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Articoli di riviste sul tema "Voyages, imaginary"

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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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1

Ponty, Florian. "Translations of Imaginary Voyages: Exoticism and Adaptation". Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies 41 (2022): 1. http://dx.doi.org/10.7202/1106817ar.

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Arthur, Paul Longley. "Capturing the antipodes: Imaginary voyages and the romantic imagination". Journal of Australian Studies 25, n. 67 (gennaio 2001): 186–95. http://dx.doi.org/10.1080/14443050109387652.

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Paul Longley Arthur. "Fictions of Encounter: Eighteenth-Century Imaginary Voyages to the Antipodes". Eighteenth Century 49, n. 3 (2009): 197–210. http://dx.doi.org/10.1353/ecy.0.0014.

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May, Georges. "One Way and in Both Directions: Considerations on Imaginary Voyages". Diogenes 38, n. 152 (dicembre 1990): 1–18. http://dx.doi.org/10.1177/039219219003815201.

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5

Hamans, Camiel. "The Travelogue as a Mirror of Thought". Werkwinkel 13, n. 1-2 (1 dicembre 2018): 89–110. http://dx.doi.org/10.2478/werk-2018-0005.

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Abstract This paper discusses Dutch historical travelogues as a source for linguistic research. On the one hand one can find descriptions of exotic languages or undocumented remote dialects in travel journals, on the other hand one may come across philosophical and theoretical ideas about language in the utopian reports of imaginary voyages.

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Novaes, Sylvia Caiuby. "Voyages as exercises of the gaze". Vibrant: Virtual Brazilian Anthropology 9, n. 2 (dicembre 2012): 272–91. http://dx.doi.org/10.1590/s1809-43412012000200010.

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This article focuses the relationship between journeys and photographs especially among anthropologists who travel. Having travelled to the Upper Negro River as an advisor of a PhD student, I discuss what digital photographs may mean in a context where verbal communication is impossible. Real or imaginary journeys are a source of images, reports, or travel logs in which it is difficult to discern what is real and what is fiction. After discussing a few famous scientific and literary journeys, the article focuses on some anthropological journeys and concludes that images produced by anthropologists are a result of trained intuition, a sensitive gaze, and memories of former travels. The article includes photographic essays that incorporate pictures I took in February 2012 among the Hupd'äh, in the Upper Negro River region.

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Bernard, Nathalie. "Anne Bandry-Scubbi, & Rémi Vuillemin, éds, Real and Imaginary Travels, 16th-18th centuries / Voyages réels, voyages imagin". XVII-XVIII, n. 73 (31 dicembre 2016): 290–93. http://dx.doi.org/10.4000/1718.766.

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Bässler, Andreas. "Identitätsprobleme im Eselsroman und die humanistische ‘Lösung’ als Lügendichtung". Daphnis 43, n. 2 (3 maggio 2015): 305–50. http://dx.doi.org/10.1163/18796583-04302005.

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The antique ass novels create the problem if there is identity or not between author and narrator/protagonist, if it is an autobiographic text or not. The humanistic reception in Renaissance from Poggio to Sieder has to handle these problems and find one possibility to answer because they connect the ass novels to the lucianic tradition of the imaginary voyages and tall tales (Lügendichtung). Then the supposed autobiographic identity changes to what is called in modern theory of literature an autofiction.

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Menzies, Ruth. "Anne Bandry-Scubbi & Rémi Vuillemin, Real and Imaginary Travels 16th-18th Centuries / Voyages réels, voyages imaginaires, XVIe-XVIIIe siècles". Caliban, n. 58 (1 dicembre 2017): 403–6. http://dx.doi.org/10.4000/caliban.5409.

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Campbell, Mary Baine, e David Fausett. "Writing the New World: Imaginary Voyages and Utopias of the Great Southern Land." American Historical Review 100, n. 4 (ottobre 1995): 1283. http://dx.doi.org/10.2307/2168290.

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Leibacher-Ouvrard, Lise. "Writing the New World: Imaginary Voyages and Utopias of the Great Southern Land (review)". Eighteenth-Century Fiction 7, n. 2 (1995): 206–7. http://dx.doi.org/10.1353/ecf.1995.0019.

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Niezen, Ronald. "Digital Identity: The Construction of Virtual Selfhood in the Indigenous Peoples' Movement". Comparative Studies in Society and History 47, n. 3 (luglio 2005): 532–51. http://dx.doi.org/10.1017/s0010417505000241.

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Inventions have their greatest impact when they go beyond their possible practical applications and act upon the imagination. When Martin Behaim invented the first globe in 1490, a functionally useless object consisting mostly of terra incognita, he was widely ridiculed; but somehow the ideas that his globe represented stuck, and within a few decades the basic validity of his construction was confirmed by the voyages of Columbus, Cabot, Vasco de Gama, Magellan, and others. Today, with efforts to situate the rapid growth of information and communication technologies (ICTs), especially the Internet, in the context of globalization, there is a similar division between those who dismiss it as being of no importance and those who see in it a looming (for good or ill) global revolution. But, as with Behaim's globe, the imaginary possibilities of these innovations are important in determining how and to what extent human existence is to be transformed by them.

