarchy That sets up nicely the final essay, by Barbara Ann Day-Hickman, on de StaeT's relations with du Pont de Nemours, a fellow liberal and friendwho proved unsympathetic about her exile and her troubles; tactlessly he wrote thathe wished he had her time to study. Contributors to the collection mostly assume a liberalism inwhich agency is self-evidently a goal. At times one would likemore examination of that premiss. Some contributors historicize itexplicitly; some do not. The editor pays tribute in the preface to Betty Rizzo, scholar of eighteenth-century women and editor of the letters of Frances Greville. Part of Rizzo's edition appeared in volume iv; I hope that futurevolumes will accommodate the rest, as originally planned. Itwould be a further indication of the valuable contingency ofwomen's life, work, and culture, and a celebration of agency in the form ofwomen's studies. King's College London Clare Brant LeMezzogiorno des ecrivains europeens/Europeans Writing the Mezzogiorno. Ed. by Beatrice Biion, Yves Clavaron, and Bernard Dieterle. Saint-Etienne: Publications de l'Universite de Saint-Etienne. 2006. ix+289 pp. 35. ISBN 978-2-86272-430-0. Foreign writers' perception of the Italian Mezzogiorno, broadly the South, from Naples to Sicily, has always been intriguing and inmany ways fascinating. The Mezzogiorno can be a mythical land, evoking a glorious and often romanticized classical past, an imaginary land of seduction and passion, but also a land which raises ancestral fears because itvery often came to represent the 'unknown'. Visit ing this area of Italywas for a long time a crucial part of theGrand Tour, aimed at refining, enriching, and broadening the cultural horizons of many Northern European writers and artists. But at the same time such exposure to the exoti cism of theMezzogiorno too often reconfirmed age-old prejudices. The historical consequences of centuries of poverty and deprivation, themenacing presence of brigands, the idea of an endemic moral and political corruption, matched by a merciless climate, all contributed to a demonization of the South alongside its more romantic images. This volume, through a collection of stimulating essays written by a team of international scholars, explores various perceptions of the MLR, 105.1, 2010 205 Mezzogiorno in thewritings of several writers. The articles span two centuries, from theEnlightment to post-1945, giving us therefore the opportunity to compare the development, or even the persistence, of such perceptions. One area of anxiety in the exposure to Italian Southern culture is the close link between religion and superstition. Tad Tuleja explores the reaction of the eighteenth-century Scottish travelwriter Patrick Brydone to this type of religion in his Tour through Sicily and Malta of 1773, a book which, as Tuleja underlines, 'transformed Sicily from a negligible backwater to an exotic locale that the smart setwas almost obliged tovisit' (p. 32). Interestingly,despite his empirical mind and instinctive distaste for superstitious peasants' practices, Brydone seems perversely attracted to them as if'hungry for sensations'. As Tuleja again observes, his account of the journey is pervaded by a strong sense of voyeurism so that such practices are no more than the dramatization of his own longing 'forthe immediacy thathis more abstract faith denies him' (p. 37). His travel journal, then, tells us a lot about thewriter himself, so that the South seems to offerBrydone a vehicle to articulate a host of repressed feelings. The 'voluptuousness' of the South returns in the travel journals of Alexandre Dumas pere and...

A Quest for Harmony: The Role of Music in Robert Owen’s New Lanark Community

ABSTRACT As owner of the New Lanark cotton-mills from 1800, Robert Owen carried out a social experiment designed to transform the lives of his community of millworkers, through improved living and working conditions, free medical care and education. He intended to demonstrate how his ideas, if universally adopted, could transform society in general. Central to this experiment was his innovative and enlightened system of education in the Institute for the Formation of Character. This article looks in particular at the musical life of New Lanark and explores Owen’s belief in the power of music to bind together people from different backgrounds, and to assist in the creation of a harmonious community. Lavishly funded musical activities played a major part in the curriculum, and in the life of the community as a whole. All this is well documented and fascinating insights into the lives of the New Lanark people are included in the travel journals and letters, some previously unpublished, of the many visitors who came to see Owen’s model community.

