Journal articles: 'Women travel writers'

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Buck, Pamela. "Recovering British Romantic Women Travel Writers." European Romantic Review 31, no. 3 (May 3, 2020): 394–96. http://dx.doi.org/10.1080/10509585.2020.1747712.

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Mulligan, Maureen. "The Representation of Francoist Spain by Two British Women Travel Writers." Studia Anglica Posnaniensia 51, no. 4 (December 1, 2016): 5–27. http://dx.doi.org/10.1515/stap-2016-0017.

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Abstract This article offers a discussion of two books by British women which describe travels in Spain during the post-war period, that is, during the dictatorship of General Franco. The aim is to analyse how Spanish culture and society are represented in these texts, and to what extent the authors engage with questions of the ethics of travelling to Spain in this period. Two different forms of travel - by car, and by horse - also influence the way the travellers can connect with local people; and the individual’s interest in Spain as a historical site, or as a timeless escape from industrial northern Europe, similarly affect the focus of the accounts. The global politics of travel writing, and the distinction between colonial and cosmopolitan travel writers, are important elements in our understanding of the way a foreign culture is articulated for the home market. Women’s travel writing also has its own discursive history which we consider briefly. In conclusion, texts involve common discursive and linguistic strategies which have to negotiate the specificity of an individual’s travels in a particular time and place. The authors and books referred to are Rose Macaulay’s Fabled Shore: From the Pyrenees to Portugal (1949) and Penelope Chetwode’s Two Middle-Aged Ladies in Andalusia (1963).

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Alacovska, Ana. "Genre Anxiety: Women Travel Writers' Experience of Work." Sociological Review 63, no. 1_suppl (May 2015): 128–43. http://dx.doi.org/10.1111/1467-954x.12246.

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Siber, Mouloud. "Ellen M. Rogers as a Feminist and Orientalist Travel Writer: A Study of her A Winter in Algeria: 1863-4 (1865)." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 213. http://dx.doi.org/10.14198/raei.2016.29.12.

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This article studies the Orientalist and Feminist discourses that underlay Ellen M. Rogers’s A Winter in Algeria: 1863-4 (1865). Her conception of Algeria reproduces the Victorian imperialist attitude toward the Algerian as inferior to the European in order to celebrate British imperial power. Underneath this colonial discourse, the writer proclaims her feminist point of view about empire and juxtaposes feminist attitudes in Victorian Britain with the degraded condition of the Oriental woman. To contribute to Victorian feminist struggle for gender equality, she identifies with the suffering of Muslim Algerian women under male domination and compares their confinement to the harem and their veiling to Victorian “separate spheres” ideology. From this perspective, Rogers presents the profiles of the Orientalist as defined by Edward Said (1978) and the feminist as defined by Antoinette Burton (1994). Said limits his discussion of Orientalism to male writers and travelers who construct imperialist views about the colonial world and its people. However, Burton argues that many Victorian travel writers were women who not only circulated Orientalist ideas but also constructed a feminist discourse. Women writers found in the colonial world ways to cross the boundaries of gender and power in order to criticize male writers who insisted on women’s inferior status. In sum, the major claim made in this article is that Ellen M. Rogers projects a feminist-Orientalist view in her travel account about French Algeria.

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Sergo, Yu N. "THE MOTIVES OF TRAVEL AND ESCAPE IN THE PROSE OF MODERN WOMEN-WRITERS (O. TOKARCHUK, L. ULITSKAYA, L. PETRUSHEVSKAYA)." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 892–97. http://dx.doi.org/10.35634/2412-9534-2020-30-5-892-897.

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The article analyzes the motives of travel and escape, which are pretty common in modern women prose and appears closely related to each other. The connection between travel and self-knowledge is also obvious. In female prose, it is presented through the motive of physicality. In the works of modern writers, these motives work differently: in the texts of the Polish writer Olga Tokarchuk, travel and escape function as motives that define the world and the human body in their mirror image, which creates the illusion of the absence of borders between the external and internal worlds. In the work of Lyudmila Ulitskaya, such a function is endowed with only a flight motive, which manifests itself in the image of the inner world of heroes. The autobiographical work of Lyudmila Petrushevskaya demonstrates a strategy in which travel and escape are associated with the idea of creative search and creative independence. The analysis of the sustainable motives of female prose allows us to conclude that the writers have their special view on the problem of self-knowledge.

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Mulligan, Maureen Elizabeth. "Women Travel Writers: Questioning the Value of the "Interior Journey"." International Journal of the Humanities: Annual Review 3, no. 1 (2006): 5–8. http://dx.doi.org/10.18848/1447-9508/cgp/v03i01/41523.

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Jones, Angela D. "Romantic women travel writers and the representation of everyday experience." Women's Studies 26, no. 5 (June 1997): 497–521. http://dx.doi.org/10.1080/00497878.1997.9979181.

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Gholi, Ahmad. "Representation of Oriental Travelees and Locus in Jurgen Wasim Frembgen’s Travelogue: The Closed Valley: With Fierce Friends in Pakistani Himalays." International Journal of Applied Linguistics and English Literature 6, no. 1 (November 19, 2016): 84. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.1p.84.

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The oft despised and ignored genre of travel writing was recognized as worthy of scholarly investigation in 1970s thanks to Edward Said’s Orientalism, the wave of deconstructionism, and postcolonialism (Calzati, 2015). For these scholars, travel writers do not present a transparent window to an alien space and its residents even though they normally claim it. For them the representation of the traveled terrain and travelees is an ideological construction which is tainted with the travel writer’s ‘habitus’ and ‘field’ and crafted through fictional devices. In this regard, by drawing on postcolonial methodology, the current study seeks to evince how Frembgen in his travelogue, The Closed Valley: With Fierce Friends in Pakistani Himalayas which narrates his voyage to Harban, a far-flung mountainous region in Pakistan Himalaya, reproduces the pitfalls of previous Western travel writers when he depicts his destination and travelees in negative terms. From his perspective, his timeless traveled locus is rife with violence, yet a space to escape from dehumanizing ambience of the West. Additionally, for him the women in this tribal region are tyrannized by husbands and victimized by Muslim extremists. Last but not least, he portrays this remote oriental space as an object of curiosity which needs to be salvaged textually. Keywords: Travel Writing, Timeless, Escape, Women, Violence, Curiosity

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Cebrian, Lorena Barco. "Literature Female Travel: The Vision of Spain Throughout Six Foreign Writers." European Scientific Journal, ESJ 12, no. 32 (November 30, 2016): 54. http://dx.doi.org/10.19044/esj.2016.v12n32p54.

