Academic literature on the topic 'Voyages and travels – Poetry'
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Journal articles on the topic "Voyages and travels – Poetry"
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Behrend, Heike. "“Wondering with an Unending Wonder”: Remarks on Ham Mukasa's Journey to England in 1902." History in Africa 25 (1998): 55–68. http://dx.doi.org/10.2307/3172180.
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Stephen Greenblatt has shown that wonder was the central characteristic of the first European encounters with the New World and the decisive emotional and intellectual experience in the face of radical difference (Greenblatt 1994:27). Wonder, says Greenblatt, appears to be a category immune to all denial and ideological co-optation, and it exerts an irresistible force. It occurs in a moment when meanings are lacking and is accompanied by the fragmentation of contextual understanding (Greenblatt 1994:33).Wonder was already an essential topic of discourses in philosophy and art even before the voyages of discovery (Matuschek 1991); thus, for Socrates, philosophy begins with astonishment and wonder, and the art of poetry intends the creation of the wondrous (Greenblatt 1994:33). Greenblatt argues that the frequency and intensity with which European discoverers of the late fifteenth and early sixteenth centuries referred to the experience of the wondrous provoked its conceptual elucidation (Greenlbatt 1994:34). The colonization of the wondrous began; and astonishment became a means of appropriation and subjugation (Greenblatt 1994:42).By the nineteenth century, the century of European journeys of discovery in Africa, wonder had been used up. English, French, and German travelers no longer wondered about anything. Their glance had achieved a confidence that allowed them to objectify and take possession of what was foreign to them. It was now the various Others, the objects of their glance, to whom they imputed the wonder they themselves were no longer capable of.
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Hill, Peter. "Arguing with Europe: Eastern Civilization Versus Orientalist Exoticism." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 405–12. http://dx.doi.org/10.1632/pmla.2017.132.2.405.
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The French romantic poet Alphonse de Lamartine traveled to the East—namely, Syria, Palestine, and parts of the Balkans—in 1832–33, with his wife and daughter. His account of these travels, the Voyage en Orient, was published in 1835 and went on to become one of the major Eastern travel-narratives of the nineteenth century. Edward Said was scathing about it in Orientalism: “What remains of the Orient in Lamartine's prose is not very substantial at all … the sites he has visited, the people he has met, the experiences he has had, are reduced to a few echoes in his pompous generalizations” (179). I would not dissent from this assessment. But Said was not the first to remark on the nature of Lamartine's representations of the Orient. In 1859, twenty-four years after the French poet's visit to the East, a young Beiruti poet and journalist, Khalīl al-Khūrī, made an Arabic translation and commentary, with some sharp criticisms, of one of the poems included in Voyage en Orient.
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Cotter, James Finn. "Poetry Travels." Hudson Review 42, no. 3 (1989): 514. http://dx.doi.org/10.2307/3850833.
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TUFFÉRY, Jean. "VOYAGES DE MICHEL LEIRIS." Analele Universității din Craiova, Seria Ştiinte Filologice, Langues et littératures romanes 25, no. 1 (January 24, 2022): 307–23. http://dx.doi.org/10.52846/aucllr.2021.01.21.
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Our paper aims at understanding how travelling shaped Michel Leiris’ life and work. For Leiris, travelling is first a therapeutic escape, which enables him to overcome hardships by breaking away from his environment. Dissatisfied with his nature of his travels, he searches for another way to travel by taking up ethnography, expecting that it will provide him with an opportunity to establish an authentic contact with others. Disillusioned by an ethnographic mission in Africa, he comes to realise that true contact can only be achieved through a common fight against colonialism. Chagrined by his numerous travels, he finally commits to a one-way journey by attempting to commit suicide.
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Jones, Christa. "Sufi Mysticism and Dreams in Nabil Ayouch’s Ali Zaoua, Prince of the Streets." Jeunesse: Young People, Texts, Cultures 5, no. 2 (December 2013): 80–95. http://dx.doi.org/10.3138/jeunesse.5.2.80.
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This article examines the poetics of childhood in Moroccan filmmaker Nabil Ayouch’s Ali Zaoua, Prince of the Streets, focusing on dream culture, sea travel, and elements of Sufi mysticism. In Ali Zaoua, symbols such as eyes, a compass, Twin Towers, sea travel, and an imaginary island with two suns visualize an Islamic dream culture. Ayouch presents the cruelty of life on the streets marked by violence, filth, and concrete, yet the film celebrates a dream culture by focusing on fantasy, images of a spiritual voyage, poetry, and Sufi mysticism, which eclipse the harsh, socially realistic portrayal of the lives of homeless children.