Venetian well-heads in nineteenth-century taste

special importance, rooted as they are in everyday life as basic parts in the watersystem. Instead, these works of art are mostly displayed in museums or can be found in public and private collections from the United States to Russia. Many well-heads have been destroyed or lost. Surviving examples are, in many cases, deprived of their original function, and are used for decorative purposes, for example as flowerpots in private gardens or parks. This loss of function poses several problems for the researcher that render the actual historical investigation all the more difficult. The aim of this article is to show how the growing cult of Venice contributed to the emergence of well-heads in Anglo-American literature, and to the development and re-animation of the related branch of the art trade in the nineteenth century. After a review of travel journals and other literary works, copies, forgeries, and the activity of collectors and dealers in the late nineteenthand early twentieth-century art trade, three newly identified well-heads will be presented as examples. These were previously thought to have been lost and have not been analysed in the context of Venetian carvings. At first, interest in well-heads was often connected to commercial activities. During the nineteenth century, those who studied well-heads were mostly sculptors and art dealers, as well as art historians sent to Venice from foreign countries as agents for various museums. They wrote short specialized articles and reports on the artefacts, considering their origin, typology, or stylistic changes.1 John Charles Robinson (1824–1913), the reporter and purchasing agent of the South Kensington collection, was soon to realize the importance of the study of Venetian well-heads. In his 1883 report, Robinson emphasized the abundance of these items: Everybody who has visited Venice must have taken note of the ornamental well-heads which abound on all hands. The famous bronze wells in the court yard of the Ducal Palace will, of course, be in everyone’s recollection, but every piazza, the courtyard of every palace, and, in short, almost every house in Venice, has its ‘vera da pozzo’ of stone or marble, and the collective series forms in itself a veritable school of ornamental sculpture of all ages, from the earliest days of the Republic down to the last century.2 Venetian well-heads in nineteenth-century taste Anna Tuskes

The living fabric of the world: Willa Cather's travel journalism

The article explores selected pieces of the travel journalism that Willa Cather wrote for the Nebraska State Journal during a trip to Europe in 1902. The focus in the article is on Cather's representations of her encounter with England, with the English people, landscapes and cityscapes. The article considers aspects of Cather's journalistic writing and language, and explores issues related to gender and travel, particularly the encounter between America and the Old World. An earlier version of this article was presented as a conference paper, at the South West American Studies Forum, University of Exeter, 19 May 2007.

Jardin d’Italie: Voyageurs français à la découverte de l’art de vivre (review)

Reviewed by: Jardin d’Italie: Voyageurs français à la découverte de l’art de vivre Pamela Shuggi (bio) Giovanni Dotoli. Jardin d’Italie: Voyageurs français à la découverte de l’art de vivre. Pref. Yves Bonnefoy. Paris: Honoré Champion, 2008. Giovanni Dotoli’s Jardin d’Italie: Voyageurs français à la découverte de l’art de vivre is of interest to a wide variety of readers, including scholars ranging from medievalists to modernists, but may also appeal to anyone with an affinity for literary travel as well as travel literature. Yves Bonnefoy’s preface is succinct and successfully prepares the reader for Dotoli’s text. One of the greatest and most interesting aspects of Dotoli’s text is his balance between broad historical coverage and deep examination of specific works of travel literature such as works by Michel de Montaigne, François René de Chateaubriand, and Jean Cocteau. He effectively integrates the historical, artistic and cultural aspects of the magnetism that pulls French travelers to Italy in order to reveal its promise as a garden of origin, beauty and vivacity. His central metaphor of Italy as a mythical garden is well established through the aforementioned themes and documented in a way that integrates both primary and secondary sources. Dotoli skillfully and artfully weaves an abundance of information into ten flowing chapters, each of which comes to establish and describe an aspect of the title phrase “Jardin d’Italie.” The chapters can be readily approached through these themes. In the first chapter, “Désir d’Italie,” Dotoli lays the groundwork for his metaphor of Italy as a garden for European, and particularly French, travelers. It is a garden in the sense that it is a dream; a seductive, light-filled one. In the second chapter, “Jardin d’Italie,” Dotoli goes on to explain why the concept of such a dream is central to the conception of Italy as a garden. He highlights that Italy is considered the land of beauty, that the “Bel paese” owes its name to the eternal dream that is associated with it. In the third chapter, “Arcadie et nostalgie,” Dotoli goes on to connect the eternity of this dream back to Genesis. Dotoli wonders if Guinevere and Lancelot did not dream of Italy, if traveling to Italy was not an epic journey to the East. He asks whether French travelers would not have embarked on a journey to Italy in search of their origin. In the fourth chapter, “Jardin du soleil,” Dotoli explains how sun and light specifically came to affect how French travelers viewed the Italian landscape and consequently Italy itself, which leads very smoothly into his discussion of Italy as the heart of the North-South dichotomy in chapter five, “Art de vivre.” What follows in this chapter is a thorough description of the inherent mixture of “North” and “South” that constitutes Italian culture and French travelers’ attraction and positive reaction to it. In the sixth chapter, “Jardin du temps. Au fil des siècles,” Dotoli returns to the historical aspect of his argumentation as he recounts the history of French travel to Italy from the Middle Ages to the twentieth century and the resulting literature. He emphasizes that religious motivations made travel to Italy from France in the Middle Ages, including missions of evangelization as [End Page 1026] well as the Crusades, far more frequent then we might imagine. Dotoli notes that it was at that time that literature became “un acte de viaticum, de via, de voie et de route, par migrations et conquêtes” (115). Dotoli highlights that the sixteenth century brought profound changes, first as a result of the influences of humanism, and then later on with the advent of the travel journal. He illustrates how seventeenth-century travel literature moved toward interpretation and the eighteenth century brought about a deeper interest in the actuality of Italian life, in accordance with the Enlightenment. Dotoli gives an especially interesting account of how Italy began as a model for French travelers and of the importance it later acquired for French Romantics during the nineteenth century. Dotoli maintains that the myth of the garden continued into the twentieth century, in the hopes...