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Travel literature is a genre very known by the historiography; the researchers have been analyzed from the journeys of the Antiquity up to the Contemporaneousness. Nevertheless, those studies have showed a special interest for the travel literature produced by masculine subjects, whereas the literature produced by female writers has not been treated up to very recent dates. For it, in this work we propose to announce a series of women writers, some of them very known already, but others practically unknown in our country. These women, intrepid and bold travelers, travelled to Spain throughout the centuries of the Modernity, extending the period chronological until the Nineteenth century. It is of six women writers whose literary production, in most cases, has not been translated into Spanish.

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Mulligan, Maureen. "The Spanish Civil War Described by Two Women Travelers." Journeys 19, no. 1 (June 1, 2018): 67–87. http://dx.doi.org/10.3167/jys.2018.190104.

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This article contrasts two accounts by women written between 1936 and 1939 describing their experiences of Spain during the Spanish Civil War. The aim is to question how far travel writers have a political and ethical relation to the place they visit and to what extent they deal with this in their texts. The global politics of travel writing and the distinction between colonial and cosmopolitan travel writers affect the way a foreign culture is articulated for the home market through discursive and linguistic strategies. The texts are Kate O’Brien’s Farewell Spain (1937) and Gamel Woolsey’s Death’s Other Kingdom: A Spanish Village in 1936 (1939). The conclusions suggest women adopt a range of positions toward the Spanish conflict, depending on their personal commitment and their contact with local people, but their concern to articulate the experience of others in time of crisis has a strong ethical component.

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Hill, Bridget. "Review: Women Travel Writers and the Language of Aesthetics 1716–1818." Literature & History 6, no. 2 (September 1997): 109–10. http://dx.doi.org/10.1177/030619739700600215.

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Conger, Syndy M. "Book review: Women Travel Writers and the Language of Aesthetics, 1716-1818." Eighteenth-Century Studies 30, no. 4 (1997): 454–55. http://dx.doi.org/10.1353/ecs.1997.0030.

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Gholi, Ahmad, and Masoud Ahmadi Mosaabad. "Image of Oriental Turkmen Female Travelees in the Nineteenth Century Western Travel Writing." International Journal of Applied Linguistics and English Literature 6, no. 3 (March 1, 2017): 43. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.3p.43.

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One of crucial issues which Western travel writers in their journeys to the Orient specifically in the height of colonialism in the nineteenth has addressed is Oriental women. Entrapped and conditioned by their cultural baggage and operating on the basis of Orientalist discourse, they have mostly presented a reductive image of their Oriental female travelees as exotic, seductive, sensual, secluded, and suppressed, in lieu of entering into a cultural dialogue and painting their picture sympathetically and respectfully. To convey their lasciviousness, they have expatiated on Oriental harems and to display their oppression foregrounded their veil and ill-treatment by their allegedly insensitive and callus menfolks. In the same period in the context of the Great Game the politically oriented Western travel writers in particular the British ones set out on a voyage to Central Asia where they encountered ethnic Turkmen. Besides gathering intelligence, the travel writers devoted considerable pages to their Turkmen female travelees as well. But their images in these travel books have not been subject to rigorous scholarly scrutiny. In this regard, the current articles in two sections seeks to redress this neglect by shedding light on how these travel writers portrayed their Turkmen female travelees in seemingly unorientalist fashion in the first part and how explicitly in Orientalist tradition in the second part.

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Burton, Stacy. "Excursions into Modernism: Women Writers, Travel, and the Body by Joyce E. Kelley." Modernism/modernity 23, no. 4 (2016): 924–26. http://dx.doi.org/10.1353/mod.2016.0087.

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Teissier, Beatrice. "Crimean Tatars in explorative and travel writing: 1782–1802." Anatolian Studies 67 (2017): 231–53. http://dx.doi.org/10.1017/s0066154617000060.

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AbstractThis article discusses the portrayal of Crimea, particularly Crimean Tatars and their culture, through the writings of nine men and women who travelled in the region in the late 18th century. These writers travelled in different capacities and represent a diversity of viewpoints; they include figures of the Russian academic and political establishment and western European travellers, with or without Russian affiliations. The article sets their writings in the context of the imperial Russian rhetoric of conquest associated with the annexation of Crimea in 1783 and Catherine II's tour of the area four years later. This rhetoric remains relevant today through the marked persistence of certain historic tropes in contemporary Russian attitudes towards Crimea. The article also discusses the writers’ responses to Crimea in the light of broader Enlightenment tropes in travel writing and ethnographic observation. It examines the extent to which the travellers’ accounts of Crimea were shaped by notions of ancient Greek heritage, Scythians and ‘Tartar hordes’, attitudes towards the Ottoman Empire (Crimea had previously been an Ottoman protectorate) and Islam, and 18th-century orientalism.

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Bogojević, Dragan. "VOYAGE HISTORIQUE ET POLITIQUE AU MONTÉNÉGRO DE VIALLA DE SOMMIÈRES: UN LIVRE FONDATEUR D’UN IMAGINAIRE PARADOXAL DU VOYAGE AU MONTÉNÉGRO AU XIX SIÈCLE." La mémoire et ses enjeux. Balkans – France: regards croisés, X/ 2019 (December 30, 2019): 45–61. http://dx.doi.org/10.31902/fll.29.2019.4.

