Books in the Anthem Studies in Travel series

An enthralling account of the conflicting experiences of discovering the New World, drawing upon the intriguing tales of early discovery and amazing illustrations of the day.

An invaluable compendium of writing on the Middle East including extracts from canonical and less well known travellers' works.

Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media.'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'.These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley's photographic and filmic texts - which were often produced and presented by other people - and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life of Hurley's creations as they were once accelerated through the complicated topography of the early twentieth century's rapidly internationalizing mass media landscape. As a way to conceive of that space and the social life of the people and things within it, this study uses the concept of 'colonial modernity'.

Reconnaissance au Maroc is Charles de Foucauld¿s adventurous memoir of exploring Morocco. For eleven months in 1883¿84, Foucauld travelled incognito through a country then off-limits to Europeans, mapping its waterways. This book is a translation of Foucauld¿s memoir into English, with an extensive introduction and notes that contextualize the work within Francophone post-colonial studies.

An insightful and illuminating collection of essays on the political and cultural dynamics of travel literature in the nineteenth century.

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

This critical study examines the theme of interpersonal encounter in a range of late twentieth- and early twenty-first-century travel writing written in French and Italian. Structured typologically, each chapter focuses on a typical activity that brings traveller-protagonists into contact with those they encounter: guiding and interpreting, hosting, staring and photography, challenging, and accompanying. Drawing on a wide variety of writing, the study offers a unique focus on this central but overlooked aspect of travel, demonstrating the key place that encounter occupies in the contemporary travel culture.With reference to the literary critical study of travel writing, sociological and anthropological approaches to the study of tourism, as well as research in French and Italian area studies, the volume locates encounter firmly within the context of modern tourism. Elucidating the nature of encounter in unprecedented ways, the study demonstrates how the treatment of encounter determines the generic boundaries of travel writing and how narratives of encounter reveal the gap between ideals and practices in travel. The volume also analyses the dynamics between the traveller and travellee, as they are represented in narrative form, re-evaluating traditional notions of the travellers power and examining the potential for travellee agency, with particular reference to discourses of authenticity and ethics.

The volume draws on the concept of the 'keyword' as initially elaborated by Raymond Williams in his seminal 1976 text, 'Keywords: A Vocabulary of Culture and Society', in order to present 100 concepts central to the study of travel writing as a literary form with cross-disciplinary implications. The significance of travel, the possibilities it holds for the individual and the impact it has upon our own society and those across the globe are debates that we encounter daily in the popular press and that have come sharply into focus in recent years at times of social, political, economic and humanitarian crises.In its attention to the 'keywords of travel', this volume responds to what might be described as the 'mobility turn' in the arts and humanities over the past two decades. Travel writing has become a significant field of academic study across the humanities and social sciences, yet it is only in recent decades that it has been recognised as a serious area of enquiry and that the texts of travel have gained the status of important literary and cultural documents. At the same time, the volume acknowledges the way in which the notion of 'keywords' is being revised and considered in the academic community and more widely by other cultural stakeholders including museums and galleries. In terms of the keywords listed, whilst there is a marked absence of terms evoking ideas of travel and mobility in Williams's original work, there is a notable emergence of travel-related terminology in recent publications that indicates the significance of keywords such as 'diaspora', 'tourism' and 'place'.In its attention to the 'keywords of travel', this volume takes into account the established status of studies in travel writing and the field's significance for an audience beyond the academy. It responds to what might be described as the 'mobility turn' in the arts and humanities over the past two decades. Each entry is around 1,000 words, and the style is more essayistic than encyclopaedic, with contributors providing a reflection on their chosen keyword from a variety of disciplinary perspectives. There is an emphasis on travelogues and other cultural representations of mobility drawn from a range of national and linguistic traditions, ensuring that the volume has a comparative dimension; the aim is to give an overview of each term in its historical and theoretical complexity, providing readers with a clear sense of how the words selected are essential to a critical understanding of travel writing. Each entry is complemented by an annotated bibliography of five essential items suggesting further reading.

