The nineteenth century was the heyday of travel, with Britons continually reassessing their own culture in relation to not only the colonized but also other Europeans, especially the ones that they encountered on the southern and eastern peripheries of the continent. Offering illustrative case studies, Katarina Gephardt shows how specific rhetorical strategies used in contemporary travel writing produced popular fictional representations of continental Europe in the works of Ann Radcliffe, Lord Byron, Charles Dickens, and Bram Stoker. She examines a wide range of autobiographical and fictional travel narratives to demonstrate that the imaginative geographies underpinning British ideas of Europe emerged from the spaces between fact and fiction. Adding texture to her study are her analyses of the visual dimensions of cross-cultural representation and of the role of evolving technologies in defining a shared set of rhetorical strategies. Gephardt argues that British writers envisioned their country simultaneously as distinct from the Continent and as a part of Europe, anticipating the contradictory British discourse around European integration that involves both fear that the European super-state will violate British sovereignty and a desire to play a more central role in the European Union.

Showing how specific rhetorical strategies used in nineteenth-century British travel writing produced fictional representations of continental Europe in works by Ann Radcliffe, Lord Byron, Charles Dickens, and Bram Stoker, Katarina Gephardt argues that nineteenth-century writers envisioned their country simultaneously as distinct from the Continent and as a part of Europe. She suggests that their imaginative geography of Europe anticipated Britain’s ambivalence about European integration.

This book explores the boundaries of British continental travel and tourism in the nineteenth century, stretching from Norway to Bulgaria, from visitors’ albums to missionary efforts, from juvenilia to joint authorship. The essay topics invoke new aesthetics of travel as consumption, travel as satire, and of the developing culture of tourism. Chronologically arranged, the book charts the growth and permutations of this new consumerist ideology of travel driven by the desires of both men and women: the insatiable appetite for new accounts of old routes as well as appropriation of the new; interart reproductions of description and illustration; and wider cultural manifestations of tourism within popular entertainment and domestic settings. Continental tourism provides multiple perspectives with wide-ranging coverage of cultural phenomena increasingly incorporated into and affected by the nineteenth-century continental tour. The essays suggest the coextension of travel alongside experiential boundaries and reveal the emergence of a consumerist attitude toward travel that persists in the present day.

Abstracts of dissertations available on microfilm or as xerographic reproductions.

This Very Short Introduction provides a concise and insightful history of the Great War--from the state of Europe in 1914, to the role of the US, the collapse of Russia, and the eventual surrender of the Central Powers. Examining how and why the war was fought, as well as the historical controversies that still surround the war, Michael Howard also looks at how peace was ultimately made, and describes the potent legacy of resentment left to Germany.