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1
Hugill, Andrew, and Lee Scott. "The Imaginary Voyage: an online opera." Digital Creativity 24, no. 3 (September 2013): 268–73. http://dx.doi.org/10.1080/14626268.2013.813378.
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Jones, Nancy C. "Imaginary Voyage: Constructed Reality in Eric Overmyer's On the Verge; or, the Geography of Yearning." Victorians: A Journal of Culture and Literature 146, no. 1 (December 2024): 137–49. http://dx.doi.org/10.1353/vct.00012.
Повний текст джерелаАнотація:
abstract: This essay examines Eric Overmyer's 1988 play On the Verge: or the Geography of Yearning in the context of the Imaginary Voyage, through the ways that imaginative travel functioned as a tool of empowerment and identity construction for 19th-century women. Using texts such as Herodotus's Histories and Strabo's Geographies as well as Victorian women travel-writers like Lucie Duff Gordon and Mary Kingsley as lenses to examine Overmyer's language-centric comedy, the article positions the play within the framework of the Imaginary Voyage and provides a road map for the creative imagination required for a contemporary feminist journey.
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De Santis, Dario. "Maiden Voyage." Nuncius 26, no. 1 (2011): 21–49. http://dx.doi.org/10.1163/182539111x569757.
Повний текст джерелаАнотація:
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, no. 1 (February 28, 2017): 83–104. http://dx.doi.org/10.33645/cnc.2017.02.39.1.83.
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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.
Повний текст джерелаАнотація:
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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Klonowska, Barbara. "New World, Old Hope: Utopian Imaginaries in Golden Door by Emanuele Crialese." Caietele Echinox 46 (June 1, 2024): 57–64. http://dx.doi.org/10.24193/cechinox.2024.46.05.
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Golden Door (Nuovomondo), a 2006 film by Emanuele Crialese, tells the story of Europeans immigrating to America at the turn of the twentieth century. Representing various characters travelling there driven by diverse motivations, the film showcases different versions of a utopian imaginary vision of America. The article analyses the various ways in which the American ‘promised land’ is conceptualized in the film and how all of them are contrasted with and checked by the realities of the voyage and the Ellis Island reception centre. Referring to the concept of the imaginary, the analysis discusses mechanisms and functions of their production and their subsequent verification and contrast with the rather dystopian realities of the host country.
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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 (January 22, 2016): 12–23. http://dx.doi.org/10.5195/ahea.2015.213.
Повний текст джерелаАнотація:
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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Jones, Christa. "Sufi Mysticism and Dreams in Nabil Ayouch’s Ali Zaoua, Prince of the Streets." Jeunesse: Young People, Texts, Cultures 5, no. 2 (December 2013): 80–95. http://dx.doi.org/10.3138/jeunesse.5.2.80.
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This article examines the poetics of childhood in Moroccan filmmaker Nabil Ayouch’s Ali Zaoua, Prince of the Streets, focusing on dream culture, sea travel, and elements of Sufi mysticism. In Ali Zaoua, symbols such as eyes, a compass, Twin Towers, sea travel, and an imaginary island with two suns visualize an Islamic dream culture. Ayouch presents the cruelty of life on the streets marked by violence, filth, and concrete, yet the film celebrates a dream culture by focusing on fantasy, images of a spiritual voyage, poetry, and Sufi mysticism, which eclipse the harsh, socially realistic portrayal of the lives of homeless children.
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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, no. 1 (January 24, 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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Geiger, Jeffrey. "Exquisite wonder: Colour film, realism and the Yankee voyage, 1936–38." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 57–79. http://dx.doi.org/10.1386/nzps_00015_1.
Повний текст джерелаАнотація:
This article looks at rare Kodachrome film taken across Oceania, mostly shot by a skilled amateur filmmaker, Edmund Zacher, to document the circumnavigation of the famous clipper Yankee. There are three intertwined lines of inquiry traced here. The first explores relations between US imperialism, moving image media and a popular imaginary, considering how experiences of virtual travel engage with cultural ideology. The second examines how this footage may be interpreted: how might critical frameworks brought to bear on amateur non-fiction differ from those commonly applied to professional and narrative fiction film? A key reference point is the theory of cinematic gesture developed by Giorgio Agamben, who expands on the work of Gilles Deleuze and his notion of the movement image. This stress on gesture and on the mediality of moving images leads towards a third key area under consideration: colour and the (then) new medium of Kodachrome. Homing in on relations between colour stock and motion picture realism, this study explores the ways that Kodachrome colour might have affected broader perceptions of the world itself.
