Academic literature on the topic 'Genre travel journal'

The problem of the presentation of the Middle Eastern everyday life in the early prose of S.S. Kondurushkin (1874—1919), an active participant in the literary and social life of Russia at the turn of the XIX—XX centuries is examined in the article. On the basis of the essay cycle “From Wanderings in Syria” and other works of the early 1900s, an analysis of the methods of recreating the Middle Eastern everyday life is presented. The narrative strategies that underlie the Middle Eastern narrative of the Russian traveler are studied. This makes it possible to clarify the characteristics of the genre of the travel sketch in the general context of Russian literature at the turn of the century, which determines the scientific novelty and relevance of the article. The authors examine in detail the essays “Greeks in Palestine and Syria”, “Terra incognita”, “La Bayadere”, “Akulina in Tripoli”. The consistent change of the exposing discourse of political journal-ism to various forms of “ethnographic” narrative are substantiated in the article. The tasks set required the use of traditional methods of academic literary criticism, as well as techniques of cultural linguistics, imagology, imperial and colonial studies. A number of archival materials are introduced into scientific circulation, in particular, letters from N.K. Mikhailovsky addressed to S.S.Kondurushkin.

The article deals with the journalistic achievements of the Ukrainian artist, local historian and publicist Hryhoriy Smolsky, analyzes the problems and genre of his articles in the Lviv press during the 1920s and 1970s. The long and thorny path of H. Smolsky to art was revealed. It is highlighted that this artist managed to restore his historical and artistic studios in Lviv only at the age of 28 years due to the then military situation in the Western Ukraine. It is emphasized that H. Smolsky was one of the five first students of the O. Novakivsky Art School and this was the defining moment in the formation of his artistic priorities. It became clear that the young artist’s collaboration with the Lviv press began in the late 1920s — he was part of the editorial board of «Literaturni Visti» and published two reviews on its pages. His publications about the history of the beginning and activities of the O. Novakivsky’s Art School in the «Novy Chas» newspaper and the «Svit» journal were rediscovered. It is accentuated on another facet of H. Smolsky’s talent — the writing of travel notes, which appeared in the 1930s in the «Dilo» and «Nazustrich» periodicals. It is highlighted that these features comprehensively revealed the artist’s journalistic talent. The H. Smolsky’s articles written during the German occupation, specifically in the «Lvivski Visti» diaries, were also introduced into the scholarly circulation and analyzed. It is revealed that with the advent of Soviet rule, the artist kept «silent» for 15 years and was not present in artistic life. A number of publications by H. Smolsky of the late 1950s and 1970s were studied. They prove that the author was able to maintain his socio-cultural position even in the conditions of the rigid ideological framework. The artist’s significant contribution in illuminating the history of the O. Novakivsky Art School’s achievements is highlighted. It is summarized that H. Smolsky is a talented publicist, and although his journalistic legacy (rediscovered today) has only 22 articles, those are an important source of study of the Ukrainian artistic environment of Galicia in the 1920s–1940s. Key words: H. Smolsky, journal, article, art, O. Novakivsky Art School.

Travel journals are primarily a literary genre in which the writer expresses his impressions about the geographical and other characteristics of the region through which he travels, along with demographic, cultural, religious, cognitive and ethical characteristics of the people he encounters during his travels. This literary genre has an extraordinary potential to reveal the cognitive frameworks of the collective thought of a nation that is directly or indirectly manifested through various folk customs and traditions. Travel journals are beneficial in two ways when it comes to social thought. First, an author who visits new regions and meets a people that he has not had the opportunity to talk to before, informs his readers about the customs, beliefs, fears and hopes of that people. Demographic descriptions and analyses of all interesting, and sometimes strange, events that he witnessed, are a testimony to his modern readers about the existence of different views of the world, not so far away from them. Moreover, it will provide later readers with authentic information about how people once thought and how a community functioned. Secondly, an author who writes about his impressions after encountering a new tradition inadvertently makes his own judgment about it. In that way, he implicitly and indirectly points to the collective consciousness that he brings through his subjective judgments from the region which he belongs to, from his homeland. This aspect is most noticeable with later readers, because they can observe from a certain distance both the people to whom the author belongs to and the people about whom the author reports. If the author is affected by a certain phenomenon, it means that the collective consciousness of his people would not approve of such an action, and if he supported a tradition, it meant that his people would also agree with it. In this paper, we will try to offer a brief insight into the history of travel journals in Islam, and to present sociological potentials of some of the main travel journals prepared by Muslim authors during their arduous and difficult journeys.

