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Journal articles on the topic 'Imaginary travel'
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Kyrchanoff, Maksym W. "RUSSIAN HISTORY AS AN INVENTED TRADITION IN THE PROSE BYVLADIMIR SHAROV:an image of an escapeas of a return and an image of an exile as of a traumatic “procession” and “crusade” in the novels “Be Like Children” and “Return to Egypt”." PHILOLOGICAL STUDIES 18, no. 1 (2020): 45–71. http://dx.doi.org/10.17072/1857-6060-2020-18-1-45-71.
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The author analyzes the literary heritage of the Russian postmodernistwriter Vladimir Sharov in the context of travel images. The articleconsidersnovels “Be like children” and “Return to Egypt”. The author believes that the writer actualized in his texts the problems of movement as of a social and cultural journey,like trauma, nostalgia and forgetting. The real and imaginary travels of characters in the prose by V.Sharov can be described in the categories of absurdity and meaninglessness. Travel images do not actualize spatial migrations, but they visualize contradictions and paradoxes of thedevelopment of Russian identity as a deformed one. The author analyzes travels in V. Sharov’s prose as invented cultural traditions. The travel discourse in the texts byV. Sharov became the result of the development of modern in Russia that emergedas modern before modern and modern without modern. The author of the article assumes that the travel in V.Sharov’s prose gradually loses its connection with reality, transforming into a travel as a construct and a travel as memory. The forced travels of his prosecharactersbecame imaginary pilgrimages and attempts of the Russian people, regardedas a hostage of Russian history,to escape. The writer imagined Russian history as a cyclical social and cultural journey. The motifs of travel in V.Sharov’s prose are presented in a variety of forms, including a novel in letters, a traditional postmodern novel, and an imitation of hagiographic texts.
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Metzler, Ingrid. "Imaginaries as infrastructures? The emergence of non-invasive prenatal testing in Austria." BioSocieties 15, no. 4 (2019): 601–26. http://dx.doi.org/10.1057/s41292-019-00171-7.
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Abstract Non-invasive prenatal testing (NIPT) is a new technology used in prenatal testing (PT) that capitalizes on genomic platforms to transform DNA fragments in the blood of pregnant women into information about the genome of a foetus. Since its market introduction in 2011, it has travelled around the globe with remarkable speed. This article engages with the emergence of NIPT in and around Vienna, the capital city of Austria, to explore why and how this technology could travel so quickly in practice. Based on a qualitative analysis of interviews, documents, and field notes, it argues, first, that NIPT could travel so quickly because it travelled as ‘adaptable boxes’ that added on to different ‘local worlds of prenatal testing (PT)’, without disrupting them. Second, in so doing, NIPT could travel on a moral and material ground, or an ‘imaginary of PT’, built in the past. Third, the article argues that elements of this imaginary were also mobilized by commercial pioneers of NIPT, who ‘infrastructurized’ extant values, practices, and networks among biomedical professionals. Thus, various actors converged in mobilizing moral and material elements of an imaginary, transforming them into an infrastructure that facilitated the travels of NIPT, while also shaping its use.
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Gan, Wendy. "A return to the imaginary: Psychoanalysis and travel in Vernon Lee's travel essays." Prose Studies 22, no. 3 (1999): 79–90. http://dx.doi.org/10.1080/01440359908586686.
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Duffy, Andrew, and Shrutika Mangharam. "Imaginary travellers: Identity conceptualisations of the audience among travel journalists." Journalism 18, no. 8 (2016): 1030–48. http://dx.doi.org/10.1177/1464884916636169.
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Travel journalists cannot know each traveller for whom they write, so they must imagine what a reader wants. The subsequent journalism influences how tourists travel and engage with a foreign country and its inhabitants. This article uses an independent/connected framework of tourist behaviour to identify how travel journalists imagine their readers’ interests. Through content analysis of texts in newspapers from Asia and the West, we find that the reader is more often imagined as independent and adventurous than connected and concerned with tourist sights. However, the latter were more common in Asia, which suggests that travel writers across the globe imagine readers differently. It suggests that in an increasingly globalised world, the post-colonial power dynamic that has been a stalwart of scholarly thought on travel writing may be outdated and could be more usefully replaced by one that considers the financial privilege of tourism, seen in texts from both hemispheres.
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Saburova, Lyudmila Ye. "TOMMASO LANDOLFI AND EUGENIO MONTALE ON THE WAY TO THE GAME (based on autobiographical prose)." Vestnik of Kostroma State University, no. 2 (2020): 185–90. http://dx.doi.org/10.34216/1998-0817-2020-26-2-185-190.
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In the autobiographical prose of Eugenio Montale and Tommaso Landolfi , the theme of travel plays a signifi cant role. The development and refraction of this theme is directly related to the concept of home, which is different for these writers. Tommaso Landolfi , leading the life of a hermit in a small provincial town, seeks to travel to large centres full of social life. Eugenio Montale, who was less attached to the family nest, in the latter part of his life lives in Milan. Tired of the burden of fame and the noise of the big city, he sets off for quiet secluded places unlike Italy, where he can fi nally rest. In the works of both writers, travel is closely related to the theme of the game. Tommaso Landolfi , who sees the meaning of human life in the game, combines his travels with «forays into gambling», that is, to the casino. Roulette becomes an opportunity for him to communicate with a higher power, to receive answers to existential questions that torment him. Eugenio Montale travels in disguise, changing masks. In his imaginary game world, he animates objects and makes friends with them. For both writers in their travel, a special role is played by inscriptions and signs, which are perceived by them as secret messages.
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Bogojević, Dragan. "VOYAGE HISTORIQUE ET POLITIQUE AU MONTÉNÉGRO DE VIALLA DE SOMMIÈRES: UN LIVRE FONDATEUR D’UN IMAGINAIRE PARADOXAL DU VOYAGE AU MONTÉNÉGRO AU XIX SIÈCLE." La mémoire et ses enjeux. Balkans – France: regards croisés, X/ 2019 (December 30, 2019): 45–61. http://dx.doi.org/10.31902/fll.29.2019.4.
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HISTORICAL AND POLITICAL JOURNEY TO MONTENEGRO BY VIALLA DE SOMMIERES FOUNDING BOOK OF A PARADOXICAL IMAGINARY OF A JOURNEY TO MONTENEGRO In 1820, Vialla de Sommières published in Paris his book Historical and political journey to Montenegro. He was Commander of the Second division of Illyrian army in Ragusa from 1812 to 1813. Later, this work was used by many 19th century French travel writers as a model source for their own observations on Montenegro. Naturally, travelling to an unknown country implies an element of discovery. By analysing de Sommières’s text and the works by other French travel writers (P. Loti, X. Marmier, H. Avelot, J. de la Nézière, F. Lenorment, Ch. Yriarte, M. Sermet, l’abbé P. Bauron) we have been able to situate descriptions of journeys to and throughout Montenegro, which express an effect of surprise or discovery, and we have classified our findings in four sections: difficult access to astonishing landscapes, the cult of freedom, the character of Montenegrins, and the position of women. Thus, a journey to Montenegro becomes a kind of a return to a distant, precarious and, even, timeless epoch. In this sense, Vialla de Sommières’s work constitutes a founding work of a paradoxical imaginary of a journey to Montenegro, as the analysis of this travel story proposes. Key words: Montenegro, Vialla de Sommières, imaginary, story, travellers, writers
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Novaes, Sylvia Caiuby. "Voyages as exercises of the gaze." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (2012): 272–91. http://dx.doi.org/10.1590/s1809-43412012000200010.