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Laudin, Gérard, e François Moureau. "Anne Bandry-Scubbi et Rémi Vuillemin (dir.), Real and Imaginary Travels 16th-18th C./ Voyages réels, voyages imaginaires 16 e -18 e siècles , Presses universitaires de Strasbourg, 2015, 176 p." Dix-huitième siècle 48, n. 1 (6 settembre 2016): XXXVI. http://dx.doi.org/10.3917/dhs.048.0633aj.

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Sengupta, Sohini. "Empowering Girlhood Journeys: Feminist Mythic Revision in Contemporary Indian Diaspora Children’s Fiction". International Journal of English Literature and Social Sciences 7, n. 3 (2022): 248–52. http://dx.doi.org/10.22161/ijels.73.37.

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There had been relatively little interest in a narrative of female individuation within mythology. Revisionist myths and legends in contemporary literaturehave thus addressed issues of women’s identity and autonomy while redesigningthe gendered spaces in these cultural narratives. The need for alternative mobility arcs within the cultural imaginary was also recognized for adolescent girls in their quest for subjectivity.This paper thus explores two works of children’s fiction, viz. Sayantani Dasgupta’s Game of Stars(2019) from the Kiranmala and the Kingdom Beyond series and Roshani Chokshi’s Aru Shah and the End of Time (2018) as coming-of-age immigrant narratives where young girls undergo heroic adventures restructuringIndian mythology and Bengali folktales. Dasgupta’s Kiranmala and the Kingdom Beyond series intertwines intergalactic science and Bengali folktales, mostly from the Thakumar Jhuli (1907), meshing different fairy tale characters aidingthe adolescent female protagonist Kiranmala, who isa neotericgutsy counterpart of the warrior princess in Dakshinaranjan Mitra Majumder's fairy tale collection.At the same time, Roshani Chokshi’s Aru Shah fantasy adventure series celebrates the Indian heritage of Hindu mythology (particularly the Mahabharata) in the diaspora, while empowering young immigrant girls to imagine and undertake non-normative feminist voyages.

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Doan, Caleb. "Poe's "Vast Island-Studded Ocean"". Poe Studies 54, n. 1 (2021): 67–86. http://dx.doi.org/10.1353/poe.2021.a825741.

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ABSTRACT: This article surveys Edgar Allan Poe's transpacific writings in the 1830s and analyzes competing conceptualizations of islands in and between his literary reviews, "MS. Found in a Bottle" (1833), and The Narrative of Arthur Gordon Pym (1838). Whereas his reviews find him promoting a national expedition to the Pacific and supporting the associated expansion of US commercial and imperial interests, Poe's fiction offers coded warnings about the dangers of Western imperialism. In "MS." and Pym , Poe discredits imperial maps and seeks to transcend imperial frameworks by illustrating archipelagic resistance . The new readings identify sources from Pacific accounts that Poe had read or reviewed. "MS." provides a nightmarish allegory in which a racialized hurricane—a virtual, deterritorialized Malay Archipelago—dashes the prospects of its Euro-American traders. In Pym , Poe uses geographical misdirection to turn Tsalal into a Pacific island unlike the romantic fantasies in the popular imaginary. In this dangerous contact zone that regenerates the disastrous consequences from previous transpacific voyages, Tsalalians use anti-imperial strategies employed by Oceanians in other antebellum narratives. The conclusion considers how Poe gestures to a "black Pacific" in "MS." and Pym , which is inspired by reactionary racial views but emerges in opposition to Euro-American imperial fantasies.

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Lemercier-Goddard, Sophie. "“Upon what ground?”: Hamlet as Journeying Play". Études anglaises Vol. 76, n. 2 (30 novembre 2023): 225–44. http://dx.doi.org/10.3917/etan.762.0225.

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Lorsque Hamlet interroge le fossoyeur sur les raisons de la folie du prince, « Upon what ground? », celui-ci répond littéralement, « Why, here in Denmark » (5.1.136-37). La question d’Hamlet nous invite à une réflexion spatiale sur la pièce. À partir d’une analyse géographique et écologique des mobilités, des pratiques spatiales et de la matérialité de la terre, nous proposons de définir Hamlet comme une « pièce de voyage ». Bien que l’intrigue ne soit pas à proprement parler organisée autour d’un voyage, les pérégrinations des personnages attirent l’attention sur un contexte national et géopolitique (« country matters », 3.2.103, où il est question d’affaires d’État autant que d’ébats). Hamlet, étudiant mélancolique et renfermé, est aussi un voyageur contrarié. Tandis que la pièce transporte ses spectateurs dans un Danemark qui n’est pas qu’un simple décor, elle développe une double perspective et s’appuie sur un imaginaire cartographique. Sa poésie élémentaire, axée sur la terre et l’eau, souligne également la topographie insulaire du Danemark. Considérer Hamlet comme un exemple de pièce de voyage, c’est reconnaître qu’elle prend en compte, comme nombre de pièces de la période, l’intérêt du public de l’époque pour les voyages et l’ailleurs ; mais c’est aussi montrer comment de telles préoccupations géographiques suscitent une réflexion sur ce qui nous attache à la terre et sur la précarité de cet attachement.