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Margaroni, Maria. "Julia Kristeva's Voyage in the Thérèsian Continent: The Malady of Love and the Enigma of an Incarnated, Shareable, Smiling Imaginary." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 83–104. http://dx.doi.org/10.5195/jffp.2013.568.
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Drawing on Julia Kristeva's amorous dialogue with Therese in Therese, mon amour, her third volume on the powers and limits of psychoanalysis (La haine et le pardon), and Cet incroyable besoin de croire, my aim in this essay is to unpack Kristeva's theory of sublimation which, I suggest, Therese helps her elaborate, enrich and complicate. In particular, I focus on Kristeva's foregrounding of the mediating role of language in the sublimatory process and her rethinking of the experience and stakes of sublimation in light of what has been discussed as the central problematic of the baroque: namely, the blurring of the distinction between appearance and reality and the uninhibited celebration of illusion. As I demonstrate, this problematic and Therese's unique response to it are most important for Kristeva since they enable her to raise questions which carry her beyond her previous treatments of sublimation. These questions relate to the amorous source of the imaginary; the dynamic established between idealization and sublimation; the dangers of an unbridled imaginary; the uncomfortable residue of matter and the body; the dialectic between finitude and infinity, unity and multiplicity.
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Lipski, Jakub. "Configurations of Friday’s Body in the 1750s Robinsonade." Nordic Journal of English Studies 23, no. 1 (April 10, 2024): 9–28. http://dx.doi.org/10.35360/njes.2024.23281.
Повний текст джерелаАнотація:
The English Robinsonade as a form thrived in the 1750s, but in a variant that revealed affinities not only with Daniel Defoe’s Robinson Crusoe but also Jonathan Swift’s Gulliver’s Travels, and the imaginary voyage more broadly. A central position in this micro-tradition was occupied by Robert Paltock’s Peter Wilkins (1751), the popularity of which resulted in several fictions written in its wake, including Ralph Morris’s John Daniel (1751), William Bingfield by an anonymous author (1753), and Adolphus Bannac’s Crusoe Richard Davis (1756). These narratives explored both the Robinsonade conventions and aspects of the poetics of wonder to offer a variety of ‘Friday’ configurations, from hybrid animals to winged or feathered women. This article reads the aesthetic and ideological meanings behind these ‘strange surprizing’ character constructs.
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Gordon, Joan. "Paul C. Gutjahr Voyage to the Moon and Other Imaginary Flights of Fancy in Antebellum America." Science Fiction Studies 46, no. 3 (2019): 630–32. http://dx.doi.org/10.1353/sfs.2019.0081.
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Curley, Stephen. "The Imaginary Sea Voyage: Sailing Away in Literature, Legend and Lore James J.Bloom. Jefferson, NC: McFarland, 2013." Journal of American Culture 38, no. 2 (June 2015): 195. http://dx.doi.org/10.1111/jacc.12346.
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Velle, Thomas. "Telling True Lies. Metanarration, Intertextuality and (Un)reliability in Holberg’s Iter subterraneum." European Journal of Scandinavian Studies 46, no. 2 (October 1, 2016): 215–33. http://dx.doi.org/10.1515/ejss-2016-0020.
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Abstract Scholarship on Ludvig Holberg’s imaginary voyage Iter subterraneum has noted that the credibility and reliability of both the narrator Klim, and his narration are problematized throughout the text. In doing so, scholars have simplified the text’s narratological structure. This article defamiliarizes the (un)reliability of Klim’s narration by distinguishing three levels in the text: Klim’s intentional discourse, which aims at authenticating the narration, a second level on which the authenticating function of Klim’s discourse is undermined by intertextual links with classical and modern authors, and thirdly, the role of Abeline as the translator of Klim’s text into Latin, which complicates Klim’s reliability even more. These levels and their interactions are explored by a close reading of metanarrative comments in Klim’s discourse, in order to understand the narratological dynamics in Holberg’s text more profoundly and, thereby, to deepen the scholarly view on Klim’s (un)reliability.