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HISTORICAL AND POLITICAL JOURNEY TO MONTENEGRO BY VIALLA DE SOMMIERES FOUNDING BOOK OF A PARADOXICAL IMAGINARY OF A JOURNEY TO MONTENEGRO In 1820, Vialla de Sommières published in Paris his book Historical and political journey to Montenegro. He was Commander of the Second division of Illyrian army in Ragusa from 1812 to 1813. Later, this work was used by many 19th century French travel writers as a model source for their own observations on Montenegro. Naturally, travelling to an unknown country implies an element of discovery. By analysing de Sommières’s text and the works by other French travel writers (P. Loti, X. Marmier, H. Avelot, J. de la Nézière, F. Lenorment, Ch. Yriarte, M. Sermet, l’abbé P. Bauron) we have been able to situate descriptions of journeys to and throughout Montenegro, which express an effect of surprise or discovery, and we have classified our findings in four sections: difficult access to astonishing landscapes, the cult of freedom, the character of Montenegrins, and the position of women. Thus, a journey to Montenegro becomes a kind of a return to a distant, precarious and, even, timeless epoch. In this sense, Vialla de Sommières’s work constitutes a founding work of a paradoxical imaginary of a journey to Montenegro, as the analysis of this travel story proposes. Key words: Montenegro, Vialla de Sommières, imaginary, story, travellers, writers

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Fruzińska, Justyna. "American Slavery Through the Eyes of British Women Travelers in the First Half of the 19th Century." Ad Americam 19 (February 8, 2019): 113–21. http://dx.doi.org/10.12797/adamericam.19.2018.19.08.

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My paper investigates 19th-century travel writing by British women visiting America: texts by such authors as Frances Trollope, Isabella Bird, or Frances Kemble. I analyze to what extent these travelers’ gender influences their view of race. On the one hand, as Tim Youngs stresses, there seems to be very little difference between male and female travel writing in the 19th century, as women, in order to be accepted by their audience, needed to mimic men’s style (135). On the other hand, women writers occasionally mention their gender, as for example Trollope, who explains that she is not competent enough to speak on political matters, which is why she wishes to limit herself only to domestic issues. This provision, however, may be seen as a mere performance of a conventional obligation, since it does not prevent Trollope from expressing her opinions on American democracy. Moreover, Jenny Sharpe shows how Victorian Englishwomen are trapped between a social role of superiority and inferiority, possessing “a dominant position of race and a subordinate one of gender” (11). This makes the female authors believe that as women they owe to the oppressed people more sympathy than their male compatriots. My paper discusses female writing about the United States in order to see how these writers navigate their position of superiority/inferiority.

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HAYANI, KHADIJA El. "Marrakech in Travel Literature." International Journal of Innovative Science and Research Technology 5, no. 7 (July 21, 2020): 166–69. http://dx.doi.org/10.38124/ijisrt20jul251.

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The paper aims to examine images of Marrakech in travel literature and their relevance to and impact on tourism. Many of the pioneer works conducted by painters, writers or simply adventurers from the 17th century to the beginning of 20th century depict Morocco as a no man’s land; a country inhabited by savage, fierce looking men, living in a primitive, atavistic society. Their customs, beliefs, and behavior were exotic if not weird and therefore deserving anthropological research. Women were also subjects of much conjecture and criticism. They were often depicted behind barred windows, and closed doors, subservient, walking non- entities, draped in ‘haiks’ and veiled. They existed only for the pleasure of men. These stereotypes continue to inflame the imagination of tourists heading to Marrakech today. In this connection, Jemaa Elfna is considered the heart and soul of the city particularly because it caters to the fantasies of the tourists looking for exoticism. My purpose is to demystify the place and critique what it stands for. The snake charmers, henna ladies, disguised prostitution and homosexuality, con dentists and monkey trainers, who populate the place, in no way reflect the richness and authenticity of the country or the hospitality of the people

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Jaya, Akmal, and Mochamad Rizqi Adhi Pratama. "THE REPRESENTATION OF INDONESIAN WOMEN IN CONTEMPORARY TRAVEL WRITING: A STUDY OF DISCOURSE ON GENDER AND TRAVEL WRITING." Poetika 9, no. 1 (July 26, 2021): 62. http://dx.doi.org/10.22146/poetika.v9i1.60700.

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This research aims to examine the representation of Indonesian women in contemporary travel writings. The rise of globalization has challenged the domination of discourses that tend to place Indonesian women in the subordinate position. However, the challenge does not warrant a symmetrical relation between genders, as it sometimes blurs the relation as a result of clashes between discourses. This study, then, provides an overview of how discourses have shaped the representation of Indonesian women by revealing images that appear explicitly and implicitly in travel stories. Using the Foucauldian discourse analysis approach allowed the writers to exclude subjects, objects, and meanings to discover a comprehensive web of image construction. This research found that Indonesian women’s representation is stuck in an ambiguous position as it strives to be an independent individual subject. Penelitian ini bertujuan untuk menjelaskan representasi perempuan Indonesia melalui cerita perjalanan kontemporer. Pada dasarnya, globalisasi telah menantang kuasa hegemoni wacana yang cenderung menempatkan perempuan Indonesia pada posisi kedua. Akan tetapi, hal tersebut tidak menjamin kesetaraan antara hubungan gender, melainkan terkadang menjadikannya semakin kabur sebagai konsekuensi adanya pertentangan antar wacana. Kajian ini memberikan gambaran bagaimana wacana membentuk representasi perempuan Indonesia dengan menunjukkan citra-citra yang hadir secara eksplisit maupun implisit dalam cerita perjalanan. Dengan menggunakan pendekatan analisis Foucauldian memberikan sebuah kemungkinan kepada kita untuk memisahkan antara subjek, objek dan makna dan untuk menemukan jaring-jaring konstruksi citra yang komprehensif. Penelitian ini menemukan bahwa representasi perempuan Indonesia terjebak dalam posisi yang ambigu yang tampaknya mencoba untuk hadir sebagai subjek independen.

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Andrea, Bernadette. "“Double Critique” and the Sufi Praxis of Travel in Leila Ahmed’s A Border Passage and Fatema Mernissi’s Scheherazade Goes West." Journeys 22, no. 1 (June 1, 2021): 1–20. http://dx.doi.org/10.3167/jys.2021.220101.

