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Translating Italy in the Eighteenth Century offers a historical analysis of the role played by translation in that complex redefinition of women's writing that was taking place in Britain in the second half of the eighteenth century. It investigates the ways in which women writers managed to appropriate images of Italy and adapt them to their own purposes in a period which covers the 'moral turn' in women's writing in the 1740s and foreshadows the Romantic interest in Italy at the end of the century. A brief survey of translations produced by women in the period 1730-1799 provides an overview of the genres favoured by women translators, such as the moral novel, sentimental play and a type of conduct literature of a distinctively 'proto-feminist' character. Elizabeth Carter's translation of Francesco Algarotti's II Newtonianesimo per le Dame (1739) is one of the best examples of the latter kind of texts. A close reading of the English translation indicates a 'proto-feminist' exploitation of the myth of Italian women's cultural prestige. Another genre increasingly accessible to women, namely travel writing, confirms this female interest in Italy. Female travellers who visited Italy in the second half of the century, such as Hester Piozzi, observed the state of women's education through the lenses provided by Carter. Piozzi's image of Italy, a paradoxical mixture of imagination and realistic observation, became a powerful symbolic source, which enabled the fictional image of a modern, relatively egalitarian British society to take shape.
This study proposes that in their writing about the region, women travel writers made a significant contribution to the changing representation of Italy and to their own changing reputation as professional writers. Between 1800 and 1844 there was a significant shift in the way in which Italy was both perceived and discussed as the tradition of the 'Grand Tour' waned and new types of travellers made trips to Europe. Encouraged by changes in the cost, ease and motivations for travel, unprecedented numbers of women travelled to Italy and published their accounts. Focussing on the pivotal works of five women writers - Mariana Starke, Mary Shelley, Charlotte Eaton, Anna Jameson and Lady Morgan - this book assesses the developments made by these women to a number of genres of travel writing and to the political and aesthetic representation of Italy.
With the rise of mass tourism, Italy became increasingly accessible to Victorian women travellers not only as a locus of artistic culture but also as a site of political enquiry. Despite being outwardly denied a political voice in Britain, many female tourists were conspicuous in their commitment to the Italian campaign for national independence, or Risorgimento (1815–61). Revisiting Italy brings several previously unexamined travel accounts by women to light during a decisive period in this political campaign. Revealing the wider currency of the Risorgimento in British literature, Butler situates once-popular but now-marginalized writers: Clotilda Stisted, Janet Robertson, Mary Pasqualino, Selina Bunbury, Margaret Dunbar and Frances Minto Elliot alongside more prominent figures: the Shelley-Byron circle, the Brownings, Florence Nightingale and the Kemble sisters. Going beyond the travel book, she analyses a variety of forms of travel writing including unpublished letters, privately printed accounts and periodical serials. Revisiting Italy focuses on the convergence of political advocacy, gender ideologies, national identity and literary authority in women’s travel writing. Whether promoting nationalism through a maternal lens, politicizing the pilgrimage motif or reviving gothic representations of a revolutionary Italy, it identifies shared touristic discourses as temporally contingent, shaped by commercial pressures and the volatile political climate at home and abroad.
This collection of essays is an important contribution to travel writing studies -- looking beyond the explicitly political questions of postcolonial and gender discourses, it considers the form, poetics, institutions and reception of travel writing in the history of empire and its aftermath. Starting from the premise that travel writing studies has received much of its impetus and theoretical input from the sometimes overgeneralized precepts of postcolonial studies and gender studies, this collection aims to explore more widely and more locally the expression of imperialist discourse in travel writing, and also to locate within contemporary travel writing attempts to evade or re-engage with the power politics of such discourse. There is a double focus then to explore further postcolonial theory in European travel writing (Anglophone, Francophone and Hispanic), and to trace the emergence of postcolonial forms of travel writing. The thread that draws the two halves of the collection together is an interest in form and relations between form and travel.
This first book-length study explores the history of postwar England during the end of empire through a reading of novels which appeared at the time, moving from George Orwell and William Golding to Penelope Lively, Alan Hollinghurst and Ian McEwan. Particular genres are also discussed, including the family saga, travel writing, detective fiction and popular romances.All included reflect on the predicament of an England which no longer lies at the centre of imperial power, arriving at a fascinating diversity of conclusions about the meaning and consequences of the end of empire and the priveleged location of the novel for discussing what decolonization meant for the domestic English population of the metropole. The book is written in an easy style, unburdened by large sections of abstract reflection. It endeavours to bring alive in a new way the traditions of the English novel.
Most writers associated with the first generation of British Romanticism - Blake, Coleridge, Wordsworth, Southey, Thelwall, and others - wrote against the slave trade. This edition collects a corpus of work which reflects the issues and theories concerning slavery and the status of the slave.