Purpose – The purpose of this paper is to contrast the speech genres in the original and the published versions of an article written by academic researchers and published in the US practitioner-oriented journal, Strategic Finance. The original version, submitted by the researchers, was rewritten by a professional editor in the USA before it was published. Design/methodology/approach – The paper analyses the “persuasive” speech genre of the original version and the “authoritative” speech genre of the published version. Findings – Although it was initially thought that the differences between the two versions were due to differences in the forms communication used by academics and practitioners, as the analysis progressed it became clear that the differences the authors were observing could be traced to more profound differences in philosophical assumptions about the “way of understanding and constructing a world”. Research limitations/implications – The choice of language and argumentation should be given careful attention when the authors craft the accounting frameworks and research papers, and especially when the authors seek to communicate the findings of the research to practitioners. However, the authors have focused on just one instance in which a text written by academics was re-written for publication in a practitioner journal. Originality/value – The paper contrasts the rationalism of the persuasive speech genre and the pragmatism of the authoritative speech genre. It cautions academic researchers against uncritically adopting specific speech genres, whether they are academic or practitioner speech genres, without carefully reflecting on their relevance and implications for understanding the nature of the phenomenon being discussed.

This paper analyzes four texts from the XIX and XX Century. These texts are accounts of the authors' traveling throughout Central America. Each narrative represents different literary genre including travel journals, letters, and fiction. In this paper I analyze silence, anxiety, and aspirations as representation modern gender identity in the isthmus.

WHERE IS “Victorian autobiography” in the late 1990s? Everywhere and nowhere. Always contested as a genre, autobiography has stretched its fragile boundaries and diffused itself among the many forms of self-representation that interest contemporary critics: travel narratives, letters, journals, fiction, poetry, essays, biography. This diffusion is in many ways a fruitful development, although it raises the question of whether “Victorian autobiography” is still a meaningful category to use in describing critical work. Although I concentrate here on a number of recent books that flourish the word “autobiography” in their titles, I come to this review with a sense that some of the most vital work on Victorian self-representation may be flying under different banners.

The early development of Queensland's musical culture has only been partly documented. Despite a number of general surveys and a few specialist publications in recent decades, the largest body of research, dating mostly from the 1970s and 1980s in the form of academic dissertations, remains unpublished. As I demonstrated in a recent article for this journal, the narrative of Queensland's music can be traced in various ways, including focusing either on a specific organisation or ‘cause’ – phenomena that in turn interface with the efforts of countless individuals. An alternative strategy is to survey a specific genre of music-making, where likewise a diverse range of performers, repertoire, venues and events are part of the mix. This article endeavours to trace the development of chamber music in colonial Queensland as an important subset of an active concert life that included numerous popular entertainers, touring artists and musical-theatrical troupes. Support of chamber music, a so-called ‘high-class’ genre, was also viewed by some colonists as an emblem or barometer of increasing cultural self-worth, particularly in the two decades leading up to Federation.