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Gruda, Marlena. "Ślady obecności Argonautów w imaginarium kultury słoweńskiej." Poznańskie Studia Slawistyczne, no. 26 (December 11, 2024): 45–65. https://doi.org/10.14746/pss.2024.26.2.
Повний текст джерелаАнотація:
The myth of the Argonauts, well-known in Greek mythology, has made its mark in the consciousness of the Slovenians as an important element indicating the connection of Slovenian culture with ancient culture. The basis for the following thesis is the assumption of the so-called Danubian version of the myth according to which the Argonauts, returning from the Black Sea (Colchis in Georgia), visited the territory of present-day Slovenia and founded the city of Emona. The incorporation of this version in the epic poem of Apollonius of Rhodes has increased the interest among researchers of the history of Ljubljana as well as inspired artists to reinterpret the voyage of the Argonauts in culture. The aim of this work is to explore the traces of the Argonauts’ presence in the imaginary memory of Slovenes in Slovenian literature, taking into regard the status and functioning of the Argonauts myth in the literary and non-literary reality of Slovenia.
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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, no. 1 (March 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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Habibifar, Elnaz. "Traduire l’Ekphrasis. Le cas des Fleurs du mal de Baudelaire en Iran." Studia Romanica Posnaniensia 48, no. 4 (December 22, 2021): 121–34. http://dx.doi.org/10.14746/strop.2021.484.009.
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Cultural exchanges between Iran and France started over three centuries ago. In spite of the strong relationship between the two countries, some books such as Les Fleurs du mal (Flowers of Evil) went unnoticed in Iranian society. In addition to the literary value of the book, we propose to study ekphrasis in Baudelaire’s poems and its translation into Persian. Its meaning being that of a general description an artwork (imaginary or real), the term ekphrasis belongs to an interdisciplinary field of literature and art where the textual challenges we face may vary from one to another. To narrow down our study, we will focus on four chosen poems that have a minimum of two published translations in Persian, thus allowing the opportunity for a comparative study. These chosen poems, “La Beauté”, “L’Invitation au voyage”, “Les Plaintes d’un Icare” and “Femmes damnées” (“Delphine et Hippolyte”) as well as our corpus translation in Persian, are being studied and analysed through Descriptive Translation Studies. The analysis focuses on the ekphrastic aspect of these poems, their translations into Persian through syntactic and semantic levels and the influence of culture and society on the translation.
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Taylor, Melanie Benson. "Katherine Anne Porter’s Familiar Countries." American Literary History 31, no. 2 (2019): 187–206. http://dx.doi.org/10.1093/alh/ajz011.
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AbstractIn a career that spanned nearly half a century, Katherine Anne Porter developed a transregional, transhistorical consciousness marked by the multiple, iterative contagions of modernity. Considered mainly a Southern writer—despite marginal claims to both the region’s territories and its elite genealogies—Porter habitually displaced a complex Southern imaginary onto unlikely places and times. This essay locates Porter’s most “Southern” meditations in remote contexts, including her commentaries on postrevolutionary Mexico, where she spent much of the 1920s; her lifelong work on a never-completed biography of the Puritan polymath Cotton Mather; her unpublished Bermuda poems; and her only completed novel, Ship of Fools (1962), which charts a transatlantic voyage on a second-class cruise liner. Porter protected her South fiercely but dialectically; her stake in a Southern narrative would emerge only circuitously, by way of alternative geographies and narratives where she identified variously with the elite and the dispossessed. In the end, Porter’s South poses an instructive challenge for the scholars still attempting to define and deconstruct the region: it is at once everywhere and nowhere; an agent and an inheritor of colonial-capitalist trauma; a refuge and a nightmare.
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Daw, Gillian. "“HOSPITABLE INFINITY”: IMAGINING NEW PROSPECTS AND OTHER WORLDS IN VICTORIAN COSMIC VOYAGE LITERATURE." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 535–55. http://dx.doi.org/10.1017/s106015031600005x.
