Anthem Studies in Travel – serie

‘Travellers to the Middle East from Burkhardt to Thesiger’ is a compendious anthology of travellers' writings produced during the high tide of Britain’s involvement in the Middle East. The anthology contains extracts from many of the canonical travel texts of the period, including passages by T. E. Lawrence, Gertrude Bell and Robert Byron, as well as many more extracts from both female and male writers. The anthology is also enlivened by the broad geographical span covered, including descriptions of territories in the Ottoman Empire, Egypt, Arabia and Persia.

'Virtual Voyages' is a fascinating account of the European discovery of the elusive 'great south land' told through the literature of 'imaginary voyages'. Written at the height of the era of European maritime exploration, these bizarre and captivating tales, with their wildly imaginative visions of antipodean inversion and strangeness, reveal a hidden history of attitudes to colonization. By exposing the relationship between myth and reality in the antipodes, this book casts new light on the power of fiction to influence history.

This is the first illustrated edition of the diaries kept by Australian-born photographer and film maker Frank Hurley about his work on the Mawson and Shackleton Antarctic Expeditions, his two expeditions to Papua in the 1920s, and his experiences during the First and Second World Wars. While Hurley is best known today as a photographer and film maker, there is another source, so far little known to the public, which also gives us a startling sense of the presence of the past – his voluminous manuscript diaries, which have survived years of world travel and are now carefully preserved in the archives of the National Library of Australia in Canberra and the Mitchell Library in Sydney. This illustrated edition of his diaries presents Frank Hurley in his own words, explores his testimony to these significant events, and reviews the part he played in imagining them for an international public.

‘Photography, Early Cinema and Colonial Modernity’ is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker. The focus of this volume surrounds the media events that encompassed these various creations – what Hurley called his ‘synchronized lecture entertainments’. These media events were at once national and international; they involved Hurley in an entire culture industry that was constantly in movement along global lines of travel and communication. This raises complex questions both about the authorship of Hurley’s photographic and filmic texts – which were often produced and presented by other people – and about their ontology, as they were often in a state of reassemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life enjoyed by Hurley’s creations amidst the complicated topography of the early twentieth century’s rapidly internationalizing mass-media landscape. As a way to conceive of that space, and of the social life of the people and things within it, this study uses the concept of ‘colonial modernity’.

This critical study examines the theme of interpersonal encounter in a range of late twentieth- and early twenty-first-century travel writing written in French and Italian. Structured typologically, each chapter focuses on a typical activity that brings traveller-protagonists into contact with other people. Drawing on literary critical studies of travel writing, sociological and anthropological approaches to tourism, as well as research in French and Italian area studies, ‘Interpersonal Encounters in Contemporary Travel Writing’ locates the concept of encounter within the context of modern tourism.

‘Gamle Norge and Nineteenth-Century British Women Travellers in Norway’ presents an account of the development of tourism in nineteenth-century Norway and considers the ways in which women travellers depicted their travels to the region. Tracing the motivations of various groups of women travellers, such as sportswomen, tourists and aristocrats, this book argues that in their writing, Norway forms a counterpoint to Victorian Britain: a place of freedom and possibility.

This critical study examines the theme of interpersonal encounter in a range of late twentieth- and early twenty-first-century travel writing written in French and Italian. Structured typologically, each chapter focuses on a typical activity that brings traveller-protagonists into contact with other people. Drawing on literary critical studies of travel writing, sociological and anthropological approaches to tourism, as well as research in French and Italian area studies, ‘Interpersonal Encounters in Contemporary Travel Writing’ locates the concept of encounter within the context of modern tourism.