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This article focuses on two twentieth-century Anglophone Arab women writers’ accounts of their travels to “the West”: Leila Ahmed’s A Border Passage: From Cairo to America—A Woman’s Journey (1999), and Fatema Mernissi’s Scheherazade Goes West: Different Cultures, Different Harems (2001). While their engagement with orientalist conceptions of the harem has received some attention, how and why they deploy Sufi texts, concepts, and cosmologies to advance their “double critique” of local and colonial patriarchies has not been subject to a sustained analysis, despite its salience in their travelogues. This article establishes that the Sufi praxis of travel ( safar ) becomes a facilitating framework, and ultimately a methodology derived from culturally grounded ways of knowing and being, for their overdetermined journeys toward what has been called “Islamic feminism.”

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Raissouni, Iman. "Authoritative Structures of British Feminist Colonial Discourse: Emily Keen’s Travel Narrative My Life Story as a Case Study." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 29, 2021): 20–27. http://dx.doi.org/10.32996/ijllt.2021.4.6.4.

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This paper analyses the representation of Morocco by a British female traveller during the late nineteenth and early twentieth century. Emily Keen’s My Life Story attempts to set out the conditions in which women travelled and translated the reception of their experiences into autobiographies in their native countries, breaking down the boundaries of space and time to discover and interpret the discourse that traverses the writer’s narrative. The endeavour is to show how what was imagined about the country, what was a fantastic legend about Morocco, what started as an innocent story and literary entertainment for British readers, built up to make an authoritative discourse of colonisation. My intention and method go so far as to broaden the range of issues connected to travel writing. These issues include gender, race, identity, and personal experience, etc. Through this lens, I argue that such writers were conscious and unconscious informants preparing the way for the European colonisation of the country; they are the living witnesses of an evolution through which a culture was forced to open itself to foreign powers.

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Taylor, Claire. "Between Science Fiction and a Travelogue: Albalucía Angel’s Tierra de nadie." La Manzana de la Discordia 4, no. 2 (March 16, 2016): 7. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v4i2.1447.

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(Entre la ciencia ficción y la bitácora de viaje: Tierra de nadie de Albalucía Ángel)Resumen: Este artículo explora la estructura dualde Tierra de nadie,última novela de Albalucía Angel,como tanto una bitácora de viaje como una obra deciencia ficción. El primer hilo tiene que ver con lo que laautora ha llamado mujeres galácticas, un grupo demujeres extraterrestres que descienden a la Tierra yviajan por diversas regiones y circunstancias en buscade desatar la ‘bondad’, y que corresponde a lascaracterísticas de una narrativa de ciencia ficción. Elsegundo de estos hilos narra las experiencias de unamujer protagonista, claramente colombiana de origen,y narra sus viajes alrededor del globo, experimentandodiferentes culturas, desde la europea a la australiana yla india. Estas experiencias reflejan de modo libre las dela autora en sus viajes en estos países, y por lo tantopodría clasificarse como escritura de viajes. De este modoel texto combina y entrelaza las localidades geográficascon la narrativa, cambiando de viajes galácticos a relatosde viajes cotidianos. La conclusión, donde se unen losdos hilos, se interpreta en términos de la posición teóricade Luce Irigaray sobre el proceso de «convertirse endivinidades mujeres».Palabras clave: Novela, mujeres escritoras, género,ciencia ficción, bitácora de viaje.Abstract: This article explores the dual structure ofTierra de nadie, Albalucía Angel’s latest novel, as both atravelogue and a work of science fiction. The first stranddeals with what the author has termed mujeres galácticas,a group of extraterrestrial women who descend to Earthand travel through various regions and circumstancesin their quest to unleash ‘bondad’, and it corresponds tothe characteristics of a science fiction (SF) narrative.The second of these strands narrates the experiences of afemale protagonist, clearly Colombian in origin, andnarrates her travels around the globe, experiencingdifferent cultures, from European to Australian andIndian cultures. These experiences loosely mirror theauthor’s own in her travels around these countries, andcould therefore be classified as travel writing. Thus thetext combines and intertwines geographical locations,with the narrative, switching from galactic journeys toeveryday travel accounts. The conclusion, where the twostrands are united, is interpreted in terms of LuceIrigaray’s theoretical position regarding the process of‘becoming divine women’.Key words: Novel, women writers, gender, sciencefiction, travelogue.

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CABELLO, JUANITA. "On the Touristic Stage of 1920s and ’30s Mexico: Katherine Anne Porter and a Modernist Tradition of Women Travel Writers." Women's Studies 41, no. 4 (June 2012): 413–35. http://dx.doi.org/10.1080/00497878.2012.663255.

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Leonard, Lori. "Women who change into men: a gendered history of precarity in ‘useful’ Chad." Africa 89, no. 03 (July 16, 2019): 521–40. http://dx.doi.org/10.1017/s0001972019000500.

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AbstractThis article is about two generations of women in south-western Chad – the baou déné and the mosso. It addresses the puzzle of how these groups of women are present in the everyday life of the region known as ‘useful’ Chad, while women as economic agents are absent from stories about the region and about successive schemes to make it profitable. The baou déné are wealthy farmers, but the last generation of these ‘women who have a lot of things’ is disappearing. Younger women are referred to as mosso, meaning ‘to fall down’. They are more likely to make a living from small trade than from farming and their lives are defined by precarity. Drawing on a range of historical and contemporary sources, I show how the erasure of women happened in different ways over time. In the colonial era, administrators and travel writers were unable to imagine that women transformed forests into cotton fields. In this century, the idea that women farm just like men was disseminated by oil companies, facilitating land expropriation while drowning out stories of women's marginalization. The baou déné and the mosso are the products of specific historical processes and profit-making schemes, and the silences about women's places in them helped make profits, empire and ‘useful’ Chad possible.

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БОДРОВА, А. Г. "Травелоги югославских писательниц первой половины ХХ века: в поисках идентичности." Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (June 2019): 27–36. http://dx.doi.org/10.1556/060.2019.64103.

