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Paper 6 > Amours Criticism > Flashcards

Amours Criticism Flashcards

1
Q

Grand Tour as “intellectual tourism”

A

Patrick Scott

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2
Q

Definition of a traveller - Chloe Chard

A
  • traveller sets himself the task of deriving pleasure by imposing a demand for a departure from the mundane and familiar onto the foreign topography
  • if this is not found - dissatisfaction at the lack of alterity occurs
  • 1768: Account of the Manner and Customs of Italy by Giuseppe Baretti
  • suggests that foreignness offers satisfaction for man’s “love of novelty”
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3
Q

How do writers make the foreign seem more pronounced?

A
  • rhetorical device of scattering foreign words into the text which make it appear
  • evidence of departure from the familiar
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4
Q

Amours de Voyage is published in 1858 - what was happening with travel writing in the 1740s and 1830s?

A
  • travel writing itself was making great use of the rhetoric of intense emotional response
  • provoked a lot of parodies of travel writing
  • most famously perhaps - Laurence Sterne’s ‘A Sentimental Journey’ which is a parody of Tobias Smollett’s ‘Travels through France and Italy’
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5
Q

Outline the ‘Romantic approach’ to travel

A
  • emerged at the end of the 18th century
  • travel was seen as a form of personal adventure
  • held the promise of discovery/ realisation of the self through interaction with the ‘other’
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6
Q

Definition of a tourist - Chloe Chard

A
  • tourist recognises the potential for danger/ destabilisation in travel and thus attempts to keep these at bay
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7
Q

Who makes the distinction between Grand ToURR and tourism?

A

John Urry in ‘The Tourist Gaze’

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8
Q

What was an accepted way of experiencing the foreign?

A

seeing of the ‘sights’

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9
Q

A traveller expects the foreign to contain ‘otherness’ but what is the mediating factor?

A
  • that it should have alterity but not so much that it resists all understanding/ assimilation
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10
Q

How does the Grand Tour satisfy the demand for ‘otherness’ but not too much ‘otherness’?

A
  • because the foreign is an ‘other’ but the familiarity comes from their classical education
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11
Q

Quotes in Christopher Hibbert’s ‘The Grand Tour’, what did Dr Sharp remark on arrival in Rome?

A

“narrowness of the streets, the thinness of the inhabitants, the prodigious quantity of monks, and beggars” giving a “gloomy aspect to this renowned city”

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12
Q

The religious disparity between the Roman religions and Catholicism pervade Amours de Voyage - in a similar vein, what was Edward Gibbon quoted saying in 1764?

A

“barefoot friars were chanting their litanies in the temple of Jupiter”

  • quoted in Christopher Hibbert’s ‘The Grand Tour’
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13
Q

What did Evelyn Waugh say in 1930?

A

“every Englishman abroad, until it is proved to the contrary, likes to consider himself a traveller and not a tourist”

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14
Q

How has Paul Fussell summarised the status of the tourist?

A

“tourism soothes you by comfort and familiarity and shields you from the shocks of novelty and oddity”

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15
Q

Why is James Buzard’s text titled ‘The Beaten Track’?

A
  • because he highlights that it is a tourist who stays to the beaten track and the traveller that journeys towards the authentic ‘culture’ of a place - requires the sensitivity of the traveller
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16
Q

Even abroad, what does the ‘tourist’ become?

A
  • a relentless representative of home
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17
Q

Why does Robert Micklus assert that Claude is unable to share in the ‘Amours de Voyage’?

A
  • because he cannot cope with the juxtapositions of Rome which are reflected in the contrasting opposites that exist in continual flux
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18
Q

When Claude finds juxtaposition, what does he believe he finds?

A
  • chaos
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19
Q

Vanessa Ryan has identified the revival of Clough in academic study - what does she suggest as the reasons?