Ever since human beings first travelled, cities have constituted important material and literary destinations. While the city has formed a key theme for scholars of literary fiction, travellers’ writings on the western city have been somewhat neglected by travel studies. However, travel writing with its attention to difference provides a rich source for the study of representational strategies and tactics in modern urban space.Beginning at the Crystal Palace in 1851 and ending up in the skyscrapers of NYC, this book analyses the writings of lesser-known as well as canonical French travel writers, including Paul Morand, Jean-Paul Sartre, Georges Perec and Jean Baudrillard. Tracing the work of these writers in London and New York from 1851 to the 1980s, it contributes to a body of work that analyses travel and travel writing beyond the Anglophone context, and engages in questions pertaining to the French imagination of possible meanings for life in the modern city. One of the central tenets of the book is that, in the way its spaces are planned, encountered and represented, the city is active in formulating identities, while the book’s guiding question is how analysis of French travel writing allows us to explore the multiplicity of urban modernities by engaging with the historical and cultural differences internal to ‘the West’.Bringing together the strands of theory, context and poetic analysis, the book treats of travel writing as a spatial practice, one that engages representations of urban space in questions of nationality, power and legibility. In this way, it opens avenues for the exploration of urban modernity from a position of alterity, whereby alternative imaginative geographies of the city come into view.

This book derives from the conviction that Marguerite Blessington (1788–1849) merits scholarly attention as a travel writer, and thus offers the first detailed analysis of Blessington’s four travel books: ‘A Tour in The Isle of Wight, in the Autumn of 1820’ (1822), ‘Journal of a Tour through the Netherlands to Paris in 1821’ (1822), ‘The Idler in Italy’ (1839) and ‘The Idler in France’ (1841). It argues that travelling and travel writing provided Blessington with endless opportunities to reshape her public personae, demonstrating that her predilection for self-fashioning was related to the various tendencies in tourism and literature as well as the changing aesthetic and social trends in the first half of the nineteenth century.

Keywords for Travel Writing Studies draws on the notion of the ‘keyword’ as initially elaborated by Raymond Williams in his seminal 1976 text Keywords: A Vocabulary of Culture and Society to present 100 concepts central to the study of travel writing as a literary form. Each entry in the volume is around 1,000 words, the style more essayistic than encyclopaedic, with contributors reflecting on their chosen keyword from a variety of disciplinary perspectives. The emphasis on travelogues and other cultural representations of mobility drawn from a range of national and linguistic traditions ensures that the volume has a comparative dimension; the aim is to give an overview of each term in its historical and theoretical complexity, providing readers with a clear sense of how the selected words are essential to a critical understanding of travel writing. Each entry is complemented by an annotated bibliography of five essential items suggesting further reading.

Ever since human beings first travelled, cities have constituted important material and literary destinations. While the city has formed a key theme for scholars of literary fiction, travellers’ writings on the western city have been somewhat neglected by travel studies. However, travel writing with its attention to difference provides a rich source for the study of representational strategies and tactics in modern urban space.Beginning at the Crystal Palace in 1851 and ending up in the skyscrapers of NYC, this book analyses the writings of lesser-known as well as canonical French travel writers, including Paul Morand, Jean-Paul Sartre, Georges Perec and Jean Baudrillard. Tracing the work of these writers in London and New York from 1851 to the 1980s, it contributes to a body of work that analyses travel and travel writing beyond the Anglophone context, and engages in questions pertaining to the French imagination of possible meanings for life in the modern city. One of the central tenets of the book is that, in the way its spaces are planned, encountered and represented, the city is active in formulating identities, while the book’s guiding question is how analysis of French travel writing allows us to explore the multiplicity of urban modernities by engaging with the historical and cultural differences internal to ‘the West’.Bringing together the strands of theory, context and poetic analysis, the book treats of travel writing as a spatial practice, one that engages representations of urban space in questions of nationality, power and legibility. In this way, it opens avenues for the exploration of urban modernity from a position of alterity, whereby alternative imaginative geographies of the city come into view.

This book derives from the conviction that Marguerite Blessington (1788–1849) merits scholarly attention as a travel writer, and thus offers the first detailed analysis of Blessington’s four travel books: ‘A Tour in The Isle of Wight, in the Autumn of 1820’ (1822), ‘Journal of a Tour through the Netherlands to Paris in 1821’ (1822), ‘The Idler in Italy’ (1839) and ‘The Idler in France’ (1841). It argues that travelling and travel writing provided Blessington with endless opportunities to reshape her public personae, demonstrating that her predilection for self-fashioning was related to the various tendencies in tourism and literature as well as the changing aesthetic and social trends in the first half of the nineteenth century.