Resumo: Este artigo busca explorar a complexidade dos modos de representação do indígena em Gonçalves Dias para além da sua obra poética, a partir de textos híbridos que a complementam: seus escritos pessoais. Selecionamos, para este fim, registros de um momento crucial da trajetória do autor: o ano de 1861, em que viajou para a Amazônia e teve, assim, ocasião de confrontar o imaginário criado em torno da figura do indígena e a experiência empírica. Tendo já toda a obra indianista publicada, mas sempre com projetos de escrever mais (Os Timbiras permanecia incompleta), o poeta mestiço vive nessa viagem uma situação ímpar de reflexão, que desenvolve através da correspondência e do diário de viagem. À luz de teóricos da decolonialidade, procuramos compreender as origens do ideário que influenciou a percepção gonçalvina e situar a categoria “humano” nas suas diversas facetas, valorações e gradações. A leitura desse material sugere uma tensão racial intensa, na qual se empregam designações diversas com base na cor da pele e na miscigenação. Observamos a ambivalência presente no jogo entre convenção poética e o registro descritivo das observações pessoais, isto é, na dificuldade de definir objetivamente quem seria o índio, quem representaria a “nossa gente”.Palavras-chave: Gonçalves Dias; correspondência; diário; humano; representação; indígena.Abstract: This article aims to explore the complexity of indigenous modes of representation in Gonçalves Dias beyond his poetic work, from hybrid texts that complement it: his personal writings. We have selected for this purpose records of a crucial moment in the author’s trajectory: the year of 1861, when he traveled to the Amazon and had the opportunity to confront the imagery created around the figure of the Indian and the empirical experience. Having already published the entire Indianist work, but always with plans to write more (Os Timbiras remained incomplete), the mestizo poet lives on this journey a unique situation of reflection, which he develops through correspondence and travel journal. In the light of decoloniality theorists, we try to understand the origins of the ideology that influenced his perception and to situate the category “human” in its diverse facets, valuations and gradations. The reading of this material suggests an intense racial tension, in which diverse designations are used based on the color of the skin and the miscegenation. We observe the ambivalence present in the game between poetic convention and the descriptive record of personal observations, that is, in the difficulty of objectively defining who the Indian would be, who would represent “our people”.Keywords: Gonçalves Dias; correspondence; journal; human; representation; Indian.

Aim. This research aims to confirm that transdisciplinary projects can be very adequate to develop content and competencies traditionally assigned to Sciences and Arts in higher education, exploring the possibilities of outdoor education. Methods. The subjects of the study were one hundred alumni of two different courses “Natural Sciences for Teachers” and “Literary Training for Teachers” at a Spanish university. An educational experience around the phenomenon of scientific travelers was developed, focusing on Charles Darwin and Alexander von Humboldt and the literary genres of travel journals and letters. The main activity contained three phases, including indoor and outdoor education, in which both subjects tackled the same 6 educational topics from a different perspective. After different individual and group activities around those topics, alumni from both subjects merged at a natural environment where a scientific-literary tour took place. At the end of the academic year, an assessment questionnaire with open and closed questions was filled out by all participants. Results and conclusion. After the analysis of all the collected data, we can deduce that the experience was a success. The students appreciated aspects like the setting in which the experience took place, the possibility of interacting with alumni from different courses and the integration of Sciences and Arts. Thus, we have demonstrated that the same activities can be implemented in prototypical subjects of Sciences and Arts and that outdoor education is an ideal resource to achieve a holistic pedagogy engaging the sensory and emotional facets of learning.

The epistemological, theoretical and methodological debates that aim at scientific credibility, cannot ignore the corresponding application to the social fabric. Conversely, action should always inform reflection. This article rationally demonstrates and sensorialy exhibits the following: one of the sociological genres, Artistic Sociology, transports sociology and its scientific language, from the academia to creative extension activities such as the exhibition of sociological knowledge within urban public space, for example in the case of the art gallery. In the same way, artistic knowledge and language should contaminate sociological discussion through an innovative sensibility. This is possible through the insertion, within a sociological text, not only of images from an art exhibition, presented as ‘Figures’ (1,2 ... n). In addition, the art exhibition itself can be understood as a social and sociological configuration that is an organic part of the very body of the traditional sociological text. Thus, a profound hybridization of knowledge is sought, which can enrich, but also subvert, both sociological debates and art exhibitions. This purpose is accomplished here by several interconnected means: an epistemological approach between Artistic Sociology and Hybridogy; the theoretical problematization of mobile cultures; the empirical field work in the context of urban communication at City 3.0 and tourism communication in the context of Tourism 3.0; and the exhibition ‘New Art Fest’17, as the field for the application of innovative sociological and artistic methodological approaches. A first step was Sociological Exibition on Tourism 3.0 / Cidade 3.0, that demonstrated and showed the urban and travel knowledge, within the space of the art gallery. In a second phase, this knowledge tested through the exhibition audience, is reintroduced in a scientific journal article. Such a double research movement hybridizes and confronts, in both originary and original forms, scientific and artistic knowledge and practice.