A
  • revive a poet who has fallen out of interest
  • academics taking an interest in formal aspects of Clough’s poetry
  • prevelance of themes in Clough’s work that are of central interest to cultural and new historicist criticism
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20
Q

‘Travel’ is said to come from ‘travail’ - who pushed this further?

A
  • 2004: Simon Winchester in The Best Travelers’ Tales
  • states “travel” and “travail” both share an even more ancient root: a Roman instrument of torture called thetripalium(in Latin it means “three stakes”, as in to impale)
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21
Q

What did M.J. Waithe (lecturer) describe J.M.W Turner’s painting ‘Modern Rome’ as a work of desubstantialisation?

A
  • this means ‘to remove the substance’
  • the implication being that when you reduce something to static representation you remove the fluidity and complex substance of a place
22
Q

Rosalind Buckton-Tucker wrote on the Romantic approach to travel - what three aspects does she identify?

A
  1. appreciation of the grandeur of nature and may sense in it an almost mystical power
  2. man has greater affinity to nature - can find core values away from modern conveniences/ consumer culture
  3. innate love of adventure - natural curiosity towards the unknown
23
Q

Summarise what Rosalind Buckton-Tucker reports Frank Smythe have said in 1935?

A
  • he gives a theory on why travellers put themselves through such physical and mental challenges
  • it is ultimately so that they can not only discover the landscape etc. but actually discover themselves
24
Q

In George Eliot’s Middlemarch, Dorothea experiences the discomforting effects of experiencing too much novelty when looking at pictures in Rome. How does she react?

A

“when I begin to examine the pictures one by one, the life goes out of them, or else is something violent and strange to me. It must be my own dulness”

  • blames herself - internalises shame in being unable to appreciate the culture
  • could say that Claude reorientates this by blaming the landscape instead of himself
25
Q

How does the narrator of Middlemarch characterise Rome?

A

“the city of visible history”

26
Q

How does Sigmund Freud compare a city to the human mind?

A
  • nothing is forgotten, things are merely repressed and pushed aside
27
Q

How does Dorothea’s attitude of the incongruity between past and present reflect that of Claude’s?

A
  • she says:

“Ruins and basilicas, palaces and colossi, set in the midst of a sordid present”

28
Q

How does Dorothea react to this carnival of history?

A
  • it becomes gaudy and terrifying
  • she has an urge to escape which leads to her mental disturbance - even when shown the greatest ‘sights’ - she is uninspired/ unawed by the “greatest ruins” and “glorious churches” and desires to be “alone”
  • describes it as a “masquerade of ages” - feels self-implicated in the bizarre display
29
Q

Why is travel not a simple transaction for Dorothea?

A
  • travel has brought consequences and burdens which she could not have imagined
  • she is overwhelmed by the pressure of travel and culture etc.
  • it is only when she looks at the pictures one by one that the initial “awe” does not fully satisfy the requirement of her reaction - “I am seeing so much at once and not understanding half of it”
  • finds it particularly “painful” - “like being blind”
  • she clearly feels very individually victimised by society
30
Q

Why might we say that Dorothea is more a tourist than a traveller?

A
  • she experiences Rome in a particular way because of the unhappiness of her home life (ie. the lifelong impending consequences of her marriage)
  • shows that she carries with her all of the consequences etc. of home
  • structurally - the reader has just found out that her husband is spending their honeymoon in the Vatican Library
  • then she describes herself with “dulness” “sad” “like being blind” - self-deprecating, pitying, being trapped/ restricted/ being excluded from potential experience
31
Q

Give a text which exemplifies the long tradition of life as a journey

A

1678: John Bunyan’s ‘The Pilgrim’s Progress’

32
Q

For which text does the centrality of the Christian pilgrimage provide a framing device?

A

Chaucer’s Canterbury Tales

33
Q

During which century did writing become an essential part of travel writing

A

16th century

34
Q

How does Francis Bacon characterise the value of travel writing? How did it do this?

