By Wendy Bracewell, Alex Drace-Francis
This ebook offers twelve reports explicitly built to difficult on go back and forth writing released in e-book shape through east Europeans traveling in Europe from ca. 1550 to 2000. How did east Europeans have situated themselves with relation to the inspiration of Europe, and the way has the style of go back and forth writing served as a way of exploring and disseminating those rules? a very comparative and collective paintings with a considerable introductory examine, the publication has taken complete benefit of the interdisciplinary and comparative capability of the group of undertaking students operating within the diversified nationwide literatures, from varied disciplinary views. this is often the second one quantity of a three-part set of "East appears to be like West" - Vol. 1 - "An Anthology of East ecu go back and forth Writing on Europe"; and Vol. three - "A Bibliography of East eu shuttle Writing on Europe".
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This publication offers twelve stories explicitly built to complicated on shuttle writing released in e-book shape via east Europeans traveling in Europe from ca. 1550 to 2000. How did east Europeans have located themselves with relation to the concept of Europe, and the way has the style of trip writing served as a method of exploring and disseminating those principles?
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Extra resources for Under Eastern Eyes: A Comparative Introduction to East European Travel Writing on Europe (East Looks West, Vol. 2)
They came from different cultural traditions, travelled in different centuries and to different destinations, and had different aims, or no aim at all, in travelling. What all have in common is that they wrote texts about their travels. The texts themselves are widely different: some long and some very short; some intended for publication, some private; some polemical, some descriptive, some lyrical, some driven by a narrative plot; some of high aesthetic value and some of none; some interesting and some astonishingly dull.
Many secondary texts treat the travel narrative in terms of its relationship to the novel, acting crucially in some periods as an impulse for the evolution of the modern novel, but acting at other times as a non-ﬁctional genre reﬂecting the innovations of the ‘superior’ ﬁctional novel. Such texts may seem to deal with travel writing primarily as an intertext for ‘proper’ literature, a non-ﬁctional ‘research’ stage in the production of a completed ﬁctional work. But however much the interest in travel texts is ultimately directed outwards from them—towards what they tell literary critics about other, more prestigious literary texts, or towards the information they provide about historical personages, or about historical and geographical facts, or about the history of discourses and ideologies—the analyst will miss out a crucial step, and will miss important features of the texts he/she is considering, if he/she forgets their literary existence.
77 A sociology of these developments which would account for all of the 4,400 texts we have tracked down and listed is impossible at the present state of research, particularly if it has to account not only for the production and dissemination of travel writing but also for its reception and questions of its inﬂuence. But by starting from deﬁnitions of texts and by situating their appearance in the long-term context of the evolution of writing and printing in the vernacular languages of eastern Europe, I hope at least to have provided an introduction to the problem and indicated its scope and importance.