Reconnaissance au Maroc is Charles de Foucauld’s adventurous account of his Moroccan explorations. For eleven months in 1883–84, Foucauld travelled through a country then off-limits to Europeans, documenting its landscape and charting its waterways. He travelled in disguise as a Russian rabbi, Joseph Aleman, accompanied by the real rabbi Mardochée Aby Serour, and sought hospitality in the mellahs, Jewish quarters, of villages along their route. Foucauld meticulously recorded every day of his time in Morocco, and by the time his memoir was published in 1888 it had already garnered praise in France and the prestigious gold medal from the Société de Géographie de Paris. The book is more than merely a travel memoir, however: as an artefact of cultural and religious encounter, and as a scientific compendium, Reconnaissance au Maroc offers an extraordinary glimpse of the late-nineteenth century French mentality toward North Africa, as well as a cross-section of Moroccan society in the pre-colonial era. Rosemary Peters-Hill’s volume translates Foucauld’s work into English for the first time, situating Reconnaissance within the contexts of both late-nineteenth century French writing about ailleurs, other places, and Foucauld’s own journey through Morocco: the “other” place where, paradoxically, he found his true self and calling.

This book studies design in airline travel posters of the 1920–1970: period. It is both a semiology and a sociocultural cultural history that explores the way advertising posters combine information and fantasy to create seductive images/texts. The book is lavishly illustrated in colour, the images constituting part of the overall argument.The field of poster studies is vast, but it is surprising how little work has been done till date on the fundamental structures – semiotic and semantic – that underpin the visual messages posters produce. Most studies of posters focus either on their history; on specific themes – politics, travel, sport, cinema; or on their status as collectable items. Though such approaches are valid, they hardly account for the specificity of the poster’s appeal or for the complex semiotic and cultural issues poster art raises. This book sets out to tackle these latter issues since they are fundamental both to the deeper significance and to the wider appeal of the poster as a cultural form. In doing so it focuses on the field of airline travel posters which developed precisely in the period of the twentieth century (1920–1970) that coincided with the onset of mass travel.

Travel Writing in an Age of Global Quarantine is an anthology of travel accounts by a diverse range of writers and academics. Challenging conventional academic ‘authority’, each contributor writes, from memory during the Covid-19 lockdown, about a place they have previously visited, ‘accompanied’ by an historical traveller who published an account of the same place. As immobility is forced upon us, at least for the immediate future, we have the chance to reflect. Travel Writing in an Age of Global Quarantine presents opportunities to approach a text as a scholar differently. We break with the traditional academic ‘rules’ by inserting ourselves into the narrative and foregrounding the personal, subjective elements of literary scholarship. Each contributor critiques an historical description of a place about which, simultaneously, they write a personal account.

May Alcott Nieriker, Author and Advocate examines in-depth the writings on art and travel by the youngest sister of famed novelist Louisa May Alcott. Like other American women in the later nineteenth century, due to her gender May was unable to receive the advanced training and exhibition opportunities in the USA that she needed to become a notable professional painter. An additional obstacle was her family’s insecure financial status, making it difficult to study abroad for training. Fortunately, thanks to Louisa’s generosity May was able to make three extended trips to London and Paris in order to gain further training, and eventually attained the honor of having two paintings accepted into the Paris Salon. However, this book argues that Alcott Nieriker’s main contributions to cultural history were not necessarily her artistic creations, but rather her publications on travel and art—specifically, four articles for the Boston Evening Transcript and an 1879 guidebook, Studying Art Abroad and How To Do It Cheaply. In these works May sought to transform the art world, and social mores, through her advocacy for the rights of women to have equal access to a professional, artistic career.

This book argues that eighteenth-century British travel writing on the Syrian-Mesopotamian overland routes to India does more than recount encounters; it challenges Enlightenment assumptions about “improvement.” As travellers moved through Syria and Mesopotamia, describing local peoples, cultures, religions, and ruins, they cast themselves as agents of knowledge and progress, presenting travel as a serious, empirical endeavour aimed at informing Britain about a region often portrayed as decayed and primitive. Yet these narratives also reveal tensions within Enlightenment thought. Encounters in the Levant prompted travellers to reflect critically on Britain’s own materialism and its effects on morality, tradition, and religion. The region thus functioned not only as an object of study but as a mirror for metropolitan anxieties. By situating the Levant as a space of former grandeur and present decline, this book shows how travel writing stages a complex temporal negotiation, through which Britons reimagined the relationship between past, present, and future—and, in doing so, rethought the meaning of progress itself.