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On September 3, 1841, George Eliot wrote in a letter to her friend Maria Lewis:I have been revelling in Nichol's Architecture of the heavens and Phenomena of the Solar system, and have been in imagination winging my flight from system to system, from universe to universe, trying to conceive myself in such a position and with such a visual faculty as would enable me to enjoy what Young enumerates among the novelties of the ‘stranger’ man when he burst the shell, toBehold an infinite of floating worldsDivide the crystal waves of ether pure,In endless voyage without port‘Hospitable infinity!’ Nichol beautifully says. (Letters106–07)1Here, Eliot describes an imaginary journey through the systems of the heavens and the unbounded space of the universe. The books she refers to are John Pringle Nichol'sViews of the Architecture of the Heavens. In a Series of Letters to a Lady(1837), andThe Phenomena and Order of the Solar System(1838). InViews of the Architecture of the Heavens, Nichol takes his readers on a tour of the universe with the aim of helping them to “henceforth look at the Heavens” with “something of the emotion which their greatness communicates to the accomplished Astronomer” (vii). Eliot's quote is from Edward Young's poemThe Complaint, or Night Thoughts(1742), where the narrator describes a cosmic voyage he takes in “contemplation's rapid car” stopping at every planet asking for the Deity. From “Saturn's ring,” he takes a more fearless “bolder flight” through the stars with a “bold” cometAmid those sov'reign glories of the skies,Of independent, native lustre, proud;The souls of systems! and the lords of life,Through their wide empires! (276)In Young's scenes of majestic cosmic perspective, the reader, with the narrator, discovers the vastness of space and the existence of other worlds: “On nature's Alps I stand, / And see a thousand firmaments beneath! / A thousand systems! as a thousand grains!” (277). The theme of the cosmic journey enables the reader to explore the universe, often looking back at the earth as they travel through space in their imagination and frequently in a dream. Overcoming the limits of knowledge, the immeasurable distances of the universe and its other worlds become more knowable.
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Engelhardt, Nina. "“Real Flight and Dreams of Flight Go Together”: High Technology and Imaginary Heights in Early Modern and Postmodern Science Fiction." Space and Culture 23, no. 4 (December 25, 2018): 382–93. http://dx.doi.org/10.1177/1206331218819714.
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This article examines how science fiction literature illustrates that exploring the “space above” and journeys toward it necessitates engaging with different types of knowledge, not least scientific-technological and imaginative ones. Scholarship in geography and urban and social studies has recently experienced what has been called a “vertical turn,” that is, a growing attention to the third dimension of space, and researchers call for more interdisciplinary experiments and commitment. This article argues that fictional literature is a valuable source of inquiry and, moreover, that it is precisely science fiction itself that illustrates the need to draw on various types of knowledge in order to explore issues of verticality and the space above. It examines an early modern text from a period before technological ascent into space became possible and a 20th-century novel set at the beginning of the rocket age: Francis Godwin’s The Man in the Moone; or a Voyage Thither, written sometime after 1628 and published in 1638, and Thomas Pynchon’s Gravity’s Rainbow (1973). Both texts illustrate that scientific-technological and imaginative investigations of “the above” are inseparable and emphasize the role of the imagination in fictional as well as in technological ascents. Moreover, in these texts, travelling into the space above involves complex ethical and moral dimensions. Exploring these in relation to the inseparability of scientific-technological and imaginative investigations, the analysis of the science fiction texts also develops the ethical and cognitive value of making scholarly analysis of verticality an interdisciplinary endeavor.
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Lemercier-Goddard, Sophie. "“Upon what ground?”: Hamlet as Journeying Play." Études anglaises Vol. 76, no. 2 (November 30, 2023): 225–44. http://dx.doi.org/10.3917/etan.762.0225.
Повний текст джерелаАнотація:
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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Motisi, Anna. "Italo Calvino’s Invisible Cities: translation analysis and interpretive issues." Estudios de Traducción 12 (May 27, 2022): 79–87. http://dx.doi.org/10.5209/estr.80095.