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Boesky, Amy. "David Fausett. Writing the New World- Imaginary Voyages and Utopias of the Great Southern Land. Syracuse: Syracuse University Press, 1993. 237 pp. $42.50 cloth; $17.95 paper." Renaissance Quarterly 50, n. 2 (1997): 581–82. http://dx.doi.org/10.2307/3039191.

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Cave, Alfred A. "Thomas More and the New World". Albion 23, n. 2 (1991): 209–29. http://dx.doi.org/10.2307/4050603.

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Despite the extensive critical attention that has been lavished upon Sir Thomas More's Utopia, the influence of the early historical narratives of the discovery and conquest of America on the shaping of his fictional commonwealth remains problematic. Proctor Fenn Sherwin, writing in 1917, declared that “it should go without saying” that “the yet novel discoveries of unknown and unguessed of peoples in America and the tales of Spanish explorers” were a “considerable inspiration” to More. But Sherwin admitted that, apart from a few references to Amerigo Vespucci's Four Voyages, he could find no echo of their writings in the text of Utopia. Subsequent research on the rich literary allusions in More's published works and unpublished correspondence has provided some fascinating insights into his remarkable erudition and complex character. It has also prompted extensive debate about the relative importance of various classical and medieval sources in inspiring More's celebrated but enigmatic fictional account of an imaginary commonwealth. But no new evidence demonstrating that More was in fact steeped in the early literature on the New World has been produced. Claims that he read Columbus and Peter Martyr as well as Vespucci remain unsubstantiated.Some commentators have been untroubled by that lack of evidence. H. L. Donner assumed that More was familiar with Peter Martyr's Decades of the New World and from that source learned that the Indians of the West Indies “had an intuitive knowledge of the most essential moral and philosophical truths.” Donner concluded that More modelled Utopian “morality and religion” in large measure on Peter Martyr's description of the West Indians.

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Dupuy, Lionel. "Le dialogue des imaginaires. Formes du monstrueux et merveilleux géographique dans Voyage au centre de la Terre (Jules Verne, 1867)". Cahiers de géographie du Québec 61, n. 172 (6 dicembre 2017): 117–31. http://dx.doi.org/10.7202/1042718ar.

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Parmi les 62 romans qui composent les Voyages extraordinaires de Jules Verne (1828-1905), Voyage au centre de la Terre (1867) est celui où l’auteur décline le plus grand nombre de figures, de formes du monstrueux. Or ces dernières constituent toutes une forme spécifique du merveilleux, opérateur qui permet dans le récit vernien le basculement vers un imaginaire géographique. Dans ce monde littéralement extraordinaire, la lente descente qui est effectuée par les héros constitue une des illustrations romanesques les plus efficaces d’un des principaux schèmes analysés par Gilbert Durand dans son ouvrage consacré aux Structures anthropologiques de l’imaginaire (1990).

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Money, John. "Provincialism and The English “Ancien Regime”: Samuel Pipe-Wolferstan and “The Confessional State,” 1776–1820". Albion 21, n. 3 (1989): 389–425. http://dx.doi.org/10.2307/4050087.

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Imagine, if you will, a ship at sea. At a distance, it could be Jason and the Argonauts, or the Flying Dutchman, or even Captain Ahab. By the cut of its jib as it looms out of the mist, however, it seems rather to be a sieve, such as that in which the Jumblies once put forth. On the poop, sextant in hand, his grizzled features set in Churchillian grimace but instantly recognizable by the ancient Connecticut watchcap which tops them, stands—no, not Walter Mitty—but Hexter the Navigator. As a veteran of many earlier voyages, real and imaginary, he has a longer memory than his shipmates. He thinks this is a Liberty Ship, and he is trying to chart the course laid out in the sailing instructions, originally constituted by a long line of sea-lawyers and perfected by Victorian hydrographers. Right forrard, another ancient mariner, of the kind the lower deck calls Three-badge Killick (a leading seaman of long service who has never made it to Petty Officer), swings the lead. He is Plumb. In the crow's nest, bo'suns Tawney and Hill stand watch with their mates Stone and Thompson. As boy seamen long ago, they, too, were brought up on the old sailing instructions; but having, before the present voyage, served in capital ships, they consider that they have progressed far beyond such common lore. So wise are they indeed that they are convinced that this, too, is a Capital Ship, which, as everybody knows, can only sail forwards, and can therefore have only one destination. In the rigging, the rest of the fo'csle hands, a rabble of cabin boys and greenhorns press-ganged in 1968, who have barely passed for able seaman and still need the old guard to show them the ropes, likewise scan the horizon for the inevitable landfall and keep a weather eye open for that ill-omened denizen of these waters, Namier's Albatross. The intrepid helmsman, however, just as young but experienced beyond his years, knows better. Apprenticed to a line of tars that stretches back to old admiral Clarendon, he has learnt his craft the hard way, at the rope's end, and he has very little use for the sailing instructions of Liberty Ships or the great circle routes programmed, rhumb line by reductionist rhumb line, into the automatic pilots of their capital counterparts. He is Revisionist, a most unteleologic Ulysses, content (the journey not Ithaca's the thing) to sail his narrative barque (Narrenschiff?) before the winds of change for ever. Only one thing jars this whimsical homeric simile. Proof though he is against Circe and her reifications, our Ulysses has still his achilles' heel. Perhaps because he has come up through the hawse-hole himself, he has occasional bouts of nautical nostalgie de la boue: like Bertram, the sociologist of the sea in “Dry Cargo,” the Navigator's hoary parable on Doing History (another time, another voyage), he itches to pull on a pair of footnotes, go below and sample the bilgewater which, this being after all a sieve, slops around the hold.