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Ewertowski, Tomasz. "Slavs on Steamships. Steamship Travels between Europe and Asia, 1869–1890." Poznańskie Studia Slawistyczne, no. 23 (February 10, 2023): 19–43. http://dx.doi.org/10.14746/pss.2022.23.1.
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This article examines diverse travel narratives about steamship voyages to Asia in the first two decades after the opening of the Suez Canal, with special focus on journeys through the Suez Canal, Red Sea, and Indian Ocean. Sources include Polish, Serbian and Russian authors: Julian Fałat, Vlado Ivelić, Lucjan Jurkiewicz, Milan Jovanović, Vsevolod Krestovskiy, Karol Lanckoroński, Bronisław Piłsudski, Paweł Sapieha, Henryk Sienkiewicz, Ivan Yuvachev, Hugo Zapałowicz, and Ivan Zarubin. Given this variety of sources, consisting of 12 accounts in 3 languages, written by different types of travellers with dissimilar social backgrounds, it is possible to demonstrate a variety of phenomena that may be associated with steamship voyages. The two main issues examined here are: 1) the coexistence of multiple mobilities in the era of steam power, 2) different experiences of time while voyaging.
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Gębora, Agnieszka Katarzyna. "Pedagogical Values of Renaissance Travels." International Letters of Social and Humanistic Sciences 49 (March 2015): 185–91. http://dx.doi.org/10.18052/www.scipress.com/ilshs.49.185.
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The time of the Renaissance created the new model of the man-humanist. European patterns stimulated to the cultural or educational development of different fields of the social life. A bloom of the education took place, a thirst for knowledge, an interest in learning, world, travels, getting new experiences. A man educated, being good at foreign languages, opened for changes was appreciated. Geographical discoveries and their effects forever changed the image of the earth. Sixteenth-century peregrinations contributed to the development of states, economic and civilization expansion, and the bloom of culture area. Pedagogic meaning of Renaissance journeys is indisputable. Experience from voyages all over world, extending ranges, the permeation of cultures, the learning of foreign languages, the increase in the knowledge, the development of learning, education and artistic fields bear fruit to this day in the global scale.
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Novaes, Sylvia Caiuby. "Voyages as exercises of the gaze." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (December 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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Bayliffe, Janie, Raymond Brie, and Beverly Oliver. "Tech Time: Using Technology to Enhance “My Travels with Gulliver”." Teaching Children Mathematics 1, no. 3 (November 1994): 188–91. http://dx.doi.org/10.5951/tcm.1.3.0188.
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“Journey in Mathematics: 'My Travels with Gulliver'” is a California state-approved fourth-through sixth-grade unit integrating mathematics, reading, listening, writing, and drawing. The unit is based on the classic story Gulliver's Travels, written by Jonathan Swift in 1726, which describes Gulliver's voyages to Lilliput, the land of tiny people, and Brobdignag, the land of giants. Titania is a land created by the authors of the unit, and Ourland is the students' own classroom. The unit encourages students to explore scaling, measurement, area, and perimeter in a hands-on fashion, such as when Gulliver encounters a carpet peddler.
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Mathew, Johan. "Sindbad's Ocean: Reframing the Market in the Middle East." International Journal of Middle East Studies 48, no. 4 (September 30, 2016): 754–57. http://dx.doi.org/10.1017/s002074381600088x.
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There are few figures as universally beloved and yet recognizably “Middle Eastern” as Sindbad. The text of Sindbad's seven voyages travel easily across continents and languages and many of the tales blur imperceptibly into those of Homer'sThe Odysseyand Swift'sGulliver's Travels. Yet this swashbuckling adventurer is also firmly situated in the world of Abbasid Iraqandthe Indian Ocean world. Sindbad is clearly identified as a good Muslim and respected Baghdadi merchant, and while fantastical, there are recognizable geographic and cultural markers that locate his voyages within the Indian Ocean world. This iconic character of Arab popular culture pushes us to contemplate how easily the Arab world flows into that of the Indian Ocean.