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This article focuses the relationship between journeys and photographs especially among anthropologists who travel. Having travelled to the Upper Negro River as an advisor of a PhD student, I discuss what digital photographs may mean in a context where verbal communication is impossible. Real or imaginary journeys are a source of images, reports, or travel logs in which it is difficult to discern what is real and what is fiction. After discussing a few famous scientific and literary journeys, the article focuses on some anthropological journeys and concludes that images produced by anthropologists are a result of trained intuition, a sensitive gaze, and memories of former travels. The article includes photographic essays that incorporate pictures I took in February 2012 among the Hupd'äh, in the Upper Negro River region.
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Bui, Huong T., and Hugh C. Wilkins. "Young Asians’ imagination of social distinction." Journal of Vacation Marketing 23, no. 2 (2016): 99–113. http://dx.doi.org/10.1177/1356766716636927.
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This research investigates the imagined social distinction of young Asian travelers. Factors such as culture, language, and distinction were found to influence the development of young Asians. A disparity in the impact of these factors on personal development is evident in the comparison of two groups of travelers, with and without prior travel experience to Western countries. This supports the claim that social distinction is imaginary. The study advances the understanding of travel as a social phenomenon by operationalizing and verifying the imagination of social distinction in the context of travel. Practical implications suggest that tourism professionals might engage with these lucrative travel segments.
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Percival, Irene. "Time-Travel Days: Cross-Curricular Adventures in Mathematics." Teaching Children Mathematics 9, no. 7 (2003): 374–80. http://dx.doi.org/10.5951/tcm.9.7.0374.
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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.
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Warholm Haugen, Marius. "« Voyageons avec lui »." 1700-tal: Nordic Journal for Eighteenth-Century Studies 17 (June 24, 2020): 57–76. http://dx.doi.org/10.7557/4.5526.
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This article examines the use of travel metaphors in French periodical reviews of non-fiction travelogues at the turn of the eighteenth and the nineteenth century. The French periodical press took an increasing interest in travel literature in this period, forming an important instance of mediation between travel writers and the reading public. In travel-book reviews, journalists would frequently make use of a rhetoric aimed at presenting the periodical text as a double co-experience: an imaginary travel in the wake of the travel writer and a ‘travel’ through the journalist’s own reading experience. The article shows how this metaphor appears as a diverse rhetorical device that served different functions within the periodical text. Clearly aimed at engaging the reader in the text, the metaphor can also be read as conveying a meta-discourse that highlights the reviewers’ appropriation and remediation of the travelogue. The article analyses occurrences of the travel metaphor in reviews taken from a varied set of periodicals – journals, advertisers, and newspapers – in order to shed light on how the French periodical press operated in retransmitting literary travel experiences in a golden age of non-fiction travel writing.
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Goodlad, Lauren M. E. "Trollopian “Foreign Policy”: Rootedness and Cosmopolitanism in the Mid-Victorian Global Imaginary." PMLA/Publications of the Modern Language Association of America 124, no. 2 (2009): 437–54. http://dx.doi.org/10.1632/pmla.2009.124.2.437.
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Focusing on the prolific mid-Victorian writing of Anthony Trollope, this essay takes present-day theoretical interest in “actually existing cosmopolitanism” for its cue. Trollope's works remind us that from a Victorian perspective, the word cosmopolitan was more likely to evoke the impersonal structures of capitalism and imperialism than an ethos of tolerance, world citizenship, or multiculturalism. Trollope wrote novels eulogizing England's rootedness alongside first-person accounts of colonial travel, making him the arch exemplar of a two-party foreign policy discourse. Whereas Barsetshire novels such as The Warden are archetypes of autoethnographic fiction, Trollope's travel writings construct a transportable mode of racialized Anglo-Saxonness. Evoking the asymmetrical play between two notions of property—heirloom “rootedness” and capitalist “cosmopolitanism”—Trollope's foreign policy imaginary illuminates the difficulties of a genuinely negotiated rooted cosmopolitanism. Exploration of the nineteenth century's actually existing cosmopolitanisms offers the opportunity to historicize the transnational contexts and experiences of an era in which capitalist and imperial expansion was as dynamic as the globalizing processes of our own day.
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De Menezes, Marta, Claudia Schnugg, Annick Buread, Robertina Šebjanič, and Tatiana Kourochkina. "The veridical travel of the truly imaginary plant: Curatorial approach and underlying ideas." Contemporânea - Revista do PPGART/UFSM 3, no. 6 (2020): e7. http://dx.doi.org/10.5902/2595523363553.
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Hamans, Camiel. "The Travelogue as a Mirror of Thought." Werkwinkel 13, no. 1-2 (2018): 89–110. http://dx.doi.org/10.2478/werk-2018-0005.
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Abstract This paper discusses Dutch historical travelogues as a source for linguistic research. On the one hand one can find descriptions of exotic languages or undocumented remote dialects in travel journals, on the other hand one may come across philosophical and theoretical ideas about language in the utopian reports of imaginary voyages.
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Edwards, Justin D. "'Imaginary hinterlands': Travel and Displacement in the Writings of Denis Williams and Charlotte Williams." Comparative American Studies An International Journal 8, no. 2 (2010): 155–64. http://dx.doi.org/10.1179/147757010x12677983681479.
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Poon, Erica Ka-yan. "Lucilla You Min and Her Embodiment of a Cosmopolitan Fantasy." Feminist Media Histories 5, no. 1 (2019): 113–40. http://dx.doi.org/10.1525/fmh.2019.5.1.113.
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Lucilla You Min, who acted in Japanese and Hong Kong coproduced films in the early 1960s, is a valuable case study for postwar East Asian border-crossing star studies. This article conceptualizes the body of the star as a site of constructed meaning, and argues that You Min's embodiment of cosmopolitan fantasy as constructed by the studios she worked for was fraught with corporate and cultural competition in the Cold War era. The first part examines how Japanese cinema's discourses of publicity constructed You Min's embodiment of the imaginary of tōyō—an expression of Japan's desire for a leadership role in mediating between Asia and the West. The second part analyzes how Hong Kong cinema constructed the imaginary of the cosmopolitan, embodied by You Min's seemingly natural adaptability in world travel.
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McNamara, Karen M. "Rhythms of Care: Medical Travels beyond the Borders of Bangladesh." East Asian Science, Technology and Society 14, no. 1 (2020): 61–83. http://dx.doi.org/10.1215/18752160-8233817.
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Abstract This article examines the experiences of Bangladeshi patients and their families as they travel transnationally within Asia for medical care. I explain how failures of biomedicine in Bangladesh feed into idealized expectations of care abroad. This medical imaginary is fueled by the hope that more expensive treatment in wealthier countries will result in better care, and it is sustained by the way the medical tourism industry operates and the way Bangladeshi patients and their families make choices and engage in the doing of care abroad. A detailed case study of a Bangladeshi cancer patient’s prolonged care in Singapore illustrates the tensions and ambivalences in the quest for the best treatment. These tensions are exacerbated by the linguistic, monetary, and emotional challenges faced in traveling back and forth between countries. While patients feel at times betrayed by experiences of care that do not meet their expectations, they also feel compelled to carry on. I capture this dynamic in the term rhythms of care, understanding these as the way the medical imaginary shapes care practices that become a scaffolding for hope to be maintained and further travel to be undertaken. I also reflect on how I become part of these rhythms by acting as the family’s interpreter as they navigate health care in Singapore.
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Wenbin, Peng. "Allegorising the Local on the Borderland: Ai Wu's Nanxingji and National Subjectivity." Inner Asia 4, no. 1 (2002): 47–79. http://dx.doi.org/10.1163/146481702793647579.
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AbstractThis paper offers a reading of Ai Wu's Nanxingji series (Trilogy of Travel Through the South) depicting the author's journey from Yunnan to Burma in the May Fourth era and his subsequent returns to the border regions of Yunnan in the socialist period. It explores the ways in which allegorical dimensions of ‘the local’ shift at different social-historical junctures: ‘the local’ as a site in need of reforms in the 1920s, in socialist reality in the early 1960s, and in traumatic memories of the Cultural Revolution in the early 1980s. In extrapolating these ‘local’ dimensions embedded in the Nanxingji series, this paper suggests a contingent rather than a causal relationship between national incorporation and ‘the local’ formations. Additionally, this paper highlights how travel operates as an allegorical device, linking ‘the personal’ to the interplay of local specificities and the national imaginary, and how travel styles themselves change over time.