If Marguerite Blessington (1788-1849) - the "e;most gorgeous lady"e; in Dr. Samuel Parr's words - is ever remembered today, it is mostly for her famous literary salon and for her 'Conversations of Lord Byron' (1833 l-34), one of the poet's early biographies. She is also infamous for the relationship with her step-daughter's husband, the French dandy Count D'Orsay. Hardly anything, however, has been written on Blessington as a traveller and a travel writer. In 1820 she set off on a series of tours, in the course of which she kept journals which were then published as 'A Tour in The Isle of Wight, in the Autumn of 1820' (1822), 'Journal of a Tour through the Netherlands to Paris in 1821' (1822), 'The Idler in Italy' (1839) and 'The Idler in France' (1841).Convinced that Marguerite Blessington merits scholarly attention as a travel writer, Aneta Lipska's 'The Travel Writings of Marguerite Blessington' offers the first detailed analysis of Blessington's four travel books. This book reveals that travelling and travel writing offered Blessington endless opportunities to reshape her public personae, demonstrating that her predilection for self-fashioning was related to the various tendencies in tourism and literature as well as the changing aesthetic and social trends in the first half of the nineteenth century. The book argues that the author constructed diverse images of herself, depending on the circumstances in which she found herself. The early travel accounts foreground the personae of a chaperoned woman traveller and a novice writer, allowing her admission to the genre of travel writing. The mature travel writings present her to the public as indeed the "e;most gorgeous lady"e; on the tour and a seasoned travel writer solidifying her position as a celebrity.

'Gamle Norge and Nineteenth-Century British Women Travellers in Norway' provides the first overview of the contribution of women writers to the significant body of nineteenth-century British writing about Norway. At once discursive and descriptive, and often containing practical advice specific to female travellers, the travelogue was the principal form of travel writing used by women during this period. Walchester reviews the ways in which female writers adapted this form, as well as fictional representations, to describe their experiences and to challenge their male precursors by offering new perspectives on the region and its history. The nature of travel to and writing about Norway changed considerably during the nineteenth century, with both cultural and material consequences. Norway was a challenging destination before the introduction of reliable steam ship connections, better accommodation and improved railway lines enabled female tourists to travel in large groups. Tracing the journeys and motivations of various groups of women travellers such as sportswomen, tourists and aristocrats, this book argues that in their writing, Norway forms a counterpoint to Victorian Britain: a place of freedom and possibility.

Travel Writing in an Age of Global Quarantine is an anthology of travel accounts, by a diverse range of writers and academics. Challenging conventional academic ''authority'', each contributor writes, from memory during the Covid-19 lockdown, about a place they have previously visited, ''accompanied'' by an historical traveller who published an account of the same place. As immobility is forced upon us, at least for the immediate future, we have the chance to reflect. Travel Writing in an Age of Global Quarantine presents opportunities to approach a text as a scholar differently. We break with the traditional academic ''rules'' by inserting ourselves into the narrative and foregrounding the personal, subjective elements of literary scholarship. Each contributor critiques an historical description of a place about which, simultaneously, they write a personal account. The travel writer, Philip Marsden, posits a fundamental difference between traditional ''academic'' writing and travel writing in that travel narratives do not, or ought not anyway, begin by assuming a scholarly authoritative understanding of the places they describe. Instead, they attempt to say what they found and how they felt about it. The very good point we think Marsden makes, and the one this book tries to demonstrate, is that, as a matter of form, the first-person narrative has the ability to expose the research process: to allow the reader to see when and how a scholarly transformation takes place; to give the scholar the opportunity to openly foreground their own subjectivity and say ''this is the personal journey that led me to my conclusions''; to problematize the unchallenged authority of the scholar. Travel Writing in an Age of Global Quarantine challenges the idea of scholarly authority by embracing the subjective nature of research and the first-person element. We address a problematic distance between travel writing practice and travel writing scholarship, in which the latter talks about the former without ever really talking to it. Defining travel writing as a genre has often proved more difficult than it might seem, but Peter Hulme has suggested that it is ethically necessary for the writer to have visited the place described. Hulme asserts that ''travel writing is certainly literature, but it is never fiction''. If this seems obvious, Travel Writing in an Age of Global Quarantine asks the reader to consider the idea that if visiting the place described is necessary for the writer to claim they have produced a travel account, might it also be necessary, or at least advantageous and valuable, for the writer of a scholarly critique of that account to have done the same.