This book argues that eighteenth-century British travel writing on the Syrian-Mesopotamian overland routes to India does more than recount encounters; it challenges Enlightenment assumptions about “improvement.” As travellers moved through Syria and Mesopotamia, describing local peoples, cultures, religions, and ruins, they cast themselves as agents of knowledge and progress, presenting travel as a serious, empirical endeavour aimed at informing Britain about a region often portrayed as decayed and primitive. Yet these narratives also reveal tensions within Enlightenment thought. Encounters in the Levant prompted travellers to reflect critically on Britain’s own materialism and its effects on morality, tradition, and religion. The region thus functioned not only as an object of study but as a mirror for metropolitan anxieties. By situating the Levant as a space of former grandeur and present decline, this book shows how travel writing stages a complex temporal negotiation, through which Britons reimagined the relationship between past, present, and future—and, in doing so, rethought the meaning of progress itself.

Nikolai Gretsch's Travel Letters is a fully translated English edition of a three-volume account published by Nikolai Gretsch (1787–1867) in St. Petersburg in 1839. In the original Russian, Gretsch describes his travels in post-Napoleonic England, France, and Germany in 1837 at the behest of the Russian Empire. His official task was to examine educational systems, but as he travelled, he also noticed the cultural norms in his surroundings, the history of each country, and the personal experiences of the people he met. On his return home, Gretsch assembled his entertaining and often humorous personal observations into the edition that forms the basis for the present translation. His astute observations provide a rich contemporary resource for information about the countries he visited, especially given his status as an outsider. Additionally, as a result of his government position, Gretsch was able to move in social circles that would have been closed to many other people. In England, he once found himself in the same room with Princess (the future Queen) Victoria, and in France, he dined with Victor Hugo. Gretsch’s observations offer a treasure-trove of contextual information that will be valuable to anyone interested in cultural interactions during the nineteenth century.

Nikolai Gretsch's Travel Letters is a fully translated English edition of a three-volume account published by Nikolai Gretsch (1787–1867) in St. Petersburg in 1839. In the original Russian, Gretsch describes his travels in post-Napoleonic England, France, and Germany in 1837 at the behest of the Russian Empire. His official task was to examine educational systems, but as he travelled, he also noticed the cultural norms in his surroundings, the history of each country, and the personal experiences of the people he met. On his return home, Gretsch assembled his entertaining and often humorous personal observations into the edition that forms the basis for the present translation. His astute observations provide a rich contemporary resource for information about the countries he visited, especially given his status as an outsider. Additionally, as a result of his government position, Gretsch was able to move in social circles that would have been closed to many other people. In England, he once found himself in the same room with Princess (the future Queen) Victoria, and in France, he dined with Victor Hugo. Gretsch’s observations offer a treasure-trove of contextual information that will be valuable to anyone interested in cultural interactions during the nineteenth century.

Travel Writing in an Age of Global Quarantine is an anthology of travel accounts by a diverse range of writers and academics. Challenging conventional academic ‘authority’, each contributor writes, from memory during the Covid-19 lockdown, about a place they have previously visited, ‘accompanied’ by an historical traveller who published an account of the same place. As immobility is forced upon us, at least for the immediate future, we have the chance to reflect. Travel Writing in an Age of Global Quarantine presents opportunities to approach a text as a scholar differently. We break with the traditional academic ‘rules’ by inserting ourselves into the narrative and foregrounding the personal, subjective elements of literary scholarship. Each contributor critiques an historical description of a place about which, simultaneously, they write a personal account.