Esta dissertação tem por objetivo analisar o desenvolvimento da produção escrita em francês como língua estrangeira, por meio do gênero textual relato de viagem, porém procurando verificar como os alunos desenvolvem suas capacidades de linguagem a partir das restrições e liberdades permitidas pelo gênero escolhido. Nesse sentido, a pesquisa visa a investigar como os alunos se apropriam de características do gênero, mostrando, também, como inserem marcas de subjetividade que podem ser consideradas como estilísticas. Os dados foram coletados em um curso de produção escrita, oferecido pelos cursos extracurriculares de francês do Serviço de Cultura e Extensão da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Os alunos, situando-se entre o nível A2 e B1 do Quadro Europeu Comum de Referência para as Línguas (CONSEIL DE LEUROPE, 2001), puderam estudar três diferentes gêneros textuais, dentre eles o relato de viagem. Os aportes teóricos que orientaram esta pesquisa apoiam-se, sobretudo, nos pressupostos do interacionismo sociodiscursivo (BRONCKART, 1999/2009, 2006a, 2008; MACHADO, 2009) e nos estudos de Schneuwly e Dolz (2004/2010) sobre a utilização dos gêneros textuais como instrumento no ensino e aprendizagem, para o desenvolvimento das capacidades de linguagem dos alunos: capacidade de ação, capacidade discursiva e capacidade linguísticodiscursiva. Para atingir os objetivos específicos desta pesquisa, baseamo-nos, paralelamente, nas discussões sobre estilo a partir de alguns autores (BRONCKART, 1999/2009, 2006c; SCHNEUWLY; DOLZ, 2004/2010; BAKHTIN, 1997; CLOT, 2007; BRANDÃO, 2005a, 2005b; BRAIT, 2005), mas, principalmente, na discussão acerca das coerções e liberdades textuais de Bronckart (2006c). A fim de analisar os textos coletados, além do quadro teóricometodológico proposto por Bronckart (1999/2009; 2006a), servimo-nos dos estudos de Kerbrat-Orecchioni (2002) e Maingueneau (2001) no que diz respeito às marcas de subjetividade nos textos. Com base em autores que estudam o papel dos gêneros textuais no ensino (SCHNEUWLY; DOLZ, 2004; DOLZ; GAGNON; TOULOU, 2008; LOUSADA, 2002/2010, 2009, 2010; CRISTOVÃO, 2002/2010, 2009), construímos o modelo didático do gênero relato de viagem, elaboramos uma sequência didática (SD) e a aplicamos no contexto referido. Os dois primeiros módulos da SD propuseram atividades que focalizaram as características mais estáveis do gênero. Após esses módulos, uma produção intermediária foi requerida aos alunos, com a intenção de verificar se eles tinham mobilizado as capacidades de linguagem primordiais para a produção desse gênero. Em seguida, no terceiro módulo, selecionamos um texto com o objetivo de explorarmos as liberdades textuais exercidas por seu produtor. Os resultados de nossa pesquisa mostraram que o trabalho com gêneros em língua estrangeira se constitui como um instrumento potencial de desenvolvimento das capacidades de linguagem dos alunos. Ao focarmos o estilo nos textos, os alunos, em suas produções finais, mobilizaram recursos discursivos e linguísticos menos canônicos, sob inspiração dos textos vistos em aula, estabelecendo, portanto, uma relação de intertextualidade com os textos da SD. Além de demonstrar a natureza dialógica do estilo, alguns alunos, ainda, recorreram ao intertexto, o que pode indicar o desenvolvimento da autonomia na escrita. Em suma, nossa proposta didática foi ao encontro do que afirma Bronckart (2006c): a preexistência de modelos é a primeira condição para o exercício da liberdade nos textos
This thesis aims to analyze the development of written production in French as a foreign language through the genre \"travel journal\", but trying to verify how students develop their language capacities from restrictions and liberties allowed by the chosen genre. Therefore, this research investigates how students appropriate the characteristics of the genre and shows how they insert marks of subjectivity that can be considered as stylistics. Data was collected in a writing course offered by Cultural and Extension Service French extracurricular courses, from the Faculty of Philosophy, Letters and Human Sciences, at the University of São Paulo. Students, ranging between levels A2 and B1 of the Common European Framework of Reference for Languages (CONSEIL DE L\' EUROPE, 2001), were able to study three different textual genres, among them the travel journal. The theoretical framework that guided this research relies mainly on the theoretical assumptions of socio-discursive interactionism (BRONCKART, 1999/2009, 2006a, 2008; MACHADO, 2009) and the studies of Schneuwly and Dolz (2004/2010) on the use of textual genres as a tool for teaching and learning that can help student develop their language capacities: action capacity, discursive capacity, and linguistic-discursive capacity. To achieve our specific goals, we rely in parallel on the discussions about style (BRONCKART, 1999/2009, 2006c; SCHNEUWLY; DOLZ, 2004/2010; BAKHTIN, 1997; CLOT, 2007; BRANDÃO, 2005a, 2005b; BRAIT, 2005), but mainly on the discussion of textual constraints and liberties by Bronckart (2006c). In order to analyze the texts collected, we use not only the theoretical and methodological framework proposed by Bronckart (1999/2009, 2006a), but also the studies from Kerbrat-Orecchioni (2002) and Maingueneau (2001) with regard to subjectivity marks in the texts. Based on authors who study the function of textual genres in teaching (SCHNEUWLY; DOLZ, 2004/2010; DOLZ; GAGNON; TOULOU, 2008; LOUSADA, 2002/2010, 2009, 2010; CRISTOVÃO, 2002/2010, 2009), we built the didactic model of the textual genre travel journal, developed a didactic sequence (DS), and applied it in the context mentioned before. Activities were proposed in the first two modules of the DS that focused on the most stable features of the genre. After these modules, an intermediate production was required from students intending to check if they had mobilized essential language capacities for the production of this genre. In the third module we selected a text with the aim of exploring textual liberties exercised by its producer. The results of our research showed that a genrebased perspective is a potential tool for developing students language capacities in a foreign language. As we focused on style in texts, students mobilized less canonical discursive and linguistic resources in their final productions inspired by texts from the class, thus establishing a relationship of inter-textuality with the texts of the DS. In addition, demonstrating the dialogic nature of style some students also made use of inter-text, which may indicate the development of autonomy in writing. In short, our didactic proposal confirms Bronckart (2006c) statement: preexisting models are the first condition for the exercise of liberty in texts