Dissertations / Theses on the topic "Voyages and travels – Poetry"
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Zilcosky, John. "Kafka's travels : exoticism, colonialism and the traffic of writing /." New York : Palgrave Macmillan, 2003. http://catalogue.bnf.fr/ark:/12148/cb41352859h.
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Boudreaux, Brandon. "Collective." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1271692395.
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Herrero, Massari José Manuel. "Libros de viajes de los siglos XVI y XVII en España y Portugal : lectura y lectores /." Madrid : Fundación Universitaria Española, 1999. http://www.gbv.de/dms/sub-hamburg/313408238.pdf.
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Drake, Fred W. Ren Fuxing. "Xu Jiyu ji qi Ying huan zhi lüe." Beijing : Wen jin chu ban she, 1990.
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Thompson, Carl Edward. "Travelling to a martyrdom : the voyages and travels genre and the romantic imagination." Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:2af04026-129e-4731-a0fc-255071484fc6.
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This thesis explores the influence of the voluminous travel literature of the eighteenth and early nineteenth centuries on the imagination of Romantic writers such as Wordsworth and Byron, with particular reference to the theme of suffering in travel. It examines the ways in which Romantic travel, and Romantic writings about travel, are often 'scripted' by a body of prior travel literature which today is largely overlooked. The travel texts in question all foreground the elements of danger and discomfort in the travelling experience, and the thesis begins by arguing that an interest in the traveller's misadventures was an integral part of the appeal of travel writing in this period, constituting almost a mode or sub-genre within Voyages and Travels. Taking one strand of this literature of 'misadventure', the narrative of shipwreck, mutiny and other maritime misadventures, Chapter 1 explores the different rhetorical strategies used by writers to recount the sufferings of travellers. Accounts by John Newton, William Dampier, John Byron, George Shelvocke and others illustrate, broadly, a shift from Providentialism to sentimentalism in the handling of misadventure; they illustrate also the various philosophical, theological and political issues which are involved for any reader trying to make sense of the sufferings described. Chapter 2 then considers how these conventions of misadventure are borrowed by another sub-genre of Voyages and Travels, the exploration narrative. Using the accounts of James Cook, John Ross, Edward Parry, James Bruce and Mungo Park, the chapter argues that in being thus exploited by explorers, a further layer of political significance - touching on matters of empire and modernity attaches itself to the idea of suffering in travel. Chapters 1 and 2 illuminate positive stimuli to the Romantic interest in misadventure, showing how suffering in travel could be regarded as signifying, variously, divine election, authenticity, moral worth, political protest, and much else besides. Chapter 3 is short contextual chapter which suggests that there was also a negative stimulus to the Romantic taste, for misadventure, in the form of a rapidly growing, diversifying tourism. Focussing especially on the picturesque tourist delineated by William Gilpin, and the classical Grand Tourist influenced by Joseph Addison, it suggests that Romantic writers and travellers prized discomfort and danger in travel not only for its own sake, but also because it served to distinguish them from other types of recreational traveller. Chapters 4 and 5 discuss Wordsworth and Byron respectively, showing how the conventions and attitudes explored in Chapters 1 and 2, and the use of travel as a mode of social distinction explored in Chapter 3, play out in both the writings and the actual travels of these two major Romantic figures. Both men present themselves as misadventurers, and borrow rhetorical strategies from the earlier travel literature to do so. At the same time, Wordsworth and Byron each borrow different elements from the earlier texts, or make a different inflection of the same inherited conventions. Exploring these differences, and referring to a range of texts notably the Salisbury Plain poems, The Borderers and the 'Analogy Passage' of The Prelude for Wordsworth, and Childe Harold, Don Juan Canto 2 and The Island for Byron chapters 4 and 5 articulate the very different political, philosophical and aesthetic points being made by Wordsworth and Byron as they pose, both on the page and in actuality, as suffering travellers.
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Hollsten, Laura. "Knowing nature : knowledge of nature in seventeenth century French and English travel accounts from the Caribbean /." Åbo : Institutionen för språk och kulture, Humanistiska fakulteten, Åbo Akademi, 2006. http://www.loc.gov/catdir/toc/fy0713/2006499859.html.
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Marinot-Marchand, Delphine. "Le Rhin suisse dans la littérature de voyage européenne du XVe au XIXe siècle." Phd thesis, Université du Maine, 2011. http://tel.archives-ouvertes.fr/tel-00669625.