A
  • says that it laid the foundations for scientific and philosophical revolutions of the 17th century
  • gave rise to information based on experience and observations rather than recourse and subordination to the ancients
35
Q

Who wrote, and when, ‘On the Uses of Foreign Travel’?

A

Richard Hurd - 1763

36
Q

What does Richard Hurd’s 1763 dialogue essay’ ‘On the Uses of Foreign Travel’ say?

A
  • a dialogue between the fictional ‘Shaftesbury’ who advocates the travel undertaken in the ‘Grand Tour’
  • Locke declares that it is better to stay at home until fully formed young men
  • then states that ‘to study human nature to purpose, a traveller must enlarge his circuit beyond the bounds of Europe’
37
Q

What does the genre of travel writing create the expectation for?

A
  • an aspect of literal truthfulness
38
Q

In what text did Jean-Jacques Rousseau claim that the best knowledge of human societies had to be achieved by visiting ‘far-flung’ places?

A

Discourse on the Origins of Inequality

39
Q

(from Hume and Youngs’ introduction)

What influence did Rousseau have on the travel landscape?

A
  • swayed people into the attitude of Romanticism
  • people began to explore places in Britain like Scotland and the Lake District etc. which had scenery which became known as the ‘picturesque’ or ‘romantic’ or ‘sublime’
40
Q

How is the concept of the ‘traveller’ a more modern one?

A
  • in a 1863 essay Baudelaire coined the term ‘modernite’

- the concept of the traveller is aligned with the aristocratic flaneur who (though a persona of the past) is

41
Q

Give some evidence of the literature that would support James Buzard’s claim ‘writers seemed to be travelling, in reality or in their imaginations, just about everywhere’

A
  • figures such as Daniel Defoe, Joseph Addison, Henry Fielding, Tobias Smollett, Samuel Johnson, James Boswell, Laurence Sterne, Mary Wollstonecraft all ‘produced one overt travel book’
  • then also - Jonathan Swift’s ‘Gullivers’ Travels’, Samuel Johnson’s ‘Rasselas’ (imaginary travelogues)
42
Q

What significance did John Locke’s Essay Concerning Human Understanding have on the significance of travel?

A
  • espoused the ‘blank slate’ approach, declared that knowledge was rooted in experience - meaning travel gains importance and desirability
43
Q

Although a number of books recounting experiences of travel were published in 1660 - 1840, what form did a lot of the recounting of the Grand Tour take? (2 answers)

A
  • private manuscript correspondence

- in the form of arguments about the value of travel (more than recounting the experiences)

44
Q

What did Richard Lassels write in 1670?

A

An Italian Voyage

45
Q

Why is Richard Lassels’ ‘An Italian Voyage’ relevant?

A
  • gave credence to the value of the Grand Tour
  • said that personal experience of the places referenced in Latin texts which the traveller would have read in school would seal the bond between ancient and modern empires (especially post-Augustan Age)
46
Q

What did Samuel Johnson say in 1776?

A

‘(a) man who has not been to Italy, is always conscious of an inferiority, from his not having seen what it is expected a man should see’

47
Q

How did the tourist’s relationship to the Roman Catholic Church change across the period?

A
  • as the 18th century progressed and the threat of the Reformation became more distance - the anxiety/ potential danger gave way to a satisfying feeling among British Protestants that they could savour the pitiful contrast between Rome’s former glory and its current state impoverished state under Catholicism
48
Q

How does Will try and reassure Dorothea?

A
  • implies that appreciation of art and cultural education takes time to be cultivated
  • he says that he can only appreciate art due to his education from “many different threads”
49
Q

How does Dorothea characterise the religious condition of Rome?

A

“sunk in the deep degeneracy of a superstition divorced from reverence”

50
Q

Give an example of a text that demonstrates the new geographic mobility in the 18th century and how

A
  • Tom Jones by Henry Fielding
  • demonstrates the new concept of picturesque knowledge which was shaped by new geographic mobility (perhaps as a result of trusts who were responsible for the upkeep of roads)

Paper 6 (9 decks)

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