This book studies design in airline travel posters of the 1920–1970: period. It is both a semiology and a sociocultural cultural history that explores the way advertising posters combine information and fantasy to create seductive images/texts. The book is lavishly illustrated in colour, the images constituting part of the overall argument.The field of poster studies is vast, but it is surprising how little work has been done till date on the fundamental structures – semiotic and semantic – that underpin the visual messages posters produce. Most studies of posters focus either on their history; on specific themes – politics, travel, sport, cinema; or on their status as collectable items. Though such approaches are valid, they hardly account for the specificity of the poster’s appeal or for the complex semiotic and cultural issues poster art raises. This book sets out to tackle these latter issues since they are fundamental both to the deeper significance and to the wider appeal of the poster as a cultural form. In doing so it focuses on the field of airline travel posters which developed precisely in the period of the twentieth century (1920–1970) that coincided with the onset of mass travel.

Keywords for Travel Writing Studies draws on the notion of the ‘keyword’ as initially elaborated by Raymond Williams in his seminal 1976 text Keywords: A Vocabulary of Culture and Society to present 100 concepts central to the study of travel writing as a literary form. Each entry in the volume is around 1,000 words, the style more essayistic than encyclopaedic, with contributors reflecting on their chosen keyword from a variety of disciplinary perspectives. The emphasis on travelogues and other cultural representations of mobility drawn from a range of national and linguistic traditions ensures that the volume has a comparative dimension; the aim is to give an overview of each term in its historical and theoretical complexity, providing readers with a clear sense of how the selected words are essential to a critical understanding of travel writing. Each entry is complemented by an annotated bibliography of five essential items suggesting further reading.

History from below uncovers overlooked protagonists contributing to (inter)national endeavour often against considerable odds. Mrs T. Edward Bowdich then Mrs R. Lee (1791–1856) is indicative. When women allegedly cannot participate in early nineteenth-century scientific exploration, discovery and publication, Sarah’s multiple specialist contributions to French and British natural history have attracted no book-length study. This first appraisal of Sarah’s unbroken production of discipline-changing scientific work over three decades – in modern ichthyology, in historical geography of West Africa and in the next-generational dissemination of expert scientific knowledge – does more than fill this gap. The book also pivotally investigates the intercultural, interdisciplinary and multi-genre reach of Sarah’s pioneering perspectives and contributions, and how she could achieve her work independently in her own name(s) over three decades. Sarah’s larger significance is then to provide a very different narrative for women at work in expert nineteenth-century natural history-making. By everywhere challenging the secondary, minor and domestic frames for women’s contributions of the period, the pioneering perspectives of Sarah’s story also provide alternative paradigms to the ‘leaky-pipeline’ modelstill informing women’s careers and work in STEM(M) today.

The 2020 COVID-19 pandemic imposed immobility on large sectors of the world’s population, with confinement becoming an everyday reality. The lives of those who previously enjoyed the privileges of being ‘fast castes’ ground to a halt, while at the same time the displacement of more vulnerable populations along well-established migration corridors has been radically reduced. The result has been a recalibration of the scale of journeying, with travellers slowing down their journeys and readjusting their relationship to the proximate and nearby. This situation has provided an opportunity for those who study travel and travel writing to rethink their objects of study and approaches to them. This volume explores and historicizes the phenomenon of ‘microtravel’, designating slower journeys within a limited radius which allow, and sometimes necessitate, new forms of experiencing the world.

May Alcott Nieriker, Author and Advocate examines in-depth the writings on art and travel by the youngest sister of famed novelist Louisa May Alcott. Like other American women in the later nineteenth century, due to her gender May was unable to receive the advanced training and exhibition opportunities in the USA that she needed to become a notable professional painter. An additional obstacle was her family’s insecure financial status, making it difficult to study abroad for training. Fortunately, thanks to Louisa’s generosity May was able to make three extended trips to London and Paris in order to gain further training, and eventually attained the honor of having two paintings accepted into the Paris Salon. However, this book argues that Alcott Nieriker’s main contributions to cultural history were not necessarily her artistic creations, but rather her publications on travel and art—specifically, four articles for the Boston Evening Transcript and an 1879 guidebook, Studying Art Abroad and How To Do It Cheaply. In these works May sought to transform the art world, and social mores, through her advocacy for the rights of women to have equal access to a professional, artistic career.