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The paper considers travelogues of Yugoslav female writers Alma Karlin, Jelena Dimitrijević, Isidora Sekulić, Marica Gregorič Stepančič, Marica Strnad, Luiza Pesjak. These texts created in the first half of the 20th century in Serbian, Slovenian and German are on the periphery of the literary field and, with rare exceptions, do not belong to the canon. The most famous of these authors are Sekulić from Serbia and the German-speaking writer Karlin from Slovenia. Recently, the work of Dimitrijević has also become an object of attention of researchers. Other travelogues writers are almost forgotten. Identity problems, especially national ones, are a constant component of the travelogue genre. During a journey, the author directs his attention to “other / alien” peoples and cultures that can be called foreign to the perceiving consciousness. However, when one perceives the “other”, one inevitably turns to one's “own”, one's own identity. The concept of “own - other / alien”, on which the dialogical philosophy is based (M. Buber, G. Marcel, M. Bakhtin, E. Levinas), implies an understanding of the cultural “own” against the background of the “alien” and at the same time culturally “alien” on the background of “own”. Women's travel has a special status in culture. Even in the first half of the 20th century the woman was given space at home. Going on a journey, especially unaccompanied, was at least unusual for a woman. According to Simone de Beauvoir, a woman in society is “different / other”. Therefore, women's travelogues can be defined as the look of the “other” on the “other / alien”. In this paper, particular attention is paid to the interrelationship of gender, national identities and their conditioning with a cultural and historical context. At the beginning of the 20th century in the Balkans, national identity continues actively to develop and the process of women's emancipation is intensifying. Therefore, the combination of gender and national issues for Yugoslavian female travelogues of this period is especially relevant. Dimitrijević's travelogue Seven Seas and Three Oceans demonstrates this relationship most vividly: “We Serbian women are no less patriotic than Egyptian women... Haven't Serbian women most of the merit that the big Yugoslavia originated from small Serbia?” As a result of this study, the specificity of the national and gender identity constructs in the first half of the 20th century in the analyzed texts is revealed. For this period one can note, on the one hand, the preservation of national and gender boundaries, often supported by stereotypes, on the other hand, there are obvious tendencies towards the erosion of the established gender and national constructs, the mobility of models of gender and national identification as well, largely due to the sociohistorical processes of the time.

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Jones, R. W. "Elizabeth A. Bohls, Women Travel Writers, Landscape and the Language of Aesthetics, 1716-1818; Isobel Grundy ed., Lady Mary Wortley Montagu: Selected Letters." English 47, no. 188 (June 1, 1998): 145–50. http://dx.doi.org/10.1093/english/47.188.145.

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Gilroy, Amanda. "Elizabeth A. Bohls, Women Travel Writers and the Language oj Aesthetics, 1716–1818 (Cambridge: Cambridge University Press, 1995), pp. x + 309. £35.00 hardback. 0 521 47458 2." Romanticism 2, no. 2 (July 1996): 257–60. http://dx.doi.org/10.3366/rom.1996.2.2.257.

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Kelly, Gary. "Elizabeth Bohls, Women Travel Writers, Landscape and the Language of Aesthetics, 1716-1818. Cambridge: Cambridge University Press, 1995. ISBN: 0 521 47458 2 (hardback). Price: £ 35.00 (US$49.95)." Romanticism on the Net, no. 7 (1997): 0. http://dx.doi.org/10.7202/005753ar.

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Oudadene, Hassane. "Reinventing the ‘Native Other’ in Early Hollywood: The Moroccan Woman between Native Resistance and Orientalist Episteme in Robert Florey’s Outpost in Morocco (1949)." MANUSYA 20, no. 1 (2017): 1–12. http://dx.doi.org/10.1163/26659077-02001001.

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The link between the American cinema and Morocco was established during the early twentieth century when North Africa became a central concern of both Europe and America. Western travel writers drew on generic conventions centered on wonder and the fantastic to fashion stories about the ‘other side’ of the world in which the West was positioned as morally and culturally superior to the East. The shift from textual to visual narratives did little to dismantle the imperialistic and Orientalist politics of cultural representation. The period between 1930 and 1956 witnessed considerable visual production on Morocco, which constituted not only a fertile haven but also a little story of Hollywood’s Orient. This paper explores and examines the dynamic negotiation and the interchangeable interplay of gender, colonialist enterprise and Orientalist ideology in one of Hollywood’s early films: Robert Florey’s Outpost in Morocco (1949). Relevant scenes from this movie display how Morocco and Moroccan subjects were subjected to a distinctively American characterization. The paper proposes to analyze, deconstruct and illustrate some of Hollywood’s poetics and strategies in the cultural (mis)representation of Moroccan women. Although a number of stereotypical clichés have been developed from within America’s biggest imagemaking machine, the screen still offers valid ground for the (re)construction and retrieval of a native agency and genuine scope for native resistance. The study offers, in practical terms, a few ‘signs of spectacular resistance,’ whereby the camera is reversed to position the Moroccan woman in sequences of privilege and power.

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Du Plessis, Hester. "Oriental Africa." Tydskrif vir Letterkunde 45, no. 1 (February 16, 2018): 87–100. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4465.

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Arab culture and the religion of Islam permeated the traditions and customs of the African sub-Sahara for centuries. When the early colonizers from Europe arrived in Africa they encountered these influences and spontaneously perceived the African cultures to be ideologically hybridized and more compatible with Islam than with the ideologies of the west. This difference progressively endorsed a perception of Africa and the east being “exotic” and was as such depicted in early paintings and writings. This depiction contributed to a cultural misunderstanding of Africa and facilitated colonialism. This article briefly explores some of the facets of these early texts and paintings. In the first place the scripts by early Muslim scholars, who critically analyzed early western perceptions, were discussed against the textual interpretation of east-west perceptions such as the construction of “the other”. Secondly, the travel writers and painters between 1860 and 1930, who created a visual embodiment of the exotic, were discussed against the politics behind the French Realist movement that developed in France during that same period. This included the construction of a perception of exoticness as represented by literature descriptions and visual art depictions of the women of the Orient. These perceptions rendered Africa as oriental with African subjects depicted as “exotic others”.

