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Podmiotowość i „przemieszczenie” w komiksie Lucy Knisley

100%
do Carmo Moreira V.
Paidia i Literatura
|
2020
|
issue 2
115-120
EN
In certain way, “displacement” refers to the change. It is the action of a body that moves from a certain space to another. In addition to its obvious physical implications, in the case of human displacement, there are also great subjective implications. In this way, displacement can be of other orders, as symbolic, metaphysical and mental, we can also consider even maturation as the displacement from one psychic state to another. In this case, the present work aims to analyze the different figurations of the concept of displacement present in the work: Displacement - A travelogue by Lucy Knisley, as well as the affiliation of the work to a narrative tradition perpetrated by authors who take the daily genre and the trip report as a means of subjective construction of reality, both in literature and in comics. In order to do so, will be used authors who studied the writing of female authors, having the travel narrative as a research horizon, such as Sonia Serrano and Miriam Adelman; as well as authors who focus on the specificities of the comic language that, under the aegis of “graphic novel”, engender an aesthetic construction that privileges the autobiographical narrative (Santiago Garcia and Hilarry Chute). We intend to highlight the richness that the comics bring to the symbolic construction of the genre “travel diary/narrative” through its peculiarities of self-representation.
2
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Subjetividade e “Deslocamento” na obra homônima de Lucy Knisley

100%
do Carmo Moreira V.
Paidia i Literatura
|
2020
|
issue 2
109-114
EN
In certain way, “displacement” refers to the change. It is the action of a body that moves from a certain space to another. In addition to its obvious physical implications, in the case of human displacement, there are also great subjective implications. In this way, displacement can be of other orders, as symbolic, metaphysical and mental, we can also consider even maturation as the displacement from one psychic state to another. In this case, the present work aims to analyze the different figurations of the concept of displacement present in the work: Displacement - A travelogue by Lucy Knisley, as well as the affiliation of the work to a narrative tradition perpetrated by authors who take the daily genre and the trip report as a means of subjective construction of reality, both in literature and in comics. In order to do so, will be used authors who studied the writing of female authors, having the travel narrative as a research horizon, such as Sonia Serrano and Miriam Adelman; as well as authors who focus on the specificities of the comic language that, under the aegis of “graphic novel”, engender an aesthetic construction that privileges the autobiographical narrative (Santiago Garcia and Hilarry Chute). We intend to highlight the richness that the comics bring to the symbolic construction of the genre “travel diary/narrative” through its peculiarities of self-representation.
3
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From Pausanias to Baedeker and Trip Advisor: Textual proto-tourism and the engendering of tourism distribution channels

83%
Katsoni V., Fyta A.
Turyzm
|
2021
|
vol. 31
|
issue 1
11-19
EN
The key aim of this article is to provide an interdisciplinary look at tourism and its diachronic textual threads bequeathed by the ‘proto-tourist’ texts of the Greek travel author Pausanias. Using the periegetic, travel texts from his voluminous Description of Greece (2nd century CE) as a springboard for our presentation, we intend to show how the textual strategies employed by Pausanias have been received and still remain at the core of contemporary series of travel guides first authored by Karl Baedeker (in the 19th century). After Baedeker, Pausanias’ textual travel tropes, as we will show, still inform the epistemology of modern-day tourism; the interaction of travel texts with travel information and distribution channels produces generic hybrids, and the ancient Greek travel authors have paved the way for the construction of networks, digital storytelling and global tourist platforms.
4
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Reality and Representation: the Nonfiction Writing in John Updike’s “Morocco”

83%
Jiang L.
Forum for Contemporary Issues in Language and Literature
|
2023
|
issue 4
53-67
EN
“Morocco” is one of John Updike’s short stories concerning family travel s. With the attempt to blur the gap between fiction and nonfiction, Updike experiments in “Morocco” with a new form of represented reality, which reveals a middle ground between the discourse and the depicted world. Through  the portrayal of  real historical events by juxtaposing the overt family travel narrative and the covert Cold War narrative, the short story mixes realistic travel writing into a fictional representation of Cold War writing. The Cold War writing, especially when represented through a backdrop of baseless  fears, forms the covert narrative dynamics and integrates the narrative rupture in the whole overt family travel story where the unreliable narrative techniques in the tale, such as denarration, and disnarration, break upthe  narrative progression and present various possibilities from the fissured narration. It turns out that the various overt narrative possibilities are restricted by the covert Cold War narrative, thus, the variety of overt narratives in “Morocco” is always constrained by the Cold War ideology. While the travel narrative is at variance with this particular reality, the underlying Cold War ideology, nevertheless, serves as the universal representation.  
5
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Portugalští a španělští trosečníci 16. století a jejich vyprávění

48%
Marešová J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2017
|
vol. 55
83-95
EN
The shipwreck accounts were written mainly by survivors of catastrophic shipwrecks on overseas voyages to America and India, and therefore belong to the huge corpus of works written in the 16th century about exploring and conquering new territories. Unlike the most of the written sources of the period, these accounts do not celebrate the overseas enterprise, they bring a new, tragic perspective and describe the dangers and misery of overseas voyages. The shipwreck accounts are often seen as a specific genre and can be studied from the perspective of travel narrative as well as from the perspective of autobiographical writing. There are many common motifs and elements in these accounts such as the physical transformation of the castaway, the interpretation of the shipwreck as a punishment, and the motive of time.
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