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Au coeur de la culture et de l'histoire européennes depuis plus de deux mille ans, le Rhin faitl'objet d'une abondante littérature. La fascination qu'il exerce s'accompagne généralementd'une focalisation sur certains secteurs de son cours dont la Suisse semble exclue, alors que lefleuve prend sa source dans ce pays et qu'il le traverse ou le longe sur environ 250 kilomètres.La Suisse étant, surtout depuis le milieu du XVIIIe siècle, une destination de voyage trèsprisée, l'objectif de notre recherche a été de savoir si l'intérêt apparemment limité pour leRhin helvétique valait également dans le domaine de la littérature de voyage. Basé surl'analyse de guides, d'ouvrages descriptifs et iconographiques et de récits de voyage, leprésent travail a pour objet de mettre en lumière les représentations du fleuve depuis sessources jusqu'à Bâle telles qu'elles ont été véhiculées par la littérature viatique européenne duXVe au XIXe siècle. Notre corpus ne se limitant pas à la sphère germanophone, nous abordonsl'image du Rhin suisse sous un angle comparatiste et proposons un panorama européen desreprésentations en question. Par ailleurs, notre enquête s'inscrit dans l'évolution de laperception du paysage, tant dans ses manifestations naturelles que culturelles, et s'efforce defaire ressortir l'influence de notions comme le sublime et le pittoresque sur les écrits que nosauteurs ont consacrés au tronçon helvétique du fleuve.
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Migliavacca, Adriano Moraes. "Hart Crane's "Voyages" : analysis and translation." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76225.
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O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos.The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.
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Beames, Simon K. "Overseas youth expeditions : outcomes, elements, processes." Thesis, University of Chichester, 2004. http://eprints.chi.ac.uk/848/.
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This case study examines the participant outcomes, critical elements, and processes of young people's experiences on a ten-week expedition to West Africa. A secondary aim was to explore how one expedition structure caters to the varied goals of the participants. The study's rationale lies in the limited research focusing on young people's accounts of their experiences and how outcomes in overseas youth expeditions are achieved. Symbolic interactionism provides a framework for exploring the ways in which young people construct meaning and identity from their experiences. Mead's (1934) and Cooley's (1962; 1964) work illustrate how individuals develop their 'self through interaction with expedition team-members'. Blumer (1969) helps to understand how participants are influenced by their interpretations of the physical, social, and abstract objects with which they interact. Principal data collection involved interviewing 14 young people before, during, and six months after the expedition. Secondary data were derived from informal discussion and participant observation. Interview transcripts were interpreted using a combination of phenomenology and thematic analysis. Verification relied on member checks, investigator triangulation, and peer review. The data suggest that an overseas expedition is a highly subjective experience. People came for a wide range of reasons and took away learnings with personal relevance. The principal outcomes are improved relationships with one's self, with others, and with greater society. The critical elements of the experience are living with three different and diverse groups, being self-sufficient in an unfamiliar rural environment, and participating in activities perceived as challenging and worthwhile. Participants processed their experiences through reflection, one-to-one conversations with staff, and informal dialogue with their peers. The thesis concludes that effective expeditions encourage each participant to determine their own learning. Groups comprised of people from varied backgrounds who interact in unfamiliar settings yield critical opportunities for individuals to reexamine and modify the attitudes that shape their actions. Finally, staff should ensure that participants have ample time to interpret their own experiences through unstructured reflection and informal conversation.
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Menzies, Ruth. "Les "Voyages de Gulliver" de Jonathan Swift et la tradition française du voyage imaginaire : parcours intertextuels et identité générique." La Réunion, 2004. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/04_06_Menzies.pdf.