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Zonitch, Barbara. "Elizabeth A. Bohls. Women Travel Writers and the Language of Aesthetics, 1716–1818. (Cambridge Studies in Romanticism, 13.) New York: Cambridge University Press. 1995. Pp. x, 309. $49.95. ISBN 0-521-47458-2." Albion 29, no. 1 (1997): 120–21. http://dx.doi.org/10.2307/4051625.

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Gilroy, Amanda. "Women Travel Writers and the Language of Aesthetics, 1716-1818. Elizabeth A. Bohls.Letters of a Solitary Wanderer 1800 Vol. I, Vol. II, Vol. III. Charlotte Smith.Mary Wollstonecraft and the Language of Sensibility. Syndy McMillen Conger." Wordsworth Circle 27, no. 4 (September 1996): 216–19. http://dx.doi.org/10.1086/twc24043064.

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Watt, Helga Schutte. "Ida Pfeiffer: A Nineteenth-Century Woman Travel Writer." German Quarterly 64, no. 3 (1991): 339. http://dx.doi.org/10.2307/406396.

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Homerin, Th Emil. "Crossing Borders: ʿĀʾisha al-Bāʿūniyya and Her Travels." Der Islam 96, no. 2 (October 4, 2019): 449–70. http://dx.doi.org/10.1515/islam-2019-0030.

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Abstract Arabic scholarship and literature flourished during the Mamlūk period, and scholars and students from across the Muslim world were drawn to Cairo and Damascus. This led to opportunities for travel, education, and employment, yet these opportunities were available almost exclusively to men. In Syria and Egypt, and most of the medieval world, women’s involvement in travel, education, and public life, was often restricted. However, there were exceptions, including the prolific writer and poet ʿĀʾisha al-Bāʿūniyya (d. 1517). As a woman, she crossed a number of social and cultural borders in order to enter into the domain of religious scholarship and literary production. Drawing from historical and biographical sources, and especially from ʿĀʾisha al-Bāʿūniyya’s writings, I examine her social and intellectual background, her travels and scholarly interactions in order to highlight some of the social trends and intellectual forces at work in the late Mamlūk period.

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Salahuddin, Ambreen. "Mystic Language and Symbols: Unity of Being and Pakistani Women Fiction Writers." Journal of Islamic Thought and Civilization 10, no. 101 (June 2020): 170–81. http://dx.doi.org/10.32350/jitc.101.09.

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This article explores the concept of unity of being in fiction by Pakistani women writers. The usage of mystic language and depiction of mystical and Sūfi symbols in literature can be traced back to ancient texts. However, it has been deemed alien for women to be Sūfis and have mystic experience, apart from a few exceptions. Indulging in formulating mystical symbols and using mystic language by women has not been perceived as too womanly. The main reason for this is the fact that women’s world-view has been restricted and thus deemed limited. Complete works of fiction by Pakistani women writers writing in Urdu have been explored for this research. There are two steps in sample selection i.e. women fiction writers and their fiction. Women writers are selected on the basis of set criteria. Selection of text is done through theoretical sampling. Women fiction writers have used mystic symbols meaningfully at innumerable places in their works. By the study of these works, it can be concluded that women writers have indulged in using mystical language and symbols and have done it in a crafty manner, though retaining the traditional usage of these symbols and metaphors.

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Okpala, Ebele Peace. "TRACING THE EVOLUTION OF THE IMAGE OF AFRICAN FEMALES THROUGH THE AGES: AN OVERVIEW OF SELECTED LITERARY WORKS." Volume-3: Issue- 1 (January) 3, no. 1 (January 28, 2020): 24–32. http://dx.doi.org/10.36099/ajahss.3.1.4.

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The image of African women has evolved over the years. The study traced and critically analyzed how African female persona and experience have been depicted starting from pre-colonial, colonial to postcolonial eras using selected literary texts. It highlighted the impacts made by feminist writers towards a re-definition of the African woman. The theoretical framework was hinged on Feminist theory. Feminism, feminist ideologies and their proponents were also highlighted. The research revealed that the image of pre-colonial and colonial African women as portrayed in Chinua Achebe’s Things Fall Apart and Arrow of God, Elechi Amadi’s The Concubine, Wole Soyinka’s The Lion and the Jewel, Flora Nwapa’s Efuru, El Saadawi’s The Woman at Point Zero, Mariama Ba’s So Long a Letter among others was ascribed a second class status. The Postcolonial African women have come to the awareness of their rights and roles through the numerous intellectual and political campaigns of African feminist writers. Their image has changed from being in the kitchen, bearing and rearing children to also shouldering responsibilities as most powerful men in the community as depicted in Chinua Achebe’s Anthills of the Savannah, Chimamanda Adichie’s Half of the Yellow Sun among others. The study recommended the acquisition of good education and self-development as the major strategies to confront the impediments orchestrated by patriarchy.

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Maver, Igor. "Trading Places in New Zealand two women's literary search for self-realization overseas." Futhark. Revista de Investigación y Cultura, no. 9 (2014): 275–84. http://dx.doi.org/10.12795/futhark.2014.i9.10.

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Toe paper compares sorne of the possíble reasons for the radical change of locale and overseas travel far away from home in the case of the New Zealand writer Katherine Mansfield and especially the Slovenian author Alma Maximiliana Karlin in the early twentieth-century, which shows an interesting parallelism and search for the 'othemess' of experience beyond their respective homelands. If Mansfield decided to leave New Zealand for London to study, and for the second time to avoid the provincial climate at home, then the Slovenian travel writer Alma Karlin decided to leave Europe for Asia and New Zealand at roughly the same time as Mansfield arrived in the modemist literary Bloomsbury area in London. Toe publication of Mansfield's famous collection, I11e Carden Parti; and Other Ston·es (1922), and Karlin's travel book, Solitan; Journey (Die Einsame Weltreise, 1929), almost coincided, although the two women authors never met.

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Mitkova, Valentina. "Gender Tutelage and Bulgarian Women’s Literature (1878–1944)." Aspasia 12, no. 1 (March 1, 2018): 91–111. http://dx.doi.org/10.3167/asp.2018.120105.