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Tork Ladani, Safoura. "Ispahan, moitié du monde Dimension géocritique de l’espace dans Vers Ispahan de Pierre Loti Et L’Usage du monde de Nicolas Bouvier". ALTERNATIVE FRANCOPHONE 2, n. 5 (14 febbraio 2020): 49–64. http://dx.doi.org/10.29173/af29386.

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La littérature décrit le lieu réel et géographique tout en profitant de l’imagination d’une manière très neuve en le transformant en un espace imaginaire et rêvé. Les villes et les lieux décrits dans les récits de voyage fascinent de plus en plus les lecteurs passionnés par l’Ailleurs. Dans cet article, nous avons essayé, à l’aide de l’approche géocritique de Bertrand Westphal, d’examiner l’image d’Ispahan dans Vers Ispahan de Pierre Loti, voyageur et écrivain français qui a visité l’Iran à l’époque qâdjâr à la fin du XIXe siècle, et L’Usage du monde de Nicolas Bouvier qui a parcouru l’Iran au XXe siècle à l’époque Pahlavi. En s’appuyant sur quatre éléments principaux de la géocritique comme la multifocalisation, la polysensorialité, la stratigraphie et l’intertextualité, on va examiner comment les deux voyageurs ont essayé chacun à son tour de représenter une image spéciale et unique de cette ville avec un décalage d’un siècle. Une image bien poétique, riche et pleine de figures littéraires chez Loti qui l’appelle “ la ville des roses ”, mais parfois avec un sentiment de la nostalgie du passé chez Bouvier. Celui-ci représente alors la ville en une image brève, associée au sentiment de l’absurdité face à cet “autre monde”.

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Hugill, Andrew, e Lee Scott. "The Imaginary Voyage: an online opera". Digital Creativity 24, n. 3 (settembre 2013): 268–73. http://dx.doi.org/10.1080/14626268.2013.813378.

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Giardino, Alessandro. "Françoise Sagan". Mnemosyne, n. 9 (15 ottobre 2018): 16. http://dx.doi.org/10.14428/mnemosyne.v0i9.13993.

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Parallèlement à la rédaction de ses deux premiers romans Bonjour Tristesse et Un certain sourire, Françoise Sagan écrit des carnets de voyage à la demande de l'éditeur en chef de la revue Elle. Sagan prend alors la route de l’Italie et visite Naples, Capri et Venise. Tout au long de ce parcours littéraire, elle revient sur un mythe créateur remontant à ses lectures de jeunesse, et en particulier aux Illuminations d’Arthur Rimbaud. En retraçant des dynamiques mélancoliques derrière l'insouciance saganesque, nous démontrons dans cet article que l’auteure s’écarte des programmes féministes de son époque, aussi bien que de l’opinion de ceux qui l’ont dépeinte comme une jeune fille superficielle et désabusée. Enfin, une lecture interprétative des trois carnets des voyages servira à établir un parallèle entre les textes de fiction de Sagan et sa psycho-biographie, démontrant aussi la persistance du texte-source de Rimbaud dans l’évolution de son imaginaire.

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Rus, Martijn. "Un voyage imaginaire aberrant". Poétique 159, n. 3 (2009): 325. http://dx.doi.org/10.3917/poeti.159.0325.

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Émile, Arthur. "Un imaginaire en voyage". Artefact, n. 18 (15 giugno 2023): 319–44. http://dx.doi.org/10.4000/artefact.14120.

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Flahault, François. "Donner corps au voyage imaginaire". Archives de sciences sociales des religions, n. 196 (4 dicembre 2021): 129–32. http://dx.doi.org/10.4000/assr.59978.