How is the mind agitated and bewildered, at being thus, as it were, placed on the borders of a new world!' (William Bartram) 'Thus you see, dear sister, the manners of mankind do not differ so widely as our voyage writers would have us believe.' (Mary Wortley Montagu) With widely varied motives - scientific curiosity, commerce, colonization, diplomacy, exploration, and tourism - British travellers fanned out to every corner of the world in the period the Critical Review labelled the 'Age of Peregrination'. The Empire, already established in the Caribbean and North America, was expanding in India and Africa and founding new outposts in the Pacific in the wake of Captain Cook's voyages. In letters, journals, and books, travellers wrote at first-hand of exotic lands and beautiful scenery, and encounters with strange peoples and dangerous wildlife. They conducted philosophical and political debates in print about slavery and the French Revolution, and their writing often affords unexpected insights into the writers themselves. This anthology brings together the best writing from authors such as Daniel Defoe, Celia Fiennes, Mary Wollstonecraft, Olaudah Equiano, Mungo Park, and many others, to provide a comprehensive selection from this emerging literary genre.

Even as Black Lives Matter thinkers underscore white supremacy’s manifestation in the unremarkable and all-too-often unnoticed unfolding of ordinary life, literary critical methods remain impeded by longstanding biases toward unconventional texts, visionary writers, and nonconforming ideas. The result is that we’re left without adequate methods, vocabularies, and archives for apprehending white supremacy’s urgent ordinariness. In Genre and White Supremacy in the Postemancipation United States, Travis M. Foster suggests that genre provides the best route out of this impasse. Through rigorous new interpretations of four popular literary and cultural genres—campus novels, the Ladies’ Home Journal, Civil War elegies, and gospel sermons—Foster unpacks how conventionality played a crucial role in both reconstituting and resisting taken-for-granted operations of white supremacy and antiblackness in the wake of emancipation. Arguing that genre provides a scale and a method for rendering ordinariness newly available to close analysis, Foster reveals the specific conventions and strategies through which antiblackness constitutes white social worlds far removed from the color line, while also surveying whiteness’s remarkable capacity to adapt itself to new conditions and incorporate internal differences. Simultaneously, using genre analysis to trace forms of black resistance that manifest within the radical collectivity of black social worlds, rather than through more familiar liberal politics of dissent, he highlights practices of freedom and community that refuse the very political conditions proffered by white supremacist logic. The result is an original and important new account of popular literature’s role in refashioning and resisting white supremacy in an emergent postemancipation climate.