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Vautier, Marie. "Hemispheric Travel from Europe tolas Américas: The Imaginary and the Novel in Québec and Canada." International Journal of Canadian Studies 48 (January 2014): 191–212. http://dx.doi.org/10.3138/ijcs.48.191.
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Ramaswamy, Sumathi. "History at Land's End: Lemuria in Tamil Spatial Fables." Journal of Asian Studies 59, no. 3 (2000): 575–602. http://dx.doi.org/10.2307/2658944.
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This paper seeks to address the theme of this volume by exploring the place of the fabulous in the imaginary geographies of a lost world in the Indian Ocean.I begin with three enchanted flights of imagination that seek to convey a useful truth. All three are occasioned by travel to a real place—Kanyakumari, the “Cape Comorin” of colonial atlases, and the land's end of the Indian peninsula and of its Tamil-speaking region (“Tamil Nadu”).
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Lozanovska, Mirjana. "Migrant Housing in the City and the Village: from Melbourne to Zavoj." Open House International 34, no. 3 (2009): 39–48. http://dx.doi.org/10.1108/ohi-03-2009-b0005.
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This paper will discuss the kinds of communities that evolve through historical practices of migration. The migrant house is associated with a new architecture that had appeared in the cities of immigration of the new worlds (Melbourne, Toronto, Chicago). It is perceived as a stereotypical symbolisation of immigrants from Southern European origins that had arrived in the decades following the Second World War. The appearance of houses built by returning migrants in sites of origin suggests other trajectories, other modes of travel, and other forms of community. Central to the thesis of this paper is the testimony of two types of migrant houses. The study draws on theories of migration that address the site of departure, the site of arrival, and the question and conflict of return which is at the centre of the migrant's imaginary. This study will examine the migrant houses in the village of emigration (Zavoj in Macedonia), migrant houses built by returning emigrants. A study of the two houses of migration implicates a set of networks, forces, relations, circumscribing a large global geopolitical and cultural field that questions our understandings of diaspora, the binary structure of dwelling/travelling, and the fabric and fabrication of community. In addition, the paper will explore the notion of house as an imaginary landscape, a psychic geography narrated through migratory travels.
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Kehoe, Marsely L. "Imaginary Gables: The Visual Culture of Dutch Architecture in the Indies." Journal of Early Modern History 20, no. 5 (2016): 462–93. http://dx.doi.org/10.1163/15700658-12342513.
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With their bold foray into global exploration and trade, the Dutch, through the East and West India companies, established centralized trading entrepôts and capitals in Batavia on Java and Willemstad on Curaçao. Both of these cities were built following Dutch urban planning principles and were filled with Dutch-styled buildings that reflected the architecture at home, yet were hybridized as they drew on local materials and forms, adapting to local conditions and responding to the ethnic diversity of the populations. In print, however, these cities were pictured as full of Dutch step- and spout-gabled houses, seemingly direct transplants from Amsterdam. This paper considers vernacular buildings in these cities, alongside visual representations of these cities in maps and printed travel accounts, primarily those of Johan Nieuhof, provoking a consideration of the role of print culture in cultivating a visual culture of imaginary Dutch gables for European viewers and readers.
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Lopes, Rafael de Figueiredo, Wilson de Souza Nogueira, and Maria Luiza Cardinale Baptista. "Imaginary, Movies and Tourism: A Travel trough Cultural Stereotypes Associated with Brazil in the Movie Rio 2." Revista Rosa dos Ventos - Turismo e Hospitalidade 9, no. 3 (2017): 377–88. http://dx.doi.org/10.18226/21789061.v9i3p377.
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Recollet, Karyn. "Gesturing Indigenous Futurities Through the Remix." Dance Research Journal 48, no. 1 (2016): 91–105. http://dx.doi.org/10.1017/s0149767715000492.
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This article explores Vancouver-based multi-media collective Skookum Sound System's Ay I Oh Stomp's (2012) mobilization of “decolonial gesturings” as they create a future imaginary attentive to the past, critiquing the present, and venturing into the beyond. These gestures activate Indigenous futurities through traditional style Kwakwaka'wakw dance and choreographies of sea travel, popping as a “street dance” of holds and releases, and the mobilization of digital polychromatic shifting and looping. I illustrate how the video is a form of radical imagination tantamount to social change, and how it remixes dance, movement and gestures that “jump scale” out of colonial cartographies.
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Boer, Nienke. "Exploring British India: South African prisoners of war as imperial travel writers, 1899–1902." Journal of Commonwealth Literature 54, no. 3 (2017): 429–43. http://dx.doi.org/10.1177/0021989417737594.
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During the second South African War (1899–1902), also known as the Anglo-Boer War, the British War Office supervised the transportation of approximately 24,000 South African prisoners of war to Bermuda, St. Helena, and British India. Examining previously unstudied memoirs published immediately following the war by war prisoners held in camps in India and Ceylon, I argue that these texts read not, as one would expect, as prison or war writing, but as travel literature. These authors do not see a conflict between enjoying the benefits of empire abroad while fighting an anti-imperial war at home. The descriptions of landscapes and events in these memoirs suggest a cultural imaginary built on travelling and cultural exchange, as opposed to the insular and nativist Afrikaner nationalism that would follow empire. This article thus contributes to a larger project of examining the precursors of postcolonial nationalism, as well as historical and imaginative links between imperial peripheries.
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Novik, Alina. "The Motif of ‘Imaginary Travel’ in Panoramic Spectacles of the First Half of the 19th Century in Russia." Actual Problems of Theory and History of Art 8 (2018): 280–90. http://dx.doi.org/10.18688/aa188-3-26.
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Staples, Amy J. "The Last of the Great (Foot-Slogging) Explorers: Lewis Cotlow and the Ethnographic Imaginary in Popular Travel Film." Visual Anthropology 15, no. 1 (2002): 35–64. http://dx.doi.org/10.1080/08949460210639.
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Debruche, Anne-Françoise. "What is "Equity"? Of Comparative Law, Time Travel and Judicial Cultures." Revue générale de droit 39, no. 1 (2014): 203–28. http://dx.doi.org/10.7202/1026985ar.
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What is "equity"? Does it mean the same as the word "équité" in French ? Can the word "equity", used in an English or an American legal text, be translated readily by équité without being misleading? The answer to those two last questions is no. In the language of the common law, "equity" means something very specific and much more complicated than what we have in mind when we say équité in our civil law traditions. The present paper, adapted from a lecture given in Brasilia, attempts to shed some light on this awkward subject, as it compares the notion of équité in the French civil law tradition with the concept of equity indigenous to the English common law tradition. The mode of presentation used is that of the imaginary time machine: specialists of équité are thus interviewed one by one (Montesquieu, Portalis, Justice Magnaud) in chronological order, followed by English judges associated with the development of equity (Lord Coke, Chancellor Ellesmere and Lord Denning), Those historical figures use examples borrowed from their own time in order to illustrate the workings of équité/equity: in France the principle of liability for things and the abuse of rights theory, in England the trust, the estoppel and the injunction. As a conclusion, we discover that equity does not necessarily mean fair, and that équité has to express itself indirectly under the guise of judicial interpretation.
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Krause, Franz. "Making space along the Kemi River: a fluvial geography in Finnish Lapland." cultural geographies 24, no. 2 (2016): 279–94. http://dx.doi.org/10.1177/1474474016673065.