This book is about strongman and physical culture pioneer Eugen Sandow’s (1867–1925) encounter with colonial Afro-Asia at the turn of the twentieth century, and the fascinating legacy of that encounter. It reveals the significance of Sandow’s 17-month world tour of 1904–1905 (through South Africa, India, the Straits Settlements [Singapore and Malaysia], and China), with much attention devoted to the 8months he spent in India—the British Empire’s “Jewel in the Crown”. It highlights the wider empire, the globalization of physical culture (including yoga and ju-jitsu), and new notions of scientifically sculpted muscular male bodies, entertainment, and transnational or global connections and comparisons in the first decade of the twentieth century.

Banned Books and Counterfeit Notes examines how convicts sent to France’s overseas penal colony in French Guiana used the colonial postal system together with other, unofficial means of communication, to document and challenge lived experiences of transportation and forced labour. Identifying a series of ‘counterfeit notes’, the forensic aim of the book is to refocus attention on different forms of writing, and reading (including the ‘banned books’ indicated in the title), which occur inside the penal colony (commonly referred to as the bagne) itself. In doing so, the book deconstructs many of the stories, anecdotes, myths and legends which have come to define and legitimise the bagne in French Guiana. The book’s theoretical framework is indebted to the work of philosopher Jacques Derrida and his extended commentary on writing, reading, paper, postal systems, archives, the death penalty, friendship and hospitality. The anticolonial critique found in the work of Ariella Azoulay (in relation to images and archives) and Ann Laura Stoler (in relation to colonial ruins) are also brought to bear on the visual material and material heritage of the penal colony. Patrick Chamoiseau’s writing on the penal colony as ‘trace-mémoire’ and Françoise Vergès’s concept of the postcolonial museum will offer further engagements with the present-day interpretation of what remains of the bagne today. Connecting histories of reading and writing within the penal colony to contemporary heritage practices and the repurposing of former sites, the book offers wider reflections on decarceration, abolition, education and community.The book is the result of several years of research funded by both the British Academy and the UK Arts and Humanities Research Council. This funding enabled multiple visits to French Guiana and New Caledonia to explore present-day interpretation of penal heritage. Ethnographies of visits and tours to museums and other sites linked to the bagne are interwoven into the book’s narrative. Funding also allowed for archival work to be undertaken at the Archives Nationales d’Outre Mer in Aix-en-Provence and the Archives Territoriales in Cayenne as well as further research at the Musée de la Poste in Paris.The material presented offers new readings of well-known figures such as the forger-artist Francis Lagrange, the anarchist Paul Roussenq and the convict-executioner Isidore Hespel as well as unknown convicts involved in campaigns for reading material and libraries. The book is part of the growing field of scholarship on France’s overseas penal colonies which began in the late 1990s. However, it moves beyond existing historiographical approaches which provide chronological overviews of life in the penal colony. Instead, the book focuses on specific writing and reading practices and the preservation of these within official archives. Such readings develop a closer analysis of forms of writing which include rhetorical strategies alongside the material conditions in which such writing occurs (e.g., access to paper and ink). Alongside this close analysis which draws on literary and cultural theoretical approaches to reading archival material, another key contribution is to show the cumulative and debilitating effect of life in the penal colony via the letters of figures like Roussenq and Hespel. The huge corpus of complaint letters produced and sent to the penal administration (as well as organisations such as the League of Human Rights) demonstrate the mental and physical impact of a decades-long struggle against the penal administration. While there have been a few studies on the history of prison libraries in France (e.g., Collectif, Lectures de prison (Paris: Le Lampadaire, 2018)), these have not included the sustained discussion of penal colonies that this book will provide. Where much scholarship focuses predominantly on archival material, the book will also create links with the built heritage of the penal colony and its contemporary interpretation. These not only include ethnographic accounts of the myths presented about the bagne by tour guides but also emphasise the emancipatory potential at work (if only symbolically) in the repurposing of former camp buildings as libraries and other creative, community spaces. Such links allow greater engagement with contemporary debates around decarceration and abolition as well as initiatives to repurpose built heritage linked to incarceration, an approach which is largely absent from existing histories of the penal colony.

Long popular with a general readership, travel writing has, in the past three decades or so, become firmly established as an object of serious and multi-disciplinary academic inquiry. Few of the scholarly and popular publications that have focused on the nineteenth century have regarded the century as a whole. This broad volume examines the cultural and social aspects of travel writing on Africa, Asia, America, the Balkans and Australasia.