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Requemora, Sylvie. "L’espace dans la littérature de voyages". Images et imaginaire de l’espace 34, n. 1-2 (23 febbraio 2004): 249–76. http://dx.doi.org/10.7202/007566ar.

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RésuméLes récits de voyage permettent une exploration de l’espace terrestre et maritime qui dépasse vite la dimension purement géographique et mathématique. Ils permettent de produire un discours viatique sur l’espace (rendant compte de l’espace, le représentant, l’appréhendant, le circonscrivant, pour esquiver une axiologie et une taxinomie), tout en suscitant un imaginaire de l’espace (mettant en place une poétique qui a un véritable impact sur les autres genres littéraires) et en développant une nouvelle symbolique (interprétant l’espace inconnu en lui construisant un sens inséparable du lieu connu d’origine). L’esapce dans la littérature de voyage reflète donc l’interférence des imaginaires, des expériences et des écritures, comme lieu privilégié de compréhension d’une certaine « modernité » du XVIIesiècle, créant et métamorphosant sans cesse en fonction d’expériences nouvelles. Il est à la fois taxinomique, axiologique, imaginaire, mental et symbolique.

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De Santis, Dario. "Maiden Voyage". Nuncius 26, n. 1 (2011): 21–49. http://dx.doi.org/10.1163/182539111x569757.

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AbstractThe scientific debate which developed during the eighteenth century, proposed and diffused new theories on the generation not only within the scientific community. Microscopic investigation and various experimental campaigns fostered daring models attempting to unveil the natural phenomena from which life originates. Besides the famous scientific and philosophical works that marked the age, in the second part of the century two pamphlets appeared that well represent the importance of the querelle about embryological systems defining the concept of generation as a voyage within the human body. Lucina sine concubitu and Juno abortans, respectively published in England and in Germany between 1750 and 1760, narrate the odd and imaginary adventures of two doctors who are trying to interrupt and modify the embryos' journey towards the body of the mother.

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Hwang, Hye-young. "Imaginary Science and Imaginary Filmic Techniques in 『Le voyage dans la lune』 of Goerges Melies". Korean Society of Culture and Convergence 39, n. 1 (28 febbraio 2017): 83–104. http://dx.doi.org/10.33645/cnc.2017.02.39.1.83.

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Backès-Thomas, Madeleine. "Un voyage imaginaire avec Madame Favez". Bulletin de psychologie 49, n. 423 (1996): 163–64. http://dx.doi.org/10.3406/bupsy.1996.14514.

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Cacciaglia, Norberto. "L'ESPERIENZA DEL MONDO E IL TEMA DELLA CONOSCENZA NELLA DIVINA COMMEDIA". Forum Italicum: A Journal of Italian Studies 39, n. 1 (marzo 2005): 18–48. http://dx.doi.org/10.1177/001458580503900102.

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In Dante's Comedy (in Inferno, canto XXVI) there are many subjects of great interest, as the Ulysses' travelling on a route we may identify as Eratosthenes' diaphragma (a geographical line through the Mediterranean Sea, dividing the classical oecumene into two imaginary parts), or else the memory of the medieval wanderings (as the Navigatio Brendani) and the travelling of the great voyageurs in Dante's age (Vivaldi brothers who disappeared in 1291 on a voyage from Genoa to the Indies, sailing West through the Straits of Gibraltar). Above all, Ulysses may be considered as a metaphor of Dante himself and of his yearning for knowledge: Dante was also challenging the unknown metaphysical world, pushed by reason and Faith. Otherwise, Guido Cavalcanti, the most beloved of Dante's friends, was trying the way of a rational knowledge only using his mind and according with the Averroes' radical interpretation of Aristotelian philosophy. This effort would be failed (as Dante suggests taking his speech with Cavalcante Cavalcanti in Inferno, canto X). Indeed Dante was following a different spiritual way, according to the Thomas Aquinas' philosophy: in his metaphysical journey his reason is driven by Faith and is propaedeutical to Theology.

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D'Angelo, Biagio. "S'eloigner (et sortir) de Malbork: topographies de l'imagination moderne". Aletria: Revista de Estudos de Literatura 15 (30 giugno 2007): 163. http://dx.doi.org/10.17851/2317-2096.15.0.163-177.

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Cet article propose une lecture de la topographie de l’imagination de la modernité littéraire. Le paysage est écriture et forme linguistique qui déclare l’impossibilité d’une réponse à l’inquiétude existentielle. Santa María (Onetti), Zembla (Nabokov) et Yoknapatawpha (Faulkner) ne sont que des représentations allégoriques des utopies comme chemin mélancolique. Autre lieu paradigmatique, Macondo (García<br />Márquez) se caractérise comme étant l’espace de l’énonciation d’une histoire mythique et l’espace métalittéraire de l’invention.<br />Toutefois, c’est dans le voyage imaginaire proposé par Calvino qu’on peut percevoir, à l’improviste, dans sa charge exceptionnelle de lecture cognitive, dans sa réelle “immédiateté”, que, même imaginaire, le voyage de Marco Polo dans les Villes invisibles est reconnu comme voyage personnel, une éventualité “positive”, un itinéraire “possible” vers une vraie connaissance de soi.