“New Words” And “New Ideas”

Henry Crabb Robinson (1775–1867) was one of the more influential “cultural tourists” of the nineteenth century, traveling widely in Europe for the explicit purpose of bringing avant-garde ideas back to his native England Yet he is not widely known; the most complete biography, published in 1935, says that “no one has ever claimed that Crabb Robinson was in the front rank as a thinker, a critic, or a writer–least of all … himself.” But his voluminous travel journals and diaries indicate a more positive assessment of his role. He offers compelling descriptions of and makes cogent judgments about many of the most important cultural figures of Germany, Italy, France, and his native England. His first continental trip as a young man gave him a vocation he did not anticipate but that he pursued all his long life: to immerse himself in complex cultures, to share his knowledge, and to encourage his countrymen and women to broaden their own awareness of the artistic heritage and cultural mores of other lands. His pursuit of “New Words” and “New Ideas” for his revolutionary age made a major contribution to the concept of “cultural tourism” through his dissemination of continental philosophy and literature to an eager English audience.

An animal breeder on Darwin’s birthday

An animal breeder on Darwin’s birthday

INTERNET AND TOURISM—PART XXVII: TRAVEL BLOG

This Internet column analyzes Travel Blog (URL: www.travelblog.org), a free online travel diary where worldwide travelers can write down their travel journals about their experiences as well as sea...

An Ethnographic Autobiography of a Short-Term Study Abroad Experience

The purpose of this article is to explore the unique contributions the study abroad experience can make to the knowledge and skills acquired while studying parks, recreation, and tourism management. These unique contributions are analyzed through an ethnographic autobiography of the author's personal engagement as a graduate student in a summer study abroad course to Kenya. Data consist of the author's personal travel journal, which was recorded throughout the course. Open and axial coding reveal three concepts that captured the extent to which the study abroad experience led to acquired knowledge that otherwise had not been gained through classroom-based learning: culture, connections between park management and social well-being, and community-based conservation efforts in action. Analysis also revealed one concept, analytical and inquisitive problem solving, which encapsulated the distinctive learning processes facilitated through participation in the course. Also, the unique value the study abroad experience offers for parks, recreation, and tourism department programs is explored.

TRAVEL JOURNALISM

Like international news, travel journalism draws upon and perpetuates the “home” nation's collective imagination of different parts of the world (Fursich and Kavoori, 2001). In keeping with the hierarchical nature of news genres and the academic attention they garner, travel journalism has tended to be overlooked in favour of the “hard” news of political reporting. Nonetheless, given its long history of representing “other” peoples and “other” places, travel journalism is an equally important site for the study of transcultural encounters. This paper focuses on the ways in which travel journalism represents the Middle East in three British Sunday broadsheets, The Sunday Times, The Independent on Sunday and The Sunday Telegraph, as well as Amman to Wadi Rum, a programme broadcast by the pan-European network, the Travel Channel. The rich cultural and political heritage of Europe's relations with the Middle East provides an ideal context to examine how travel journalism frames “others”. Specifically, three primary considerations will be addressed: how does this journalism construct cultural frames for the peoples and places of the Middle East?; to what extent do these cultural frames draw upon Europe's colonial past?; and is this representational trope constitutive of a European imagining of the Middle East?