The chapter discusses the development of literature within its institutional and historical context, considering how patronage, a fledgling book market, and publishing conditions delineated the spaces of a literary field. The chapter looks at court literature and the ode as the definitive genre, examining its techniques and scope for variation. Literature began to flourish outside court, and the chapter traces the evolution of poetry into an amateur pastime. The discovery of poetic genius added to the delight afforded by poetry as a form of sociability. This innovation coincided with pre-Romantic trends and the nascent idea of national literature. The pleasure of literature extended into satirical journals and comedies that served as vehicles for social and political critique, at times even engaging the monarch in direct participation.

The chapter takes as starting point a famous book by Almeida Garrett, Viagens na Minha Terra (1846), one of the first books to explore a nearby reality in the Iberian area, a mixed genre work, fundamental in the construction of the Portuguese national identity through the author’s journey to Portugal. It is an internalised landscape from which many historical or fantastic episodes arise related to themes that the author expresses: the violence of war, the joke of the gothic novel, anti-religious criticism about the parasitism of the friars. The purpose of this article is to reflect on several examples of proximity travel written by Iberian authors: José Pla, Viaje en autobús (1942), Camilo José Cela, Viaje a la Alcarria (1946) and José Saramago, Viagem a Portugal (1981). These travel books take advantage of the travelogue feature: to travel, but also to express opinions, analysis and criticisms with the eyes of the essayist, so that the result is much more than a simple guide, with the advantage that travellers are profound connoisseurs of the reality they visit.

This chapter examines Arab Anglophone memoirs by focusing on Edward Said’s Out of Place: A Memoir (1999) and Najla Said’s Looking for Palestine: Growing Up Confused in an Arab-American Family (2013). Out of Place traces Edward Said’s cultural and literary journey from Palestine, Lebanon, and Egypt to his education in the US. Edward Said’s self-representation rests on the dichotomy of his solitude during his formation within a history of dispossession and his career. The chapter rethinks Out of Place through the burgeoning of the Palestinian national movement and Said’s lifework. The chapter also compares Edward Said’s youth in the Arab world and Najla Said’s Arab-American background, Said’s journey to the US and his daughter’s return to her roots, to arrive at a rethinking of the genre that migrates across languages and cultures.

The paper focuses on Carlo Levi’s reportages from India (1957), in order to outline how the peculiar mixture of narrative and essay writing conveys these texts into the genre of Travel literature, as well as to reconsider a work so easily forgotten by field studies. A first recognition on the topic shows how little literature has considered the timeframe of this journey up to recent times: due to the uncertain date marked on the only Indian letter sent by Levi to his wife, critics have agreed to range it between several months and a year. The bias is subsequently taken into account as the prism to approach these texts through: in fact, despite the deliberate attempt at sketching achrony for poetical purposes, micro and macrotextual features – with an emphasis on the descriptions of wintertime – allow to place these texts in time, thus confirming the hybrid features of these proses. Through rhetorical and textual analysis, then, the paper discusses the reportages from a theoretical perspective.

This chapter argues that the expansion of Christendom functioned as an outlet for antagonisms between sovereigns and barons. Crusade in medieval epics allows barons to escape oppression and to become sovereigns: the Crusade Cycle makes Godefroi de Bouillon a Christian hero equal to Charlemagne, whereas the hero of Huon de Bordeaux, exiled by Charlemagne, becomes heir to a marvellous eastern empire. Roland in the Franco-Italian L’Entrée d’Espagne, also cast out, brings Western civilization to Persia. Another Franco-Italian work, Huon d’Auvergne, tells the hero’s journey to hell at the request of Charles Martel, whose fantasy of complete earthly jurisdiction turns nightmarish. The dream of a world Christian community shapes a utopian, integrative approach to other genres in these texts, which bring travel writing to describe the East that the heroes conquer. The chansons de geste dialogue with other generic material to find new solutions to the old king–baron antagonism.