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Bibeau, Gilles. "Voyages et fictions chez Jack Kerouac". Anthropologie et Sociétés 28, n. 3 (12 settembre 2005): 59–89. http://dx.doi.org/10.7202/011283ar.

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Résumé S’appuyant sur la définition que Jack Kerouac a donnée de lui-même (« Je ne suis pas un “beat” mais un mystique catholique étrange, solitaire et fou… »), l’auteur lit l’immense oeuvre du « Ti-Jean » de Lowell comme si elle proposait, à travers une ethno-fiction, la mise en scène imaginaire du mythe fondateur d’un lignage Canuck, de la chronique généalogique de la migration des Kerouac, de la Bretagne aux États-Unis en passant par le Québec, et de la difficile américanisation d’une famille ouvrière, catholique et de langue française dans un des « Petits Canadas » des États-Unis. L’article démontre que l’image de « Beatnik » ne fait pas justice à l’extraordinaire créativité littéraire de cet écrivain qui a inventé un style d’écriture automatique inconnu avant lui, qui a mis en mots l’esprit de toute une époque dans un des « grands romans américains » du XXe siècle et qui a réécrit une nouvelle version de la mythologie américaine du voyage. Le monde imaginaire de Kerouac a été celui de l’exploration intérieure comme chez Walt Whitman, celui de l’excès dans l’errance, dans une descente en soi jusqu’à la folie et à la mort dans l’alcool, et enfin, celui du retour compulsif sur l’identité hybride des Franco-Américains dans une Amérique amérindienne. L’auteur montre que la légende franco-américaine des Duluoz a été, pendant quelques années, le mythe du peuple américain.

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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 (30 dicembre 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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Labrune-Badiane, Céline. "Voyages vers un « continent imaginaire » : Antillais au Sénégal (1960-1970)". Outre-mers 100, n. 378 (2013): 137–49. http://dx.doi.org/10.3406/outre.2013.5005.

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Cabanès, Jean-Louis. "Le voyage en Hollande : clichés et musée imaginaire". Cahiers Edmond et Jules de Goncourt 1, n. 2 (1993): 55–62. http://dx.doi.org/10.3406/cejdg.1993.1502.

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SMITH, C. N. "Review. Voyages: recits et imaginaire. Actes de Montreal. Beugnot, Bernard (ed.)". French Studies 42, n. 2 (1 aprile 1988): 207. http://dx.doi.org/10.1093/fs/42.2.207.

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Budor, Dominique. "Voyage imaginaire dans les arts de l’imageLe voyage de Giuseppe Mastorna de Fellini-Manara". Italies, n. 17/18 (1 ottobre 2014): 471–86. http://dx.doi.org/10.4000/italies.5045.

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D'Angelo, Biagio. "S'eloigner (et sortir) de Malbork: topographies de l'imagination moderne". Aletria: Revista de Estudos de Literatura 15, n. 1 (30 giugno 2007): 163–77. http://dx.doi.org/10.17851/2317-2096.15.1.163-177.

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Résumé: Cet article propose une lecture de la topographie de l’imagination de la modernité littéraire. Le paysage est écriture et forme linguistique qui déclare l’impossibilité d’une réponse à l’inquiétude existentielle. Santa María (Onetti), Zembla (Nabokov) et Yoknapatawpha (Faulkner) ne sont que des représentations allégoriques des utopies comme chemin mélancolique. Autre lieu paradigmatique, Macondo (García Márquez) se caractérise comme étant l’espace de l’énonciation d’une histoire mythique et l’espace métalittéraire de l’invention. Toutefois, c’est dans le voyage imaginaire proposé par Calvino qu’on peut percevoir, à l’improviste, dans sa charge exceptionnelle de lecture cognitive, dans sa réelle “immédiateté”, que, même imaginaire, le voyage de Marco Polo dans les Villes invisibles est reconnu comme voyage personnel, une éventualité “positive”, un itinéraire “possible” vers une vraie connaissance de soi.Mots-clés: paysage; voyage; allégorie; Calvino.Resumo: O presente artigo propõe uma leitura da topografia da imaginação da modernidade literária. A paisagem é escrita e forma lingüística que declara a impossibilidade de uma resposta à inquietude existencial. Santa María (Onetti), Zembla (Nabokov) e Yoknapatawpha (Faulkner) constituem representações alegóricas das utopias enquanto caminho melancólico. Outro lugar paradigmático, Macondo (García Márquez) se caracteriza como sendo o espaço da enunciação de uma história mítica e o espaço metaliterário da invenção. Contudo, é na viagem imaginária proposta por Calvino que se pode perceber, graças à sua carga excepcional de leitura cognitiva, em sua “imediatez” real, que, embora imaginária, a viagem de Marco Polo nas Cidades invisíveis é uma viagem pessoal, uma “eventualidade” positiva, um itinerário possível para um autêntico conhecimento do eu.Palavras-chave: paisagem; viagem; alegoria; Calvino.