Повний текст джерелаАнотація:
This paper aims to emphasize the importance of interpretation in the translation process, the implications deriving from it, as well as their effect on the reader and the way they affect his or her reception and cultural use of the text. This subject matter will be examined through one of Italo Calvino’s best-known works, more specifically The Invisible Cities (translated by William Weaver). This is a work that can be ascribed to one of the branches of travel literature, namely the imaginary voyage, and that can be read as a sort of philosophical vademecum. Precisely because of its nature, it can undoubtedly be considered a text characterised by a structure, a style and a language that make it susceptible to different interpretations.In the translation analysis of this work, the focus will be on how translation can sometimes move away from the so called intentio operis that is, from interpretation in semiotic terms, from what the work wants to communicate on the level of signification, expressing it through its intrinsic textual coherence (Eco, 1990). Specifically, through the examination of certain stylistic, grammatical and lexical choices made by the translator, some portions of the text will be highlighted in which the construction of the meaning differs from that of the source language, thus distorting the textual cooperation whose protagonist is the reader (Eco, 1979).
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González, José Manuel. "Remote Islands as Fictional and Metaphorical Places in Cervantes, Fletcher and Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 133–45. http://dx.doi.org/10.1515/mstap-2017-0010.
Повний текст джерелаАнотація:
Islands have always occupied a significant place in literature and have been a source of inspiration for the literary imagination. Fictional islands have existed as either lost paradises, or places where law breaks down under physical hardships and a sense of entrapment and oppression. Islands can be sites of exotic fascination, of cultural exchange and of great social and political upheaval. However, they are more than mere locations since to be in a place implies being bound to that place and appropriating it. That means that the islands narrow boundaries, surrounded by the sea and cut off from mainland, can create bridges between the real and the imaginary as a response to cultural and social anxieties, frequently taking the form of eutopias/dystopias, Edens, Arcadias, Baratarias, metatexts, or cultural crossroads, deeply transforming that particular geographical location. This article is concerned with insularity as a way of interrogating cultural and political practices in the early modern period by looking at the works of Cervantes, Fletcher and Shakespeare where insular relations are characterized by tensions of different sort. The arrival of Prospero and Miranda, Periandro and Auristela (The Trials of Persiles and Segismunda), and Albert and Aminta (The Sea Voyage) to their respective islands take us to a different world, revealing different political and cultural interests and generating multiple perspectives on the shifting relationship between culture, society and power.
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Putra, I. Made Adi Sumarjaya, I. Wayan Gunawan, and I. Made Ruta. "Breadfruit Leaves in the Expression of Painting." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 1 (April 8, 2023): 8–16. http://dx.doi.org/10.59997/citakara.v3i1.2331.
Повний текст джерелаАнотація:
This MBKM Independent Project Report, with the title "Breadfruit Leaves in the Expression of Painting Art", departs from a breadfruit tree in I Made Sumadiyasa's studio which sparked the writer to create works of painting. The problem is how to visualize breadfruit leaves in each work. In its visualization, the writer uses the methods and techniques obtained from the MBKM process. The purpose and benefits are to develop the creativity of the writer in expressing imaginary forms and images/photos that are edited according to the needs of the writer in the work process. the author chooses I Made Sumadiyasa and I Ketut Budiana who are his favorite artists and uses his creation method which includes several stages, namely, contemplation, basic research, exploration, experimentation, execution, completion. From this process the author produced 7 works entitled: 1) "Voyage", 2) "Imagination", 3) "The Garuda", 4) "Soekarno", 5) "My Mother", 6) "Raincarnation", 7) " Zoom”. It can be concluded that the author created the work based on his interest in Breadfruit leaves, with ideas originating from phenomena captured in I Made Sumadiyasa's studio and reading reference sources from the internet. At the processing stage, the writer combines the techniques from the MBKM results and the techniques that the writer gets on campus, to be realized in a 2-dimensional form. It is hoped that from all these processes one can find identity in work.
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Money, John. "Provincialism and The English “Ancien Regime”: Samuel Pipe-Wolferstan and “The Confessional State,” 1776–1820." Albion 21, no. 3 (1989): 389–425. http://dx.doi.org/10.2307/4050087.
Повний текст джерелаАнотація:
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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EL BACHIR, Amel. "Trajectoire littéraire : écriture heuristique et effet esthétique dans l’écriture de Kaouther Adimi." ALTRALANG Journal 5, no. 01 (June 10, 2023): 211–20. http://dx.doi.org/10.52919/altralang.v5i01.275.