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AbstractThis article focuses on Bulgarian women writers’ activities, their reception, and their problematic existence in the context of the modernizing and emancipatory trends in Bulgarian society after the Liberation (1878–1944). The analysis is based on the concept of the (intellectual) hierarchy of genders and mechanisms of gender tutelage, traced in the specifics of women’s literary texts, their critical and public resonance, and the authors’ complicated relation with the Bulgarian literary canon. The question is topical, given the noticeable absence of women writers in the corpus of Bulgarian authors/ literary texts, thought and among those considered representative in terms of national identity and culture. The study is based on primary source materials such as works by Bulgarian women writers, the periodical press from the period, various archival materials, and scholarly publications relevant to the topic.

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Meenakshi, Ms. "Violence against Women in Taslima Nasrin’s Lajja." Think India 22, no. 3 (October 30, 2019): 2043–48. http://dx.doi.org/10.26643/think-india.v22i3.8633.

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Bangladeshi English literature consists of all those literary works written in the English language in Bangladesh and by the Bangladeshi diaspora. Some of its prominent writers are Rabindranath Tagore, Begam Rokeya,Tehmima Anam, Taslima Nasrin and so on. The name of Tagore shows that the origin of Bangladeshi literature can be traced to pre-independent Bengal. The writers of Bangladesh use English as a medium to connect to the rest of the world. It is used as a medium to contribute to the world literature. They also find it a tool to show the real conditions of Bangladesh to the world. Writers like Taslima Nasrin details many of the issues of the nation in her magnum opus Lajja. One of those issues is the violence against women in Bangladesh. In one of her interviews, she states that everything she has written is for the oppressed women of Bangladesh. She further stated that she has wrung her heart out into her words. She has consistently been criticizing the patriarchal society of the nation for its bad treatment of women.

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Meenakshi. "Violence against Women in Taslima Nasrin’s Lajja." Think India 22, no. 3 (September 27, 2019): 2164–69. http://dx.doi.org/10.26643/think-india.v22i3.8684.

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Bangladeshi English literature consists of all those literary works written in the English language in Bangladesh and by the Bangladeshi diaspora. Some of its prominent writers are Rabindranath Tagore, Begam Rokeya,Tehmima Anam, Taslima Nasrin and so on. The name of Tagore shows that the origin of Bangladeshi literature can be traced to pre-independent Bengal. The writers of Bangladesh use English as a medium to connect to the rest of the world. It is used as a medium to contribute to the world literature. They also find it a tool to show the real conditions of Bangladesh to the world. Writers like Taslima Nasrin details many of the issues of the nation in her magnum opus Lajja. One of those issues is the violence against women in Bangladesh. In one of her interviews, she states that everything she has written is for the oppressed women of Bangladesh. She further stated that she has wrung her heart out into her words. She has consistently been criticizing the patriarchal society of the nation for its bad treatment of women.

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Burling, William. "Reading Time: The Ideology of Time Travel in Science Fiction." KronoScope 6, no. 1 (2006): 5–30. http://dx.doi.org/10.1163/156852406777505255.

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AbstractThis essay argues for the existence and ideological significance of two principal variants of time travel form in science fiction (SF): the temporal dislocation form and the temporal contrast form. The principle examples for discussion are, respectively, Stephen Baxter's manifold: time (2000) and Marge Piercy's Woman on the Edge of Time (1976), though the case is bolstered by additional references to other SF works. Drawing on the work of theorists such as Adorno, Benjamin, Žižek, and Jameson, the argument then considers more broadly the connection between ideology and ontology implicit in these time travel forms. The essay concludes with a critique of the assumptions by which time travel SF stories are created, studied, taught, and read by SF writers and academics, as well as general readers.

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Senica, Klemen. "Following in the Footsteps of Isabella Bird?" Asian Studies 9, no. 3 (September 10, 2021): 225–57. http://dx.doi.org/10.4312/as.2021.9.3.225-257.

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Alma Karlin (1889–1950), a round-the-world traveller, intellectual, and writer from Celje, Slovenia, arrived in Japan and lived in Tokyo in the early 1920s, an era which historians consider to be an interim period between the initial expansion of the Japanese Empire to mainland Asia and its end in 1945. The writer’s fascination with the land can be inferred, among other things, from a 35-page description of Japan and the Japanese in her most famous book, Einsame Weltreise. Die Tragödie einer Frau (The Odyssey of a Lonely Woman), and passages in Reiseskizzen (Travel Sketches), an earlier work. The article aims to place these travel accounts in the historical and ideological contexts of their time while highlighting some similarities and differences between the representations of the land and its people by Karlin and those by Isabella Bird (1831–1904). Although Karlin makes no explicit reference to the famous British traveller in her writing on Japan, the article demonstrates that she must have known about Bird’s book Unbeaten Tracks in Japan. It is, above all, her decision to introduce her (German) readers to topoi that were typical of Victorian women’s travel writing which suggests that Karlin partly based her image of Japan, if not even the itinerary of her journey there, on Bird’s bestselling work. Nevertheless, Karlin does not seem to have conformed to the then dominant orientalist discourses on Japan, her representations generally showing none of the Western arrogance that was so typical of her fellow travellers of both sexes.

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Ania, Gillian. "Contemporary Italian Women Writers and Traces of the Fantastic: The Creation of Literary Space." Journal of Modern Italian Studies 15, no. 1 (January 2010): 170–71. http://dx.doi.org/10.1080/13545710903465689.

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Sarnou, Dallel. "Re-thinking the Veil, Jihad and Home in Fadia Faqir’s Willow Trees Don’t Weep (2014)." Open Cultural Studies 1, no. 1 (October 26, 2017): 155–60. http://dx.doi.org/10.1515/culture-2017-0014.

