By Glenn Hooper
Go back and forth Writing and eire, 1760-1860 examines more than a few generally British trip and travel-writing fabric from the interval 1760 to 1860. starting with an research of the house journey and Ireland's functionality inside it, the ebook then considers the function of the Post-Union tourist, by means of an research of the impressions shaped via Famine writers; the e-book then concludes with an evaluate of these who journeyed to eire within the instant aftermath of Famine. Following a chronological constitution, trip Writing and eire, 1760-1860 deals readings of hitherto under-researched fabric from an important interval in Irish historical past.
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Additional resources for Travel Writing and Ireland, 1760-1860: Culture, History, Politics
Was [initially] too tame and too familiar to furnish the scholar with conclusions of much originality or provide the gentleman with an education of much weight. ’23 And when we read someone like Bush the sense of renewed interest suggested by Ousby is certainly manifest. Not only that, but we also discover that many of the same battles waged by Grand Tourists concerning what was most interesting, or best avoided during their travels around Europe, would be now played out at home: Suppose, for once, we should have a tour historical, in order to realize it, in a manner, to the imaginations of the reader, wrote a little more conformable to the general plan of a tour itinerant.
Duncan and Gregory suggest that travel writing: is often inherently domesticating . . and we have noted how many critics have emphasized its complicity with the play of colonizing power. But even in its most imperial gestures, by virtue of its occupation of that ‘space in-between’ . . 34 Although Bush’s narrative does not advance specifically radical solutions for Ireland, in registering a sense of unease about the state of the country he nevertheless evokes an ambivalence not dissimilar to that described by Duncan and Gregory.
91 As a writer of the sublime, then, Bush’s somewhat gauche response contrasts greatly with the more traditional perspective outlined by several feminist critics, his eroticising of the landscape reading more like the admissions of a bumbling adolescent than the predatory advances of the more mature male: ‘[it] affects the mind of the spectator in a manner unspeakable, and possesses the imagination with the highest conceptions of natural sublimity. You may laugh at my rhapsody, if you please . .
Travel Writing and Ireland, 1760-1860: Culture, History, Politics by Glenn Hooper