Повний текст джерелаАнотація:
Literary Trajectory: Heuristics Writing and the Aesthetic effect on Kaouther’s Adimi Writings
ABSTRACT: This article is a reflection on the literary trajectory in the writing of Kaouther Adimi. Her novel, Nos Richesse, published in 2019, is our corpus. The story is presented as a journey through time, an escape through the imaginary towards reality. In this study, it is a question of defining the tools of analysis employed in the creative writing of Adimi, of identifying its aesthetic outpourings and of highlighting the abundance of its narrative and generic functioning. Nevertheless, the inclusion of Charlot's diary, the use of history and collective memory will help the novelist transcribe her innovation and her style into a new scriptural dynamic, and to construct a contemporary fiction that responds to the current context.
RÉSUMÉ : Cet article se veut une réflexion sur la trajectoire littéraire dans l’écriture de Kaouther Adimi. Son roman Nos Richesse, publié en 2019, représente notre corpus. Ce récit se présente comme un voyage dans le temps, une échappatoire par l’imaginaire vers le réel. Il s’agit dans cette présente étude de cerner les outils d’analyse de l’écriture créative d’Adimi, de repérer ses épanchements esthétiques et de mettre en évidence le foisonnement de son fonctionnement narratif et générique. Toutefois, l’insertion du journal intime de Charlot , le recours à l’Histoire et à la mémoire collective vont permettre à la romancière de transcrire son innovation et son style dans une nouvelle dynamique scripturale. et de construire une fiction contemporaine qui répond au contexte actuel.
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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, no. 172 (December 6, 2017): 117–31. http://dx.doi.org/10.7202/1042718ar.
Повний текст джерелаАнотація:
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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Rus, Martijn. "Un voyage imaginaire aberrant." Poétique 159, no. 3 (2009): 325. http://dx.doi.org/10.3917/poeti.159.0325.
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Émile, Arthur. "Un imaginaire en voyage." Artefact, no. 18 (June 15, 2023): 319–44. http://dx.doi.org/10.4000/artefact.14120.
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D, Yogalakshmi, and Vijayalakshmi S. "The Gift of Writers in Animating the Past to the Present as Tales of Remembrance: A Comparative Study of Salman Rushdie’s Victory City and Amitav Ghosh’s Jungle Nama." World Journal of English Language 13, no. 7 (July 25, 2023): 292. http://dx.doi.org/10.5430/wjel.v13n7p292.
Повний текст джерелаАнотація:
The research focuses on how fantasy is manifested as part of storytelling. Salman Rushdie’s Victory City (2023) and Amitav Ghosh’s Jungle Nama (2021) adopt ancient myths and histories that serve as remembrance tales. Both Rushdie and Ghosh evince a common interest in exploring social issues in their writings through an allegorical form. Rushdie’s Victory City is about the history of the Vijayanagar Empire, one of the most distinguished empires of medieval India (14th century to 16th century). Rushdie submitted his final edits of Victory City before the attack in New York City (Chautauqua) for his controversial novel The Satanic Verses. In the month of August 2022, he was stabbed in public by a youngster. He tweets that there is no freedom for authors to express themselves through writing. So, the research focuses on how fantasy serves as a tool for authors to express their views. His Victory City made him overcome all the negative criticism that he had encountered during the attack. Ghosh’s Jungle Nama also adopts the history of Sundarbans’ Forest goddess, Bon Bibi. Ghosh through his narration blends the myth and history of Bon Bibi who have been worshipped for centuries by the people of Sundarbans. Blending the real and imaginary in both fictions greatly challenges the differentiation between authenticity and fantasy. The supernatural phenomena in these narratives transport the reader from reality as a kind of escapism. During this, the characters in the fiction recall the past events and visions of the future in their present, and these aspects are also explored in the analysis. Victory City and Jungle Nama encounter the experience of mysticism in their narration which embarks on a voyage of difficulties and hindrances in the unreal world. Both these speculative fiction explore the concepts of fantasy and mystery so the theory of Magical Realism is applied to the strange creatures, other worlds, evils, demons, and demi-gods that exist in the fanciful setting which is also discussed.