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Abstract In her latest novel Willow Trees Don’t Weep(2014), the writer Fadia Faqir decided to go against the grain as a Muslim woman coming from the Middle East but lives in Britain and write about jihad, terrorism and Taliban. In this novel, the author negotiates meanings of secularism, fundamentalism, jihad, fathering, women and wars. The novel’s protagonist, Najwa is torn between her mother’s secularism and her father’s religious fundamentalism. In her homeland, Amman, Najwa is different from many other girls of Amman because she does not wear the headscarf that represents hijab, a religious garment, in many Muslim countries. However, when she travels to Afghanistan to trace her father, Najwa meets women wearing the burqaa, a head-to-toe veil. This might be an unexpected re-consideration of this garment as a symbol of freedom because she met veiled women who are self-determined and emancipated from within. Therefore, this article sets out to explore how the novel’s protagonist re-considers the veil, home and self-discovery.

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Wiedlack, Katharina. "A feminist becoming? Louise Thompson Patterson’s and Dorothy West’s sojourn in the Soviet Union." Feminismo/s, no. 36 (December 3, 2020): 103. http://dx.doi.org/10.14198/2020.36.05.

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This article follows the socialist activist Louise Thompson (later Patterson) and the writer Dorothy West on their infamous journey to Soviet Russia to shoot a film about North American anti-Black racism in 1932. The film about the US history of racial oppression was ultimately never made, but the women stayed in the Soviet Union for several months, travelling to the Soviet republics, meeting famous Soviets, and experiencing Soviet modernization. Looking at the travel writings, correspondence, and memoirs of Thompson and West through the lens of intersectionality, this article analyses the women’s distinctly gendered experiences and their experience of socialist women’s liberation movements. It argues that a close reading of the literary writing, travel notes, letters, and memoirs and their biographical trajectories after they returned to the United States reveals how their experiences in the Soviet Union created a feminist consciousness within the two women that crucially altered their political and personal views of Black women’s agency and significantly altered their life trajectories.

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Wiedlack, Katharina. "A feminist becoming? Louise Thompson Patterson’s and Dorothy West’s sojourn in the Soviet Union." Feminismo/s, no. 36 (December 3, 2020): 103. http://dx.doi.org/10.14198/fem.2020.36.05.

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This article follows the socialist activist Louise Thompson (later Patterson) and the writer Dorothy West on their infamous journey to Soviet Russia to shoot a film about North American anti-Black racism in 1932. The film about the US history of racial oppression was ultimately never made, but the women stayed in the Soviet Union for several months, travelling to the Soviet republics, meeting famous Soviets, and experiencing Soviet modernization. Looking at the travel writings, correspondence, and memoirs of Thompson and West through the lens of intersectionality, this article analyses the women’s distinctly gendered experiences and their experience of socialist women’s liberation movements. It argues that a close reading of the literary writing, travel notes, letters, and memoirs and their biographical trajectories after they returned to the United States reveals how their experiences in the Soviet Union created a feminist consciousness within the two women that crucially altered their political and personal views of Black women’s agency and significantly altered their life trajectories.

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Yalovenko, Olha. "Specificity of Understanding the Problem of Gender Relations in Jhumpa Lahiri`s Writing." Fìlologìčnì traktati 12, no. 2 (2020): 136–43. http://dx.doi.org/10.21272/ftrk.2020.12(2)-15.

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The article deals with the specificity of understanding the problem of gender relations in Jhumpa Lahiri`s writing (the American writer of Bengali origin). The article`s aim is to explore the peculiarities of gender relations in the context of the transculture paradigm in Jhumpa Lahiri`s writing. Research methods: historical and typological (determining the specifics of themes, motifs, images, story features of the writer`s works), hermeneutic (interpretation of various aspects of the literary text), narratological analysis (specifics` analysis of J. Lahiri`s narrative manner). It is indicated that the study of gender issues is important in the modern literature discourse. The differences between the adaptation of men and women to the new cultural environment are clearly seen in Jhumpa Lahiri`s writing. Yes, men`s purpose is to realize their “American dream”, as most of them emigrate in search of a better life, scientific and academic goals (an example is the man from the story “Mrs. Sen`s”). Like Bengali families, men have every right to make all the important decisions in the family. The features of Indian women's adaptation to the new culture, which are seen not only in overcoming the language barrier, but are traced in everyday life and in relations with men, are analyzed. Women have completely different adaptation experiences. The problem of gender relations is traced to the identity crisis of the Indian woman in America, who balances between cultures and lives in two worlds: wants to be American and at the same time not forget her “desh” (literally “homeland” in Bengali). A stereotyped image of an Indian woman who “sacrifices” herself and remains in despair within the American apartment`s walls is portrayed in Jhumpa Lahiri`s works. Gender specificity is seen in the role of “invisible existence”: heroines are associated with maids who can cook dinner and wash socks only. Women seek refuge in the past and avoid the present. Unlike men, the assimilation process is much more difficult for women. It is mentioned that J. Lahiri shows the material dependence of women on men. The problem of gender relations that is also associated with the decline of family values, where marriage becomes a temporary matter, is no less important.

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Vengadasalam, Puja. "Dislocating the Masculine: How Nellie Bly Feminised Her Reports." Social Change 48, no. 3 (September 2018): 451–58. http://dx.doi.org/10.1177/0049085718781597.

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Nellie Bly’s pioneering contribution to eighteenth-century journalism has not been adequately recognised. The author bridges this gap in America’s media history by scrutinising the strategies she employed to make herself heard. By building in gender into her writing and articles and by interplaying the sensationalist with the reformer, Bly emerged out of the silence to which women were relegated to in the so-called Progressive Era. Not only was she thus able to chart new paths herself personally as an investigative reporter, travel writer and warfront correspondent, but she was also able to bring in some reform into the system, expose corruption and open the doors for the legion of women journalists who followed in her wake.

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Di Ciolla, Nicoletta. "Book Review: Contemporary Italian Women Writers and Traces of the Fantastic: The Creation of Literary Space." Forum Italicum: A Journal of Italian Studies 42, no. 2 (September 2008): 425–27. http://dx.doi.org/10.1177/001458580804200216.

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Makau, L. "Contemporary Italian Women Writers and Traces of the Fantastic: The Creation of Literary Space. Danielle E. Hipkins." Contemporary Women's Writing 2, no. 2 (December 1, 2008): 181–82. http://dx.doi.org/10.1093/cww/vpn020.

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Journal articles on the topic 'Women travel writers'

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