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Les "Voyages de Gulliver" s'inscrivent dans la tradition du voyage imaginaire, genre fondé par Lucien de Samosate, et qui a connu un grand essor en France au XVIIe siècle. Les liens entre l'oeuvre de Swift et les récits en français relèvent de deux types. D'une part, des relations intertextuelles rattachent les "Voyages" à plusieurs hypotextes (l'"Histoire véritable" dans la version des d'Ablancourt, le "Quart livre" de Rabelais et "L'autre monde" de Cyrano de Bergerac). D'autre part, certaines similitudes résultent de l'appartenance commune au genre du voyage imaginaire. Partageant de nombreux codes et topoi͏̈ avec l'"Histoire des Sévarambes" de Veiras, "La Terre australe connue" de Foigny, et les "Voyages et aventures de Jacques Massé" de Tyssot de Patot, le récit de Swift s'ancre dans un réseau générique, et mène une réflexion critique sur la société, sur les rapports entre vérité et fiction ainsi que sur la continuité littéraire, quíl incarne et perpétue"Gulliver's travels" belong to the imaginary voyage tradition, founded by Lucian of Samosata and particularly popular in 17th-Century France. The links between Swift's work and the texts in French are of two types. The "Travels" are intertextually connected to several hypotexts (the d'Ablancourt version of the "True history", Rabelais' "Quart livre", Cyrano de Bergerac's "L'autre monde"), whereas other resemblances are the result of traits characteristic of the genre. Swift's text shares many codes and topoi͏̈ with Veiras' "Histoire des Sévarambes", Foigny's "Terre australe connue" and Tyssot de Patot's "Voyages et aventures de Jacques Massé", anchoring itself firmly within a textual network in order to reflect upon human society, truth and fiction, as well as literary continuity, which the work both embodies and perpetuates
Books on the topic "Voyages and travels – Poetry"
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Filsinger, John. In quest of truth and beauty: A life in song and image. Indiana, Pa: A.G. Halldin Pub. Co., 1993.
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editor, Śāstrī Parameśvaranārāyaṇa, and Rashtriya Sanskrit Sansthan, eds. Vaideśikāṭanam: Mahākāvyam. Navadehalī: Rāṣṭriyasaṃskr̥tasaṃsthānam, 2017.
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Fontes, Luis Olavo. Papéis de viagem: Poesias reunidas (73-81). Rio de Janeiro: Editora Seis, 1993.
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Fontes, Luis Olavo. Papéis de viagem: Poesias reunidas (73-81). Rio de Janeiro: Editora Seis, 1993.
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Mackenzie, Alexander. "Voyages from Montreal." In Travels, Explorations and Empires, 211–45. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113317-7.
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Mackenzie, Alexander. "Voyages from Montreal." In Travels, Explorations and Empires, 83–94. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113331-5.
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Kitson, Peter J. "Hawkesworth: Voyages in the Southern Hemisphere." In Travels, Explorations and Empires, 1–40. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113386-1.
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Smith, Mark M., and Timothy Lockley. "Barclay, The Voyages and Travels of James Barclay." In Slavery in North America: From the Colonial Period to Emancipation, 109–21. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003113867-2.
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Keith, Alison. "Women's travels in Latin elegy*." In Travel, Geography, and Empire in Latin Poetry, 81–97. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003120773-5-5.
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FitzRoy, Robert. "Narrative of the Surveying Voyages of HMS Adventure and Beagle." In Nineteenth-Century Travels, Explorations and Empires, 37–78. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003113485-2.
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Cook, John. "Voyages and Travels through the Russian Empire, Tartary and Part of Persia." In Muscovy, 121–33. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003389750-18.
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Almeida, Catarina Nunes de. "Viaggi, tempi e mondi: l’Oriente nell’opera di Mário Cláudio." In Studi e saggi, 343–52. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.26.
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The starting point of this paper is three works of the contemporary Portuguese writer Mário Cláudio – the novels Peregrinação de Barnabé das Índias (1998), Os Naufrágios de Camões (2017) and the play A Ilha de Oriente (1989) –, focusing on how the author rewrites the voyages of Discovery of the 16th century and shapes an image of the East. My aim is to analyse the representation of the so-called Orient and the memory of maritime travels, not only from the point of view of Mário Cláudio’s poetics, but also in the light of a collective discourse that is at the same time aesthetic, historical and mythical.
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Fischer, Susanna. "Chapter 18. Latin orientalism." In Comparative History of Literatures in European Languages, 296–307. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.18fis.
Full textAbstract:
Different practical aims and motivations that are reflected in Latin travel and pilgrimage literature led to voyages outside Europe in the Middle Ages. The chapter will begin by outlining the nature and content of travel and pilgrimage literature on extra-European travel as well as the development, the continuity and the changes in this genre. A second section addresses transmission, manuscripts, and circulation as well as audience and reception. The focus of pilgrimage narratives widens and also includes non-Christian features at the same time as reports on East-Asia-Travels emerge. To illustrate this development, the depiction of mirabilia in Wilhelm of Boldensele’s and Odoric of Pordenone’s writings are discussed.