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This article illustrates how the main direction of water flow along the Kemi River has entered into the understanding of space in central Finnish Lapland, evident in expressions used for orientation, as well as in place and family names. The article demonstrates how fluvial space-making resonates with the riverbank inhabitants’ engagement with and stories about the river’s flows, especially in fishing, travel and transport. It also shows how a north–south imaginary corresponds with fluvial space on the Kemi. I propose the term ‘fluvitory’ to shift attention from territory to water flows in understanding space-making and argue that moving water must be acknowledged as an active participant in the stories that make space.
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Geiger, Jeffrey. "Exquisite wonder: Colour film, realism and the Yankee voyage, 1936–38." Journal of New Zealand & Pacific Studies 8, no. 1 (2020): 57–79. http://dx.doi.org/10.1386/nzps_00015_1.
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This article looks at rare Kodachrome film taken across Oceania, mostly shot by a skilled amateur filmmaker, Edmund Zacher, to document the circumnavigation of the famous clipper Yankee. There are three intertwined lines of inquiry traced here. The first explores relations between US imperialism, moving image media and a popular imaginary, considering how experiences of virtual travel engage with cultural ideology. The second examines how this footage may be interpreted: how might critical frameworks brought to bear on amateur non-fiction differ from those commonly applied to professional and narrative fiction film? A key reference point is the theory of cinematic gesture developed by Giorgio Agamben, who expands on the work of Gilles Deleuze and his notion of the movement image. This stress on gesture and on the mediality of moving images leads towards a third key area under consideration: colour and the (then) new medium of Kodachrome. Homing in on relations between colour stock and motion picture realism, this study explores the ways that Kodachrome colour might have affected broader perceptions of the world itself.
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Kouria, Aphrodite. "Imaginary perceptions and representations of the ancient Greek monument in the engravings of European travel literature (17th - 19th centuries)." Μουσείο Μπενάκη 2 (August 10, 2018): 125. http://dx.doi.org/10.12681/benaki.18192.
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Με πυρήνα ορισμένα χαρακτικά από τις συλλογές του Μουσείου Μπενάκη και τη σημαντική Συλλογή Ευστάθιου Ι. Φινόπουλου το άρθρο αυτό διερευνά πώς μορφοποιείται η φαντασιακή πρόσληψη του αρχαίου ελληνικού μνημείου σε εικόνες των ευρωπαϊκών περιηγητικών εκδόσεων από τον 17ο έως τον 19ο αιώνα. Η μυθολογία του ερειπίου σφραγίζει τη σχέση της Ευρώπης με την ελληνορωμαϊκή αρχαιότητα μέσα στους αιώνες, με πολλαπλές εκφάνσεις στην τέχνη και γενικότερα στον πολιτισμό. Η Ρώμη με το πλήθος των μνημείων της κατέχει πρωταγωνιστικό ρόλο, μάλιστα αποτελεί πολυδύναμο σημείο αναφοράς και για τις απεικονίσεις "ελληνικών" μνημείων τον 17ο-18ο αιώνα με προεκτάσεις και στον 19ο. Ορισμένα χαρακτικά με αυθαίρετες συσσωρεύσεις ερειπίων —σε ολλανδικές κυρίως εκδόσεις του 17ου αιώνα- έχουν ασφαλώς τις καταβολές τους σε έργα με ρωμαϊκές αρχαιότητες φιλοτεχνημένα από καλλιτέχνες των Κάτω Χωρών, που εργάστηκαν στη Ρώμη κατά τον 16ο αιώνα. Σε όλες αυτές τις εικόνες ένας ολόκληρος κόσμος που έχει καταρρεύσει υποβάλλει την ιδέα του χρόνου που καταστρέφει τα πάντα, ενώ οι ανθρώπινες φιγούρες υποδηλώνουν το ουμανιστικό ενδιαφέρον για τη μελέτη των αρχαίων λειψάνων προκειμένου να αποκωδικοποιηθούν τα μυστικά τους. Κατά τον 18ο αιώνα η Ρώμη με τη μεγαλειώδη αρχιτεκτονική σκηνογραφία της -αρχαία και νεότερη- ασκεί στη λόγια Ευρώπη μαγνητική έλξη, που εκδηλώνεται και με το πλήθος των απεικονίσεων της "αιώνιας πόλης", οι οποίες είναι ιδιαίτερα δημοφιλείς. Η ιταλική ζωγραφική και χαρακτική των ερειπίων —με κορυφαίους εκπροσώπους της τον G. Ρ. Panini και τον G. Β. Piranesi αντίστοιχα, οι ρωμαϊκές vedute ideate (φανταστικές τοπογραφικές απόψεις) και τα αρχιτεκτονικά "καπρίτσια" θα αποτελέσουν το κύριο πρότυπο –με συνεπίκουρο τη γαλλική ζωγραφική αυτής της θεματικής- για τα χαρακτικά με φανταστικές ή και πραγματικές ελληνικές αρχαιότητες, όπως φαίνεται από την αυθαίρετη γειτνίαση ετερόκλητων μνημείων, αγαλμάτων και αγγείων σε ένα πλασματικό χώρο, τη σκηνοθεσία της σύνθεσης, το Staffage, την εκφραστική χρήση της φωτοσκίασης, τη διαλεκτική σχέση της φυσης και των έργων του ανθρώπου. Οι αρχαιότητες ως "θέαμα", μέσα στο κομψό αισθητικό κλίμα του 18ου αιώνα, με πινελιές ροκοκό, όπου εγγράφεται και το αίτημα για τη γραφικότητα (το pittoresque). Παράλληλα, αυτές οι εικόνες εκφέρουν λόγο και για το sublime: για τον "υψηλό" χαρακτήρα και το ευγενικό μεγαλείο των ελληνορωμαϊκών έργων, μέσα στο πνεύμα του Νεοκλασικισμού, όπου αναπτύχτηκε και η λατρεία (culte) του αρχαίου έργου-αντικειμένου τέχνης σε συνάρτηση με την αρχαιογνωσία της εποχής και τις ανασκαφές Το εντυπωσιακό μέγεθος, άρρηκτα συνδεδεμένο με το μνημειακό μεγαλείο, συνιστά τότε έναν όρο για τη δοξαστική, συγκινησιακά φορτισμένη αντιμετώπιση των αρχαιοτήτων καθώς και για την οπτική πρόσληψη τους, με άμεση επίπτωση στη διαχείριση τους ως εικόνων. Από την άποψη αυτή τα χαρακτικά του Γάλλου αρχιτέκτονα Le Roy είναι παραδειγματικά για τον ελληνικό χώρο. Στο α μισό του 19ου αιώνα, όταν η νεότερη, υπαρκτή Ελλάδα έρχεται στο προσκήνιο, τα ιδεολογικά και αισθητικά φίλτρα του Ρομαντισμού, του Οριενταλισμού και του Φιλελληνισμού θα επηρεάσουν τις αναπαραστάσεις του αρχαίου ελληνικού μνημείου στα χαρακτικά των περιηγητών, και όχι μόνο. Το ρεπερτόριο των αρχαιοτήτων "εξελληνίζεται", με αναγνωρίσιμα πλέον, πραγματικά μνημεία και έργα τέχνης, και μάλιστα αυτά στα οποία πέφτουν οι προβολείς (Ακρόπολη, Ελγίνεια, Καρυάτιδες). Η νέα θεματική προϋποθέτει και απαιτεί άλλα πρότυπα (βλ. π.χ. την έγκυρη έκδοση των Stuart και Revett). Επιβιώνουν όμως ακόμη μορφοπλαστικοί τρόποι και εικονογραφικά μοτίβα της παλαιότερης παράδοσης, της ζωγραφικής και χαρακτικής των ερειπίων του 18ου αιώνα. Το διπολικό σχήμα πραγματικότητας και φαντασίας παρουσιάζει ξεχωριστό ενδιαφέρον στις εικαστικές εκδοχές του. Η προσέγγιση αυτού του πολυδιάστατου θέματος εστιάστηκε σε κάποιες χαρακτηριστικές πτυχές του, με άξονα τις δύο συντεταγμένες του: την εικονογραφία και τη μορφολογία των έργων, που και οι δύο, ισότιμα σχεδόν, αναδεικνύουν την πολυσημία του, ενώ παράλληλα καταδεικνύουν τον ευρύ ορίζοντα έρευνας που υπαγορεύει η μελέτη αυτού του υλικού. Έμφαση δόθηκε στον 18ο αιώνα (πιο συγκεκριμένα στο β' μισό του), εποχή ιδιαίτερα σημαντική για τη σχέση της Ευρώπης με την κλασική αρχαιότητα, μέσα από τη συνεργία ποικίλων παραγόντων. Ανάμεσα τους, η άμεση επαφή πολυάριθμων λογίων, καλλιτεχνών, πλούσιων και φιλότεχνων Ευρωπαίων με τα απτά ίχνη του αρχαίου κόσμου στη Ρώμη κυρίως, υπήρξε καταλυτική. Μπορεί μάλιστα να υποστηριχτεί ότι αυτή λειτούργησε και ως μοχλός για τη δόμηση μιας φαντασιακής πρόσληψης της ελληνικής αρχαιότητας.