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Czigányik, Zsolt. "From the Bright Future of the Nation to the Dark Future of Mankind: Jókai and Karinthy in Hungarian Utopian Tradition". Hungarian Cultural Studies 8 (22 gennaio 2016): 12–23. http://dx.doi.org/10.5195/ahea.2015.213.

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After defining utopianism Czigányik gives a brief introduction to Hungarian utopian literature. While he discusses Tariménes utazása [‘The Voyage of Tariménes’], written by György Bessenyei in 1804, the utopian scenes of Imre Madách’s Az ember tragédiája [‘The Tragedy of Man’, 1862] and Frigyes Karinthy’s short utopian piece, Utazás Faremidoba [‘Voyage to Faremido’, 1916], the bulk of the paper deals with Mór Jókai’s monumental novel, A jövő század regénye, [‘The Novel of the Century to Come’, 1872]. Jókai, who had taken an active part in the 1848 uprising, depicts in this novel a future world of an imaginary twentieth century, where Hungary has primacy within the Habsburg empire (with the emperor king being Árpád Habsburg) and the invention of the airplane (by a Hungarian) brings lasting peace, stability and prosperity to the world. Besides introducing the Hungarian utopian tradition, the paper will reflect upon the role of individuals in imagined societies and how an agency-centered narrative overwrites the essentially structuralist view of history, that usually permeates utopias.

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Warholm Haugen, Marius. "« Voyageons avec lui »". 1700-tal: Nordic Journal for Eighteenth-Century Studies 17 (24 giugno 2020): 57–76. http://dx.doi.org/10.7557/4.5526.

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This article examines the use of travel metaphors in French periodical reviews of non-fiction travelogues at the turn of the eighteenth and the nineteenth century. The French periodical press took an increasing interest in travel literature in this period, forming an important instance of mediation between travel writers and the reading public. In travel-book reviews, journalists would frequently make use of a rhetoric aimed at presenting the periodical text as a double co-experience: an imaginary travel in the wake of the travel writer and a ‘travel’ through the journalist’s own reading experience. The article shows how this metaphor appears as a diverse rhetorical device that served different functions within the periodical text. Clearly aimed at engaging the reader in the text, the metaphor can also be read as conveying a meta-discourse that highlights the reviewers’ appropriation and remediation of the travelogue. The article analyses occurrences of the travel metaphor in reviews taken from a varied set of periodicals – journals, advertisers, and newspapers – in order to shed light on how the French periodical press operated in retransmitting literary travel experiences in a golden age of non-fiction travel writing.

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Hetzel, Aurélia. "Géographie et imaginaire dans quelques récits de voyage au Yémen." Revue de littérature comparée 333, n. 1 (2010): 69. http://dx.doi.org/10.3917/rlc.333.0069.

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Hewitt, Nicholas. "Giono and Melville: A ‘voyage imaginaire’ through nineteenth-century England". French Cultural Studies 29, n. 4 (28 ottobre 2018): 308–20. http://dx.doi.org/10.1177/0957155818790145.

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Giono’s novel of 1941, Pour saluer Melville, was initially conceived as a biographical essay to accompany the author’s translation of Moby Dick, which appeared the same year, but, in its final version, it is a complex work of fiction which evokes Giono’s own passionate affair with Blanche Meyer, his native Provence, the nature of artistic vocation and, political issues of injustice, imprisonment, democracy and freedom, embodied in France in the Revolution of 1848 and in England by Chartism. This article explores how Giono uses the techniques of the ‘voyage imaginaire’ to follow Melville on a fictitious journey through nineteenth-century England, with references to the Irish famine, and to reflect on his own pacifism and pursuit of justice in the climate of German occupation and Vichy France. Finally, the novel asserts its own autonomy by providing a Borgesian invention of alternative sources for the creation of Moby Dick.

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Jones, Christa. "Sufi Mysticism and Dreams in Nabil Ayouch’s Ali Zaoua, Prince of the Streets". Jeunesse: Young People, Texts, Cultures 5, n. 2 (dicembre 2013): 80–95. http://dx.doi.org/10.3138/jeunesse.5.2.80.

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This article examines the poetics of childhood in Moroccan filmmaker Nabil Ayouch’s Ali Zaoua, Prince of the Streets, focusing on dream culture, sea travel, and elements of Sufi mysticism. In Ali Zaoua, symbols such as eyes, a compass, Twin Towers, sea travel, and an imaginary island with two suns visualize an Islamic dream culture. Ayouch presents the cruelty of life on the streets marked by violence, filth, and concrete, yet the film celebrates a dream culture by focusing on fantasy, images of a spiritual voyage, poetry, and Sufi mysticism, which eclipse the harsh, socially realistic portrayal of the lives of homeless children.