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Mason, Nicholas, and Anthony Jarrells. "John Galt ‘The Steam-Boat; No. VI. Or, The Voyages and Travels of Thomas Duffle, Cloth-merchant in the Saltmarket of Glasgow’." In Blackwood's Magazine, 1817-25, Volume 2, 135–71. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003312604-9.
Full textConference papers on the topic "Voyages and travels – Poetry"
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Spencer, Herbert. "The epic and poetics of the Travesía as a space of resistance in design education." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.193.
Full textAbstract:
The "Travesías" are an emblematic practice of the PUCV School of Architecture and Design, recognised as a radical element in the training of designers and architects. They originated not from a pedagogical intentionality but from an artistic impulse inherent in the poetry-craft relationship (and, within the framework of a school, in the teacher-disciple relationship). Their systematisation as a permanent part of the curriculum is a later phenomenon due to their resounding success in disciplinary apprenticeship. The theoretical and poetic foundations of the travesías are multiple and varied, each essential to the school. These include contemplative observation as the primary action of the craft, the permanent question about America and being American, the collective sense in the epic of undertaking a shared adventure and the sense of the Work from its inaugural and gratuitous sense. These elements coexist and intersect and amplify each other, constituting the rich complexity that defines the experience of the voyages. The contemporary context poses severe challenges to these fundamental principles, both in the installation of new subjectivities and new ethos and in institutional and normative aspects. Greater psychological fragility among young people results in a much lesser willingness to engage in physical adventures in wild environments, with less focus and much more fragmented attention. At the institutional level, the judicialisation of education and the right to free education commodify time, threatening the viability of travesías as an enterprise that exceeds mere instruction, to name but a few aspects that threaten them. Moreover, in an age that advocates tackling more significant practical challenges such as energy sustainability, access to clean water, climate change or social inequality, to name but a few, a "poetic purpose" is indeed an oxymoron. Furthermore, it risks being misunderstood as irresponsible: in times of urgency, there is no room for poetry, apparently. The sense of design as a problem solver does not necessarily reveal the depth and richness of the possible. This presentation seeks, first, to critically examine the meaning of travesías in the light of contemporary challenges and, second, to open a dialogue with the academic and professional community to discuss whether these fundamental principles are still recognised as valuable. Also, explore new ways and means of reinventing travesías, especially when their core values are threatened by the cultural and systemic transformations of our time.
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Wilkomirsky, Michèle. "Design Journey: A View from the Global South." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.189.
Full textAbstract:
In 1984 the Travesías was incorporated as a preponderant activity in the study plan for all the Architecture and Design workshops at the Pontificia Universidad Católica de Valparaíso from Chile. The voyages are study tours of professors and students whose purpose is to build together a work of design construction and light duration somewhere in America. The equation of the journey is always open: the place, the number of resources and impediments make it an adventure. But it is not an adventure without measure, but that of allowing ourselves to be surprised by some dimension of America that we do not know or believe we know, and then we feel in direct experience. The Travesías project constitutes the last of the inventions of the school, which, together with the Phalène, Ciudad Abierta and the churches built by the Work Workshops in the south of Chile, has been developing to fulfil the vision of inhabiting this American continent. It was to realize a utopia, of itself the unrealizable. However, the saying of poetry and the doing of design propose the fit of life, work, and study. The first step was forty years ago with the founding of the Institute of Architecture, and ten years ago, the passage of the e Travesías that go out to tour the continent. These steps are not intermediaries for other purposes; if not so that our days are simultaneous to our work, and thus, we reach the present. After almost 20 years of experiencing these Travesías, we still ask ourselves about our poetic destiny as a vision of this America not discovered but founded as a gift. The journey, unlike the class in the classroom, incorporates the life of the student, their customs and social ties, as well as their personal characteristics, values, attitudes and knowledge of life. This can only be appreciated and evidenced through uprooting pedagogy in the classroom. Then, once the student is subjected to an extraordinary life regime, it will be precisely his most intimate thoughts and actions that will remain in all evidence, a situation that is difficult to obtain in the traditional and regulated structure that constitutes teaching in the classroom to this day. This presentation illustrates the last Design Travesía, held in November of the present year and the continuous question about our global south.