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Álvarez Martínez, Gustavo. "The Eternal Return and Ricoeur’s Theory of Time in Faulkner’s The Sound and the Fury." LETRAS, no. 54 (July 14, 2013): 31–49. http://dx.doi.org/10.15359/rl.2-54.2.
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 Se analizan aspectos referidos al tratamiento del tiempo circular y recurrente en escritores estadounidenses e hispanoamericanos. Después de una amplia investigación sobre la historia del tiempo circular en filosofía y literatura, se procede con la puesta en práctica de la teoría narrativa de tiempo de Paul Ricoeur a la novela El sonido y la furia, de William Faulkner. Conforme a la teoría de Ricoeur, los lectores se mueven de manera circular en la narrativa, por lo que se comenta la circularidad del viaje imaginario y la linealidad de la búsqueda y su puesta en conjunto.
 
 
 
 This article provides in-depth information concerning the treatment of time, as circular and recurrent rather than rectilinear and progressive, by most American and Latin American writers. After an overall view of research on the history of circular time in philosophy and literature, follows the application of Paul Ricoeur’s theory of narrative time to the novel The Sound and the Fury by William Faulkner. Ricoeur’s theory proposes that readers move backwards and forward in narrative time and this study shows how the circularity of the imaginary travel and the linearity of the quest as such are thus put together.
 
 
 
 
 
 
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Duruz, Jean. "Love in a Hot Climate: Foodscapes of Trade, Travel, War, and Intimacy." Gastronomica 16, no. 1 (2016): 16–27. http://dx.doi.org/10.1525/gfc.2016.16.1.16.
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This article is about mapping—about charting dominant ways of seeing and understanding place, and the interruption of those ways. The argument traces a twentieth-/twenty-first-century culinary journey from Sri Lanka, through the Strait of Malacca, to the Pacific Ocean. Critical destinations on this route include the port cities of Colombo, Malacca, and Singapore. The journey, however, is not predominantly one shaped by oceans, nations, or the urban fabric of cities. Instead, we enter the “private” spaces of domestic kitchens to record glimpses of “mixed” food practices, characteristic of local Eurasian and Peranakan (Straits Chinese) communities. Drawing on traditional family dishes recorded in “cultural retrieval” cookbooks, the argument speculates that food discourses and meanings embedded in kitchens' everyday practices evade incorporation into the national culinary imaginary simply as representative of a “Sri Lankan,” “Malaysian,” or “Singaporean” heritage. Instead, the marriage of ingredients and distinctive flavors recorded in Peranakan and Eurasian recipes begs some unraveling of their complex histories. Within the intimacy of “mixed” marriages and the legitimacy of “mixed” cuisines, the article teases out how “the food of love” (Hutton 2000, 2007) becomes a powerful signifier of cuisine, tradition, memory, identity, and place—through and beyond the parameters of the “national.” Here, Yi-Fu Tuan's “fields of care” (1979) provide rich possibilities for meditation on alternative ways to chart territories of difference and intimate connection, and to acknowledge, within these territories, the ghostly labor of mothers, aunts, and servants.
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Verstraete, Ginette. "Railroading America." Theory, Culture & Society 19, no. 5-6 (2002): 145–59. http://dx.doi.org/10.1177/026327602761899192.
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This article studies the material production and consumption of the national community in 19th-century America. More particularly, it concentrates on the intersection between particular technologies of transportation, representation and dissemination in the spatial and imaginary formation of the American nation in the 1860s. Through an analysis of the contradictory mechanism of placement and displacement, identity and difference at the heart of a particular state-sanctioned field of national production the construction of America's first transcontinental railroad in 19th-century California the essay highlights what tends to remain hidden in narrowly defined `cultural' (textual) approaches to nationhood: its involvement in racial, gendered and class-related divisions between private and public space, home and travel, labour and capital, technology and nature.
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Poiret, Andréa. "«Le fjord glacé d’Ilulissat: la mise en tourisme d’un paysage naturel patrimonialisé»." Cem, no. 11 (2020): 294–312. http://dx.doi.org/10.21747/2182109711/cemv3.
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Tourism started slowly in Ilulissat (Greenland) in the 1980s-1990s, before expanding further in the 21st century since the UNESCO classification of the Sermeq Kujalleq Glacier Fjord and the fact that the Arctic has become a symbol of climate change. These journeys are both imaginary, described as «cryotropism», «borealism» or «nordicity», and very real: the impact of tourism is visible in the environment. A new international airport is planned for 2023. What type of tourist and there‑ fore travel will this attract? We asked ourselves to what extent the Ilulissat natural site could be managed in a sustainable way. In order to answer this question, we adopted the participant obser‑ vation from an immersion in the Ilulissat Fjord Office and conducted about twenty semistructured interviews.
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Navarro, María Belén. "Una poética de las ruinas: el viaje en busca de la España medieval de Frédéric Ozanam." Çédille, no. 18 (2020): 593–621. http://dx.doi.org/10.25145/j.cedille.2020.18.24.
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In Un pèlerinage au pays du Cid, Fréderic Ozanam depicts his journey of 1852 through Spanish lands. It records both his personal experience and the reconstruction of different discourses which intervened as well, such as historical, literary and legendary references, especially those linked to the Middle Age and perceived according to the ro-mantic conception of the time. The aim of this paper is not only to establish its categorisa-tion within the travel speeches by analyzing its textual configuration, but also to study its most striking aspects: the isotopies and intertexts. This approach will enable the recon-struction of the author's cultural imaginary, his horizon of expectations, the function of the isotopies and intertexts in the discursive framework as well as the overall purpose of the book.
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Mihăilă-Lică, Gabriela, and Lucian Robu. "Aspects of the Imaginary of the Romanian Principalities in the Stories of the British Travelers of the 18th Century." International conference KNOWLEDGE-BASED ORGANIZATION 22, no. 2 (2016): 457–62. http://dx.doi.org/10.1515/kbo-2016-0078.
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Abstract The present study aims to be a resynthesis of some of the most important pieces of memoir and travel literature of the 18th century, used as historical source that is essential for the understanding an epoch. Located in a geographical and historical meeting area of the political and economic interests of the European and extra-European empires, Walachia, Moldavia and Transylvania aroused the complex interests of the Great Powers, including, of course, the British Empire. The validity of this fact is supported by the remaining diplomatic reports that can be found in the diplomatic archives, by memoirs (today of an undeniable historical value), and by other memorialistic writings of numerous travelers, including those coming from the Anglo-Saxon space. The information of the utmost importance provided by these writings (the diplomatic reports also being included here) reconstruct not only historical and ethnographic realities, but also anthropological and economic history ones.
