“美如画卷”

Imene Gannouni Khemiri
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摘要

最近,人们对旅游写作、后殖民主义和景观政治的兴趣高涨。然而,关于风景如画概念的旅游写作研究尚未探讨突尼斯摄政时期英国旅行叙事中的审美观念。本文考察了三篇英国游记中风景如画的美学:格伦维尔·坦普尔的地中海之旅:阿尔及尔和突尼斯(1835);罗伯特·兰伯特·普莱费尔的《追寻布鲁斯在阿尔及利亚和突尼斯的足迹》(1877);亨利·斯宾塞·阿什比和亚历山大·格雷厄姆的《突尼斯游记》(1887年)。这些旅行者以不同但相互关联的方式使用风景如画的风景;他们摇摆不定,时而认为这种离奇的景观符合英国的美学原则,是令人愉悦的对象,时而认为它是审美缺陷的嘲笑对象。到了19世纪初,这种风景如画的观察方式转变为一种东方学对“他者性”的渴望。
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“Pretty as a Picture”
Recently, there has been an upsurge of interest in travel writing, postcolonialism, and landscape politics. However, studies of travel writing addressing the notion of the picturesque have not yet explored the idea of aesthetic sensibility in British travel narratives in the Regency of Tunis. This article examines the aesthetics of the picturesque in three British travel accounts: Grenville Temple’s Excursions in the Mediterranean: Algiers and Tunis (1835); Robert Lambert Playfair’s Travels in the Footsteps of Bruce in Algeria and Tunis (1877); and Henry Spencer Ashbee and Alexander Graham’s Travels in Tunisia (1887). These travelers used the picturesque in different but interlinked ways; they oscillated between finding the uncanny landscape an object of delight where it conformed to British aesthetic doctrine and an object of derision where they noted aesthetic deficiencies. By the turn of the nineteenth century, this picturesque way of seeing shifted into an Orientalist desire for “Otherness.”
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