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This book examines how non-fictional travel accounts were rewritten, reshaped, and reoriented in translation between 1750 and 1850, a period that saw a sudden surge in the genre's popularity. It explores how these translations played a vital role in the transmission and circulation of knowledge about foreign peoples, lands, and customs in the Enlightenment and Romantic periods. The collection makes an important contribution to travel writing studies by looking beyond metaphors of mobility and cultural transfer to focus specifically on what happens to travelogues in translation. Chapters range from discussing essential differences between the original and translated text to relations between authors and translators, from intra-European narratives of Grand Tour travel to scientific voyages round the world, and from established male travellers and translators to their historically less visible female counterparts. Drawing on European travel writing in English, French, German, Spanish, and Portuguese, the book charts how travelogues were selected for translation; how they were reworked to acquire new aesthetic, political, or gendered identities; and how they sometimes acquired a radically different character and content to meet the needs and expectations of an emergent international readership. The contributors address aesthetic, political, and gendered aspects of travel writing in translation, drawing productively on other disciplines and research areas that encompass aesthetics, the history of science, literary geography, and the history of the book.
The Greek struggle against Ottoman rule was a crucial event in the history and politics of nineteenth-century Europe. In particular it had a strong impact on the political and cultural life of France during the Bourbon Restoration, where it was appropriated and promoted as the symbolic spearhead of liberal ideas and of the growing Romantic rebellion. This book by Nina Athanassoglou-Kallmyer examines the French paintings, prints, and sculptures inspired by the Greek War of Independence. Athanassoglou-Kallmyer reinterprets important works by the foremost exponents of the Romantic movement - including Delacroix, Gericault, Horace Vernet, Ary Scheffer, and David d’Angers - showing how they viewed the Greek struggle as a setting for the opposing forces of conservatism and liberalism. She explains that, far from being mere pictorial records of specific war episodes such as the massacre at Chios or the fall of Missolonghi, images of the clashes between Greeks and Turks reflected the mottos and arguments of the French liberal propaganda echoed as well by contemporary newspapers, parliamentary debates, broadsides, pamphlets, popular plays, and poems.
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Stories of scholars, writers, artists, and explorers woven together in a narrative of Greek travel
In the Footsteps of the Gods traces the ways in which the constantly changing ideal image of ancient Greece, its art, politics and culture, inspired those who travelled there. Gladiators and goddesses, philosophers and poets, epic battles and romantic landscapes: the classical world has for centuries captivated and inspired the west. But what provoked the shift from the western world's love-affair with classical Rome and its manifestation in the Renaissance, to the Hellenic world? The decisive switch in focus and taste from Rome to Greece began in the 17th century, when a succession of travellers - mainly from France and England - journeyed to Greece and what is now Turkey and rediscovered the Hellenic world. With lively accounts of their adventurous journeys and vivid descriptions of what they saw, discovered, collected and published about the remains of ancient Greece, In the Footsteps of the Gods reveals the extraordinary effects that these travellers' accounts had on the poets and scholars of the west, who in turn were influential in creating the idea and ideal of Greece, which became such a powerful force in the arts and politics of the 18th and early 19th centuries. At the heart of the book is, in the words of the classicist, Richard Stoneman, 'a poet's vision of Greece'.