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Sahaj, Tomasz. "TRAVEL NARRATIVES IN CONTEMPORARY POLISH LITERATURE. ETHICAL, CULTURAL AND SOCIAL ASPECTS." Folia Turistica 49 (December 31, 2018): 288–311. http://dx.doi.org/10.5604/01.3001.0013.0832.
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Purpose. The presentation of results and analyses regarding on the journeys of ethical, cultural and social provenance in narratives available in contemporary Polish literature illustrated by chosen examples. Method. To prepare the presentation, qualitative methods were used together with the analysis technique of the content/plot of novels of autobiographies of contemporary Polish prose writers and travelers. The author analysed representative texts of such highly-regarded figures as philosophers by profession – Marek Kamiński, Joanna Bator, Krzysztof Środa – and wellknown writers: Andrzej Stasiuk, Krzysztof Varga, Ziemowit Szczerek and others. Findings. Research showed the authors’ great interest in history, culture, ethical and social issues during their numerous peregrinations all over Poland, Southern Europe and Central and Eastern Europe. The narration of the chosen author-travelers contains numerous reflections of existential-philosophical and cultural-social nature, focusing on sociological analysis. The interpretative framework in the works of the discussed authors fluctuates around local, global and glocal problems. Research and conclusions limitations. The study concerned only the works of Polish authors and concentrated on their journeys all over Poland, Southern and Central and Eastern Europe; borderlands, peripheral and cross-border areas. The phenomenon of the journeys of the analysed authors lies in the fact that their experiences are subjective, and their expeditions are undertaken to a considerable degree in mental space, a depicted world; they are unique imaginary adventures. Practical implications. Reading the works discussed in the article expands knowledge on culture, history and the society of countries where the authors undertake their ethically responsible travels. Their books can successfully become an element of literary/cultural tourism. Originality. In literature on the subject works concerning individual authors discussed in the article are dispersed. The advantage of the presented text is the depiction and analysis of the creative output of the examined authors in one place, including the characteristics of their journeys: spiritual, culinary, pilgrimage, cognitive and escape. Type of paper. The article is a review and a scientific, reflective essay.
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Johnston, Anna. "Becoming “Pacific-Minded”." Transfers 7, no. 1 (2017): 88–107. http://dx.doi.org/10.3167/trans.2017.070107.
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The travel writer Frank Clune saw World War II as a turning point in Australia’s consciousness, turning its inhabitants’ attention to the Pacific region. Similarly, the writer Ernestine Hill was delighted to find new American markets for her Australian books in wartime as troops were mobilized across the Pacific theater. In America, as Janice Radway has shown, the sentimental mode of “middlebrow personalism” enabled writers to engage their readers in wider geopolitical affairs. Middlebrow intellectuals, texts, and institutions were crucial in educating Americans about their evolving midcentury relationships with Asia, just as writers such as Clune and Hill educated Australians about the Pacific: a coalition of American and Australian mobilities and imaginaries in middlebrow midcentury print culture. This article examines the multiple ways in which these books and their writers “made Australia” in terms of a regional imaginary that extended across the Pacific during this period.
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Andreeva, Ekaterina A. "An imaginary journey to an utopian anti-world (on the example of “The Tale of Luxurious Life and Fun”)." RUDN Journal of Studies in Literature and Journalism 25, no. 2 (2020): 207–13. http://dx.doi.org/10.22363/2312-9220-2020-25-2-207-213.
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The Tale of a Luxurious Life and Fun is a late composition of Old Russian literature, it includes some references to European sources (including Polish and Ancient Roman literature). Democratic literature of the 17th century offered the readers to get acquainted with other characters and plots: a person who is not distinguished by virtues becomes the main character of the story, which deals with staying in an amazing country of luxury and fun and the way to this country. With special care, the author draws a possible and desirable life of a hawk and a lazy person in a utopian world, but warns about the cost of staying in such an amazing place. Parodying the genre of walking known in Old Russia, in which the pilgrim was enriched spiritually, the writer tells about a new type of travel that devalues and depersonalizes a person, deprives him of the possibility of development. The absence of direct edifying and didactic digressions, however, does not deprive the text of depth: the hero is given the opportunity to choose, and he has the right to decide how to behave and which path to choose.
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Galbraith, Marysia. "'Poland Has Always Been in Europe'." Anthropological Journal of European Cultures 20, no. 2 (2011): 21–42. http://dx.doi.org/10.3167/ajec.2011.200202.
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The paper explores ways in which individuals make use of the opportunities and resources provided by the European Union (EU), and how such instrumentalities can make the concept of Europe more salient for citizens. This is important to European Union studies generally because careful observation and analysis of everyday engagements can help to reveal the basis upon which the EU gains legitimacy, or, alternatively, the grounds for resistance to further integration. Through an examination of Poles' experiences of mobility, and their reflections about crossing national borders to work and travel, the paper shows that instrumentality is not just motivated by economic interests, but also by the desire to advance culturally, socially and symbolically within a global imaginary of hierarchically ranked nations. As such, support for European integration tends to weaken in situations where ongoing inequalities and exclusions lead to perceptions of social demotion. Further, instrumentalities can deepen meaningful engagement with the EU in ways that also reassert national loyalties.
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Chang, Li-ping. "NATIVE AMERICAN HISTORY, CULTURE AND SPIRITUALITY IN MARY POPE OSBORNE’S CHILDREN’S BOOK, BUFFALO BEFORE BREAKFAST." Mousaion: South African Journal of Information Studies 34, no. 2 (2016): 98–112. http://dx.doi.org/10.25159/0027-2639/354.
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Mary Pope Osborne is a prominent contemporary children’s book author, best- known for her Magic tree house series. She creates an imaginary world in which the books in the magic tree house literally transport her child protagonists, Jack and Annie, to other times and places. Osborne’s books are written simply so that young readers can follow a story that engages them, as they learn about diverse cultures, history and science. In Buffalo before breakfast (1999), the eighteenth book in the Magic tree house series, Jack and Annie travel to a Lakota camp on the Great Plains of North America in the 1800s, before the arrival of white prospectors, settlers and soldiers. By recreating the life of a traditional Lakota camp, Osborne gives readers a version of Native American history that has been silenced and marginalised. This article will examine her representation of Lakota history, culture and spirituality in Osborne’s Buffalo before breakfast, and cite research to support the story she tells.
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Anderson, Vaughn. "New Worlds Collide: Science Fiction's Novela de la Selva in Gioconda Belli and Santiago Páez." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (2012): 93–105. http://dx.doi.org/10.37536/ecozona.2012.3.2.474.