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Dudchenko, S. "Improvement of the mathematical model of the navigation area for the optimal ship passage route." Reporter of the Priazovskyi State Technical University. Section: Technical sciences, no. 47 (December 28, 2023): 305–12. http://dx.doi.org/10.31498/2225-6733.47.2023.300117.
Повний текст джерелаАнотація:
Planning the optimal route of a vessel passage is a key problem in the design of traffic planning and navigation systems. This problem consists in the need to determine the trajectory from the initial point to the final point, which ensures the absence of collisions with obstacles. When solving this problem, it is also necessary to take into account the dynamics of the vessel, the uncertainty and non-stationarity of the water environment, the time to calculate the path and the physical feasibility of the trajectory. The planning task is traditionally formulated as the task of optimizing the state of the current position of the vessel relative to the target position. Most often, this problem is solved in the configuration space, which consists of a set of obstacles, kinematic and dynamic constraints, and a set of points in the swimming areas. Planning methods are divided into global and local. Global methods build a route based on a known map, while local methods adjust the path when obstacles are detected. However, at the moment, mathematical models of the navigation area only partially take into account the uncertainties of the zones in which the vessel operates. This determines the planning of local trajectories within a specific swimming area using a simple straight-line algorithm. Since in the process of planning the transition from «berth» to «berth» in order to ensure the navigational safety of the ship, it is necessary to use all available information to compile the most detailed imaginary model of the ship's transition before the start of each voyage. In order to solve this task, this paper proves that in the process of building the optimal route, it is necessary to conduct a full analysis of all stages of the passage of the vessel, which increases the optimality of the planned passage route. The mathematical model of the navigation area for the optimal route of the ship's passage has been improved, in which the mathematical apparatus of fuzzy sets is applied
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Flahault, François. "Donner corps au voyage imaginaire." Archives de sciences sociales des religions, no. 196 (December 4, 2021): 129–32. http://dx.doi.org/10.4000/assr.59978.
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Giardino, Alessandro. "Françoise Sagan." Mnemosyne, no. 9 (October 15, 2018): 16. http://dx.doi.org/10.14428/mnemosyne.v0i9.13993.
Повний текст джерелаАнотація:
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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Backès-Thomas, Madeleine. "Un voyage imaginaire avec Madame Favez." Bulletin de psychologie 49, no. 423 (1996): 163–64. http://dx.doi.org/10.3406/bupsy.1996.14514.
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Solioz, Christophe. "Laisser passer le vent entre les mots." Esprit Septembre, no. 9 (September 23, 2024): 117–19. http://dx.doi.org/10.3917/espri.2408.0117.
Повний текст джерелаАнотація:
Dans Chant pour Europe (Artaud, 2024), mêlant voyage réel et voyage imaginaire, Paolo Rumiz trempe sa plume dans l’encrier des nuits de la Méditerranée. Ses vers sont écrits au rythme des vagues, des vents et des voix pour rappeler une tradition d’hospitalité.
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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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D'Angelo, Biagio. "S'eloigner (et sortir) de Malbork: topographies de l'imagination moderne." Aletria: Revista de Estudos de Literatura 15 (June 30, 2007): 163. http://dx.doi.org/10.17851/2317-2096.15.0.163-177.
Повний текст джерелаАнотація:
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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Requemora, Sylvie. "L’espace dans la littérature de voyages." Images et imaginaire de l’espace 34, no. 1-2 (February 23, 2004): 249–76. http://dx.doi.org/10.7202/007566ar.
Повний текст джерелаАнотація:
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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Cabanès, Jean-Louis. "Le voyage en Hollande : clichés et musée imaginaire." Cahiers Edmond et Jules de Goncourt 1, no. 2 (1993): 55–62. http://dx.doi.org/10.3406/cejdg.1993.1502.
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Arthur, Paul Longley. "Capturing the antipodes: Imaginary voyages and the romantic imagination." Journal of Australian Studies 25, no. 67 (January 2001): 186–95. http://dx.doi.org/10.1080/14443050109387652.
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Budor, Dominique. "Voyage imaginaire dans les arts de l’imageLe voyage de Giuseppe Mastorna de Fellini-Manara." Italies, no. 17/18 (October 1, 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, no. 1 (June 30, 2007): 163–77. http://dx.doi.org/10.17851/2317-2096.15.1.163-177.