Monstrous Choreographies: Waltzing, Madness, and Miscarriage

Monstrous Choreographies:Waltzing, Madness, and Miscarriage Elizabeth Claire (bio) Click for larger view View full resolution Figure 1. The dancing master's tuneful waltz leads Cælia to her death in Thomas Rowlandson's "The Waltz," from The English Dance of Death, 1815: She sinks, she faints, she pants for breath: Alas! it was the WALTZ OF DEATH.1 Pathologizing Dance Felicia McCarren argues in Dance Pathologies: Performance, Poetics, Medicine that the power of nineteenth-century ballet and the popularity of the ballerina in Paris derived from an historic connection between what she frames as "dances of death" and "hysterical dances of repression."2Dance Pathologies discusses the nineteenth-century feminization of theater dance in Paris that occurred in tandem with a bourgeois idealization of femininity in enlightened European culture, noting how the practice of [End Page 199] prostituting female dancers at the Opéra and the real pathological impact of syphilis intertwined with the fictional pathology expressed in the choreography of women's dancing bodies. Perhaps most striking in McCarren's cultural history of the French Romantic ballet is her analysis of women's danced embodiment of a pathologically conflicted ideal of femininity: McCarren elaborates how the practices of dance and prostitution at the Opéra intersected with the medicalization of hysteria in France. As McCarren explains, "[t]he medicine of experiment, instrument, and clinical observation" were combined in Jean-Martin Charcot's study of the physiology of the nervous system and locomotor functional disorders and this allowed him to develop a notion of idiopathy that he applied to explain "what pathology could not explain, a pathology of 'idea' itself."3 This essay focuses not on the performance of theatrical dance praxis as McCarren's study does, but on the performance of social dancing and the literary, medical, and iconographic responses to dance developments that preceded the period of Charcot's work on hysteria. By examining the emergence of the waltz as a new social fad one sees how the phenomenon partnered the political revolution in France and came to be considered a symptom of social "mania" throughout Europe. In 1791 in Paris, there were 400 registered ballrooms open for business, and possibly as many more unregistered spaces used informally as dance halls.4 Anecdotal accounts transcribed in the journals of aristocrats who had survived the 1789 massacres claimed that the revolutionaries didn't hesitate to dance on the blood of their victims, in the churches and graveyards throughout Paris: On danse en effet, un peu partout: sur les dalles, encore rouges du sang de l'échafaud, dans les couvents des Carmélites, au Marais, au séminaire Saint-Sulpice, dans la maison des ci-devant Carmes-Déchaux, sous les murs même où retentissaient les sinistres appels des condamnés, la musique fait entendre ses flonflons.5 The deafening cacophony of these dances of death did not echo the polite feet of a king's minuet. Along with group dances such as the carmagnole, people experimented with the new-found waltz that rapidly gained popularity in France. According to German historians Rudolf Braun and David Gugerli, the waltz became the cult dance of emancipation for French citizens during the revolution in France.6 In 1804, the patriotic German writer Ernst Moritz Arndt noted in his travel journal that the French citizens' "Liebe zum Walzer, und die Nationalisierung dieses deutschen Tanzes, ist ganz neu. Erst seit [End Page 200] dem Kriege ist er mit den Tabakrauchen und andern gemeinen Moden gewöhnlich geworden."7 The emergence and rapid popularization of waltzing among enlightened youth during and after the revolution can be mapped in parallel with developments in the medical history of the female imagination: physicians wrote specifically about the nefarious effects of this revolutionary dance practice on the state of women's mental and physical health. The late eighteenth-century "dance craze" of waltzing unleashed a bevy of medical discourse not only in France, but in Germany and England as well. These medical texts remain yet unexplored in American scholarship on dance studies. Arguing, often desperately, that the dance was symptomatic of a moral and social contagion, French medical philosophers and physicians particularly shunned this intimate...

Prospects for Latin America and Caribbean Region in the Global Market for International Tourism: A Projection to the Year 2020

International tourism has become very important to several developing countries as a major source of foreign exchange earnings for their economic development. This article explores the potentials of countries of the Latin America and Caribbean region in the global market for international tourism up to the end of the next decade. This was achieved by analyzing past trends of international tourism in the region, and projecting these trends to the year 2020 using a combination of four different time‐series projection models evaluated by the mean absolute percentage error (MAPE). Results show that international tourism arrivals into the Latin America and Caribbean region would increase from 51.21 million in 2004 (end of observed period) to between 87.58 million and 100.03 million by the year 2020. The corresponding figures for international tourism receipts would go from US$34.11 billion in 2004 to between US$64.92 billion and US$75.79 billion by the year 2020. Socioeconomic impacts of these findings are given, and recommendations for marketing strategies, government public policies, and directions for future research are discussed. The author thanks the Development Data Group (DECDG) of the World Bank for providing the data for this research. Insightful comments and recommendations on the initial manuscript by the anonymous reviewers of the Journal of Travel and Tourism Marketing are greatly appreciated.