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The science fiction form adopted by Santiago Páez, in "Uriel" (2006), and Giaconda Belli, in Waslala (1996), owes the rudiments of its literary structure to early colonial narratives of New World encounter. Such science fiction not only contains strong traces of what Mary Louise Pratt has famously called the “rhetoric of discovery,” but also employs tropes directly or indirectly inherited from colonial travel narratives. However, Páez and Belli associate this science fiction form with a legacy of United States neo-imperialism, in which colonial narratives have been invoked and repeated triumphantly in the construction of national imaginaries. In Central and South America, conversely, the novela de la selva—the other clear structural source for Páez and Belli, and a literary form equally indebted to colonial narratives of New World encounter—remains conscious of its enunciation as a postcolonial form critical of its colonial narrative sources. While the novela de la selva, then, shares a literary taproot with sci-fi narratives of futuristic exploration, Páez and Belli utilize the latter to renovate and reactivate the former’s critique of an imperialist legacy by exploiting tensions that arise between these two disparate literary forms whose central tropes so often coincide. I argue that by adapting the ecologically aware New World imaginary peculiar to the novela de la selva, in which positivist ambitions of national expansion are checked by a forest that nevertheless becomes part of a national imaginary, Páez and Belli fundamentally alter the New World imaginary that underwrites high science fiction narratives of exploration and expansion. Resumen "Uriel" (2006), del Ecuatoriano Santiago Páez, y Waslala (1996), de la novelista nicaragüense Giaconda Belli, utilizan una forma específica de la ciencia ficción, la cual debe los elementos básicos de su estructura a las narrativas coloniales del "descubrimiento" del Nuevo Mundo. Este sub-género de la ciencia ficción no sólo demuestra lo que Mary Louise Pratt ha llamado una "rhetoric of discovery," sino que también emplea varios tropos heredados – directamente o indirectamente – de las crónicas coloniales. Sin embargo, en la obra de Páez y Belli, este sub-género se asocia principalmente con una tradición estadounidense de neoimperialismo, donde estas narrativas coloniales se celebran como parte integral de los imaginarios nacionalistas. En contraste, en Centroamérica y América del Sur, la novela de la selva – otra fuente narrativa para la obra de Páez y Belli, e igualmente fundamentada en las narrativas del descubrimiento del Nuevo Mundo – reconoce su propia enunciación como forma poscolonial y se mantiene crítica de sus fuentes coloniales. Así, mientras la novela de la selva comparte una raíz narrativa con este sub-género de la ciencia ficción, Páez y Belli hacen productivas las tensiones que surgen entre estas formas distintas cuyos tropos centrales, con mucha frecuencia, coinciden y entrechocan. En este ensayo argumento que el imaginario del Nuevo Mundo particular a la novela de la selva, marcado por una conciencia ecocrítica, sirve aquí para modificar y criticar los usos narrativos del Nuevo Mundo típicos de las narrativas futurísticas de exploración y expansión inter-galácticas.
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Lee, Gregory B. "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.]." China Quarterly 178 (June 2004): 536–37. http://dx.doi.org/10.1017/s0305741004400290.
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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.
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Schönle, Andreas. "Broken History and Crumbling Stones: The Romantic Conception of Architectural Preservation." Slavic Review 71, no. 4 (2012): 745–65. http://dx.doi.org/10.5612/slavicreview.71.4.0745.
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In this article Andreas Schönle explores the treatment of ruins in the Romantic period, in particular the propensity toward holistic reconstruction, rather than preservation of architectural heritage. He argues that the Romantic disregard of extant heritage harks back to the Sentimentalist infatuation with the fleetingness of life and dramatization of loss, that this melancholy feeling stoked a sense of national victimization, and that it legitimated an imaginary reinvention of the past and the constructedness of collective memory. The Church of the Tithe in Kiev serves as a case study illustrating that the Romantic commitment to totality has resulted in the significant destruction of architecture. Depictions of its ruins in travel accounts and in the writings of Vadim Passek and Andrei Murav'ev evidence a marked desire to exacerbate the sense of loss rather than to describe and valorize the remains. This disregard of heritage reprises the Sentimentalist infatuation with melancholy prominently deployed by Nikolai Karamzin. A comparison with Eugène Viollet-le-Duc in France and Augustus Pugin in England indicates that in Russia the invention of a national style of architecture required a much more radical imposition upon the historical landscape.
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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.
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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Khalid, Ruzelan, Mohd Kamal Mohd. Nawawi, Md Azizul Baten, and Nurhanis Ishak. "Analyzing and Optimizing Pedestrian Flow through a Single Route in a Topological Network." International Journal of Engineering & Technology 7, no. 2.14 (2018): 43. http://dx.doi.org/10.14419/ijet.v7i2.14.11152.
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In emergency cases, people are typically recommended to use the shortest route to minimize their travelling time. This recommendation may however not yield the optimal performance in the long run since the route may be over utilized after a certain point of time and this situation eventually causes heavy blockages. This paper thus measures the pedestrian flow performance through all available single routes in a topological network based on relevant arrival rates. The performance was measured using an M/G/C/C state dependent queuing approach which dynamically models pedestrians’ walking speed in relation to their current density in a route. The analysis was based on an imaginary network consisting of various routes and topologies. For each route, its performance in terms of the throughput, blocking probability, expected number of pedestrians and expected travel time was first evaluated. The performance was then compared to each other and also compared to the flow performance if all available routes were utilized. The results indicated that the shortest route did not necessarily generate the optimal throughput and that the utilization of all available routes to flow pedestrians generated better performance. The optimal performance could be obtained if the arrival rate was controlled at a certain level.
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Ladegaard, Jakob. "Tilbage til kosmos. Den sovjetiske rumfartsmytologi i litteratur, film og kunst efter kommunismens fald." K&K - Kultur og Klasse 40, no. 114 (2012): 93–108. http://dx.doi.org/10.7146/kok.v40i114.15705.
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BACK TO KOSMOS | In the decades following World War II, the utopia of a future communist state in the Soviet Union became linked to the tech nological conquest of cosmos through space travel. This relation found a primary expression in the heroic myths created in the popular visual culture surrounding the Soviet space program. After the collapse of the Soviet regime, the aesthetics and politics of its space ideology have been subjected to critical evaluation as part of a wider struggle over the legacy of the communist era. This article discusses three recent art works dealing with this issue: Victor Pelevin’s novel Omon Ra (1992), Adam Bartos’ photo book Kosmos – A Portrait of the Russian Space Age (2001) and Aleksei Fedorchenko’s film First on the Moon (2005). The article argues that the three works illustrate a development in the relation to the space myth from critical denunciation and even ridicule to ambivalent nostalgia. It is further suggested that this development is symptomatic for a wider change in the attitude towards utopic projects, which is not only expressed in the changing assessment of the legacy of the SovietUnion in Russia, but also in the aesthetic and political imaginary in our post-political era.
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Lu, Mingyang, Xiaobai Meng, Ruochen Huang, Anthony Peyton, and Wuliang Yin. "Analysis of Tilt Effect on Notch Depth Profiling Using Thin-Skin Regime of Driver-Pickup Eddy-Current Sensor." Sensors 21, no. 16 (2021): 5536. http://dx.doi.org/10.3390/s21165536.
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Electromagnetic eddy current sensors are commonly used to identify and quantify the surface notches of metals. However, the unintentional tilt of eddy current sensors affects results of size profiling, particularly for the depth profiling. In this paper, based on the eddy current thin-skin regime, a revised algorithm has been proposed for the analytical voltage or impedance of a tilted driver–pickup eddy current sensor scanning across a long ideal notch. Considering the resolution of the measurement, the bespoke driver–pickup, also termed as transmitter–receiver (T-R) sensor is designed with a small mean radius of 1 mm. In addition, the T-R sensor is connected to the electromagnetic instrument and controlled by a scanning stage with high spatial travel resolution, with a limit of 0.2 μm and selected as 0.25 mm. Experiments were conducted for imaging of an aluminium sheet with seven machined long notches of different depths using T-R sensor under different tilt angles. By fitting the measured voltage (both real and imaginary part) with proposed analytical algorithms, the depth profiling of notches is less affected by the tilt angle of sensors. From the results, the depth of notches can be retrieved within a deviation of 10% for tilt angles up to 60 degrees.
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Sharma, Yam Prasad. "Visual Rhythm in Krishna Prakash Shah's Abstract Paintings." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (2021): 10–17. http://dx.doi.org/10.3126/sjah.v3i1.35354.