Повний текст джерелаАнотація:
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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Paul Longley Arthur. "Fictions of Encounter: Eighteenth-Century Imaginary Voyages to the Antipodes." Eighteenth Century 49, no. 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, no. 152 (December 1990): 1–18. http://dx.doi.org/10.1177/039219219003815201.
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Hamans, Camiel. "The Travelogue as a Mirror of Thought." Werkwinkel 13, no. 1-2 (December 1, 2018): 89–110. http://dx.doi.org/10.2478/werk-2018-0005.
Повний текст джерелаАнотація:
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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Travassos, Luiz Eduardo Panisset, Glaycon de Souza Andrade e. Silva, and Felipe de Ávila Chaves Borges. "O Carste e o Geopatrimônio em Júlio Verne: o exemplo de Mathias Sandorf." Ateliê Geográfico 12, no. 2 (August 18, 2018): 53–77. http://dx.doi.org/10.5216/ag.v12i2.53477.
Повний текст джерелаАнотація:
Resumo
As cavernas e as paisagens nas quais estão inseridas têm povoado o imaginário coletivo de diversas culturas, seja por meio de lendas e mitos de criação, seja por fazerem parte do cenário de relatos de viagem ou romances. Assim sendo, a pesquisa tem por finalidade demonstrar de que forma o Carste Dinárico e a Pazinska Jama são retratados no livro Mathias Sandorf, de Júlio Verne. A análise foi desenvolvida de maneira associativa aos conceitos tanto da Carstologia, quanto da Espeleologia a fim de identificar no texto de Júlio Verne sua contribuição para demonstrar aos leitores aspectos da geografia física do carste. Para que o objetivo fosse atingido, os autores analisaram a narrativa do autor, bem como pesquisaram os aspectos da geomorfologia cárstica. Os resultados apontaram para a união entre ficção e realidade favorecendo, inclusive, pesquisas científicas após a publicação do livro.
Palavras-chave: Júlio Verne; Carste; Geopatrimônio.
Abstract
Caves and the landscapes in which they are present have populated the collective imaginary of diverse cultures, either through legends and myths of creation, or because they are part of the scenario of travel reports or novels. Thus, the research aims to demonstrate how the Dinaric Karst and the Pazinska Jama are portrayed in the book Mathias Sandorf, by Jules Verne. The analysis was developed in an associative way to the concepts of both Karstology and Speleology in order to identify in the text of Verne his contribution to demonstrate to the reader’s aspects of the physical geography of karst. In order to reach the objective, the authors analyzed the narrative of the author as well as researched aspects of karst geomorphology. The results pointed to the union between fiction and reality even favoring scientific research after the publication of the book.
Keywords: Jules Verne; Karst; Geoheritage.
Résumé
Les grottes et les paysages dans lesquels elles s'insèrent ont peuplé l'imaginaire collectif de diverses cultures, soit à travers les légendes et les mythes de la création, soit parce qu'elles font partie du scénario des récits de voyage ou des romans. Par conséquent, ce travail a pour but de montrer comment le karst dinarique et le Pazinska Jama sont représentés dans le livre 'Mathias Sandorf', de Jules Verne.L'analyse a été développée de manière associative aux concepts de karstologie et de spéléologie afin d'identifier dans le texte de Jules Verne sa contribution à démontrer aux lecteurs des aspects de la géographie physique du karst. Afin d'atteindre cet objectif, les auteurs ont analysé le récit de Verne et ont également étudié des aspects de la géomorphologie karstique. Les résultats ont mis en évidence l'union entre la fiction et la réalité, favorisant même la recherche scientifique après la publication du livre.
Mots-clés: Jules Verne; Karst; Geoheritage.
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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, no. 15 (2000): 47–63. http://dx.doi.org/10.5840/philosophica20008155.
Повний текст джерелаАнотація:
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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Hetzel, Aurélia. "Géographie et imaginaire dans quelques récits de voyage au Yémen." Revue de littérature comparée 333, no. 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, no. 4 (October 28, 2018): 308–20. http://dx.doi.org/10.1177/0957155818790145.
Повний текст джерелаАнотація:
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.