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Borges, Paulo A. E. "Do(s) Outro(s) Mundo(s) da Visão ao Novo Mundo da Razão". Philosophica: International Journal for the History of Philosophy 8, n. 15 (2000): 47–63. http://dx.doi.org/10.5840/philosophica20008155.

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Nous essayons de mettre en évidence l’articulation entre l’image et l’expérience de l’espace et du monde dans la pensée mythique et visionnaire et dans la nouvelle rationalité qui s’origine avec les Découvertes ibériques. La valeur de dévoilement du Réel du voyage initiatique vers l’au-delà du monde empirique se transfère vers la découverte maritime des nouveaux mondes physiques et culturels. La démythification des espaces intemporels s’associe avec la mythification du Nouveau Monde de l’expérience historique et scientifique et l’échec de ces expectatives conduit à la formulation des utopies modernes, où on rencontre un imaginaire analogue à celui du voyage initiatique. On se demande si en tout ce procès il n’y a pas quelque chose qui s’oublie...

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Canova-Green, Marie-Claude. "Révolte et imaginaire : le voyage de Louis XIII en Provence (1622)". Dix-septième siècle 212, n. 3 (2001): 429. http://dx.doi.org/10.3917/dss.013.0429.

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Dupuy, Lionel. "Poétique de la ruine et imaginaire géographique dans les Voyages extraordinaires de Jules Verne". Sociétés 120, n. 2 (2013): 49. http://dx.doi.org/10.3917/soc.120.0049.

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Trépanier, Anne. "Le voyage identitaire (et imaginaire) de Tocqueville au Bas-Canada : vieille France ou Nouvelle-France ?" Mens 5, n. 1 (16 aprile 2014): 119–49. http://dx.doi.org/10.7202/1024390ar.

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Guidée par un questionnement sur la part imaginaire de l’identité, nous abordons le voyage de Tocqueville au Bas-Canada comme une excursion à la recherche du Même. À une réflexion sur la différence entre les Canadiens français et les Français, sur leur apparente ressemblance, sur le contraste du rapport des Canadiens français avec les Américains et les Anglais et, dans une moindre mesure, avec les Français, succède une prise de position marquée de Tocqueville pour l’affirmation du fait français au Canada. Dans ce pays qu’il considère comme une nouvelle vieille France, le jeune aristocrate brosse un tableau clair-obscur des Canadiens, réjouissantes momies de l’ancienne France conservées dans le musée imaginaire de l’identité.

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Saint-Gelais, Richard. "Orbites elliptiques de la proto-science-fiction québécoise : Napoléon Aubin et Louis-Joseph Doucet dans les parages de Cyrano de Bergerac et de Jules Verne". Études 27, n. 3 (10 agosto 2006): 493–503. http://dx.doi.org/10.7202/013325ar.

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Résumé La science-fiction, au moment où elle était en passe de se constituer comme genre, s'est articulée à diverses formes discursives déjà bien instituées : récit de voyage imaginaire, conte philosophique, vulgarisation, etc. Cette effervescence interdiscursive de la « proto-science-fiction » s'est aussi accompagnée d'articulations intertextuelles, comme le montrent deux précurseurs de la science-fiction québécoise, « Mon voyage à la Lune » (1839) de Napoléon Aubin et « Lettre écrite de la Lune » (1911) de Louis-Joseph Doucet, qui se placent dans la mouvance, respectivement, de L'autre monde de Cyrano de Bergerac et du De la Terre à la Lune de Verne. Un examen de ces textes permet de montrer, à travers la transformation du rapport à leurs « modèles », la lente mise en place d'un espace générique cristallisé mais mouvant.

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PEREIRA COUTTOLENC, Eugénie. "LES MÉCANISMES SOCIODISCURSIFS DE L’ENCHANTEMENT DANS LES BLOGS VOYAGE". Analele Universității din Craiova, Seria Ştiinte Filologice, Langues et littératures romanes 25, n. 1 (24 gennaio 2022): 112–34. http://dx.doi.org/10.52846/aucllr.2021.01.06.

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Within the theoretical framework of discourse analysis, we analyze how the enchantment concept (Réau / Poupeau 2007; Winkin 2002) finds its way on travel blog productions. To do so, we work on a corpus of 114 posts, 115 photos and 345 comments. We shed light on the discursive, enunciative and semiotic strategies implemented by authors to immerse readers in an imaginary world where reality gives way to the marvellous. How, in travel blog situations, do bloggers seduce web users? And in what way their audience seems to respond to these attempts? How does denial of market and social realities work in online travel stories? After having placed this scientific work within the current research trends which question discourses and travels, we describe the methodology we use to identify, in the bloggers’ productions and their readers’ comments, the mechanisms the authors deploy to create the illusion of a perfect destination before revealing some of our linguistic and semiotic findings. Eventually, we demonstrate that readers are far from being the naive interlocutors one might assume.

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