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Krishna Prakash Shah's abstract paintings present visual rhythm in the canvas that provides a sensation of music, melody and motion. Lines, colors and shapes are running and flowing in a spontaneous manner as fluid without any obstacle on their way. Due to harmony and cohesion among colors and shapes, the visual compositions create a friendly atmosphere and comfort to our eyes. The artworks have such a power that invites the viewers to enter the canvas and explore the unknown world, having an adventurous imaginary journey. The viewers become the characters who travel back and forth along with the swinging shapes and lines. Due to the aesthetic experience of visual rhythm, the viewers become the one with the viewed artwork. The distance between the subject and the object is lost since the viewers assimilate with the artwork. The dynamic lines, colors and shapes are flowing spontaneously. This motion and flow suggest the visual melody and music. The scope of the study includes Krishna Shah's abstract paintings which have been explored from the perspective of visual rhythm and music as a tool for interpreting artworks. The study is qualitative since the artworks have the possibility of multiple interpretations. This paper, thus, attempts to trace the visual rhythm in his abstract compositions and their aesthetic values.
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Levanat-Peričić, Miranda. "The Chronotope of Exile in the Post-Yugoslav Novel and the Boundaries of Imaginary Homelands." Colloquia Humanistica, no. 7 (December 18, 2018): 82–97. http://dx.doi.org/10.11649/ch.2018.005.
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The Chronotope of Exile in the Post-Yugoslav Novel and the Boundaries of Imaginary HomelandsAlthough the chronotopic approach to the novels of exile is almost self-explanatory, certain specifics expressed by post-Yugoslav exile narrations evoke a separate chronotope interpretation. First and foremost, post-Yugoslav literature is additionally encumbered with the identity issue because the abandoned areas of the nineties for the exiled writer do not disappear at a metaphorical level, by turning into a mnemotope, but in the actual break-up of the political entity, the imaginary supranational heritage transforms itself into a kind of counterculture, mostly affirmed by exile writers. Therefore, returning to the abandoned place often becomes possible only as a return to the past. In this paper, the literary theme of exile will be followed comparatively, starting from the reflective nostalgia in the prose of Dubravka Ugrešić (The Ministry of Pain), through a global exile which reflects the history of the relationship between European persecutions and America as an unfair homeland, which breaks all identity support in the novels of Aleksandar Hemon (The Nowhere Man; The Lazarus Project), to the intra-Yugoslav, "hereditary" exile in the novels of Goran Vojnović (Chefurs Raus!; Yugoslavia, My Homeland), which fathers left to their sons like a curse of the genus. In the texts mentioned above, the chronotope of exile is dealt with at the level of genre, as the major, supreme chronotope, which includes or opens space to a series of specific local chronotopes, which are fundamental to exile narration. These motifs are also encountered in other genres, but in exile narration they are the bearing pillars of the genre. They are, by their nature, chronotopic because they are realised through the binary spatial-temporal categories of presence and absence, affiliation and non-affiliation, anchoring and nomadism. In this paper, I will look at three such chronotope motifs: 1) the motif of home as a non-place or a place of absence; 2) the motif of other/mirror country and other/”mirror” history; 3) the motif of return and travel (by train), which regularly invokes the stereotypical representation of the place and the past. Chronotop wygnania w powieści postjugosłowiańskiej i granice ojczyzn wyobrażonychChociaż chronotopiczne podejście do analizy powieści problematyzujących wygnanie wydaje się oczywiste, to specyficzne cechy postjugosłowiańskich powieści tego rodzaju wymagają szczególnej interpretacji koncepcji chronotopu, ponieważ literatura postjugosłowiańska jest dodatkowo obciążona kwestią tożsamości. Dla wygnanego pisarza opuszczone przestrzenie lat dziewięćdziesiątych nie znikają jedynie na poziomie metaforycznym, zamieniając się w przestrzeń pamięci (mnemotop), ale faktycznie przestają istnieć jako rzeczywisty byt polityczny. Tym samym, wyobrażone dziedzictwo ponadnarodowe przekształca się w swoistą kontrkulturę, w większości afirmowaną przez pisarzy na wygnaniu. Dlatego też powrót do opuszczonej przestrzeni często jest możliwy jedynie jako powrót do przeszłości. Artykuł omawia literacki motyw wygnania w perspektywie komparatystycznej. Rozpoczyna się od refleksyjnej nostalgii w prozie Dubravki Ugrešić (Ministerstwo bólu). Następnie wiedzie poprzez globalne wygnanie, które odzwierciedla historię związków między europejskimi prześladowaniami a Ameryką jako niesprawiedliwą ojczyzną łamiącą wszelkie tożsamości, w powieściach Aleksandra Hemona (Nowhere Man, The Lazarus Project). Wreszcie, dochodzi do wewnątrzjugosłowiańskiego wygnania „dziedzicznego” w powieściach Gorana Vojnovicia (Chefurs Raus!, Yugoslavia, My Homeland) – wygnania, które ojcowie pozostawili swoim synom niczym przekleństwo rodzaju. W wyżej wymienionych tekstach chronotop wygnania jest rozpatrywany na poziomie gatunku jako główny, nadrzędny chronotop, który zawiera w sobie lub otwiera przestrzeń dla szeregu specyficznych chronotopów lokalnych, fundamentalnych dla narracji wygnańczych. Chociaż podobne motywy występują także w innych gatunkach, to są one filarami w przypadku narracji wygnańczych, z natury chronotopicznych, gdyż realizowanych za pomocą binarnych kategorii czasoprzestrzennych: obecności i nieobecności, przynależności i braku przynależności, zakotwiczenia i nomadyzmu. W tym artykule przyjrzę się trzem takim motywom chronotopu: 1) motywowi domu jako nie-miejsca lub miejsca nieobecności; 2) motywowi innych/lustrzanych krajów i innych/lustrzanych historii; 3) motywowi powrotu i podróży (pociągiem), który regularnie przywołuje stereotypowe przedstawienie miejsca i przeszłości. Kronotop egzila u postjugoslavenskom romanu i granice imaginarnih domovinaPremda je kronotopski pristup romanima egzila gotovo samorazumljiv, određene specifičnosti koje iskazuje postjugoslavenske egzilne naracije prizivaju zasebnu kronotopsku interpretaciju. Prije svega, postjugoslavenska književnost opterećena je dodatnim identitetskim bremenom jer napušteni prostori devedesetih godina za pisca u egzilu ne nestaju na nekoj metaforičkoj razini seleći se u mnemotope, nego se stvarnim raspadom političke cjeline, imaginarna supranacionalna baština transformira u svojevrsnu kontrakulturu, najčešće afirmiranu upravo posredstvom egzilnih pisaca. Stoga i povratak na napušteno mjesto često postaje moguć samo kao povratak u prošlost. U ovom će se radu književna tema egzila pratiti komparativno, počevši od refleksivne nostalgije u prozi Dubravke Ugrešić (Ministarstvo boli), preko globalnog egzila u kojemu se zrcali povijest odnosa europskih progona i Amerike kao maćehinske domovine koja rastače sve identitetske oslonce u romanima Aleksandra Hemona (Čovjek bez prošlosti; Projekat Lazarus), do unutarjugoslavenskog, „naslijeđenog“ egzila u romanima Gorana Vojnovića (Čefuri raus!; Jugoslavija, moja domovina), koje, poput prokletstva roda, očevi ostavljaju sinovima. U navedenim tekstovima o kronotopu egzila govorimo na razini žanra, kao glavnom, nadređenom kronotopu koji uključuje ili otvara prostor nizu specifičnih lokalnih kronotopa ili motiva, ključnih za egzilnu naraciju. Te se motivske jedinice susreću i u drugim žanrovima, no u egzilnoj su naraciji nosivi stupovi žanra. Po svojoj su naravi kronotopični jer se realiziraju kroz binarne prostorno-vremenske kategorije prisutnosti i odsutnosti, pripadanja i nepripadanja, usidrenosti i skitalaštva. U ovom radu osvrnut ću se na tri takva kronotopska motiva: 1. motiv doma kao ne-mjesta ili mjesta odsustva; 2. motiv druge/zrcalne domovine i druge/zrcalne povijesti; 3. motiv povratka i putovanja (vlakom), koje redovito priziva stereotipnu reprezentaciju mjesta i prošlosti.