From the mid-eighteenth century to the twentieth, tourism became established as a leisure industry and travel writing as a popular genre. In this collection of essays, leading international historians and travel writing experts examine the role of home tourism in the UK and Ireland in the development of national identities and commercial culture.

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.

Percy Bysshe Shelley joined the deluge of sightseers that poured onto the Continent after Napoleon's defeat in 1814, and over the next eight years Shelley followed major travelling trends, visiting Switzerland in 1816 and Italy from 1818. Shelley's Eye is the first study to address Shelley's participation in the travel culture of Post-Napoleonic Europe, and the first to consider Shelley as an important travel writer in his own right. This book is informed by original research on a wide range of period travel writings, including Mary Shelley and Shelley's neglected collaboration, History of a Six Weeks' Tour (1817), in which 'Mont Blanc' first appeared. Fully responsive to the culture of travel, Shelley's travel prose and poetry form fascinating conversations with major Romantic travellers like Byron, Wollstonecraft, and Wordsworth, as well as lesser-known but widely read travel writers of the day, including Morris Birkbeck, Charlotte Eaton, and John Chetwode Eustace. In this provocative study, Benjamin Colbert demonstrates how the Grand Tour remains a vital cultural metaphor for Shelley and his contemporaries, under pressure from mass travel and popular culture. Shelley's travel prose and 'visionary' poetry explore motives of perception underlying travel discourse and posit an authentic 'aesthetic vision' that reconfigures social, historical, and political meanings of 'sights' from the perspective of an ideal tourist-observer. Shelley's Eye offers a new perspective on Shelley's intellectual history. It is also a timely and important contribution to recent interdisciplinary scholarship that aims to re-evaluate Romantic idealism in the context of physical, experiential, or material cultural practices.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

This eight-volume facsimile set comprises firsthand accounts of continental travel in the early nineteenth century. Anne Carter witnesses the monarchy's return to power and the capital in her visit to Paris, while Frances Jane Carey ranges all over the country and particularizes the customs and everyday existence of its people. Marianne Baillie ventures much further afield in her 1819 work, exploring France, Italy and Switzerland, among other nations, while Elizabeth Byron daringly rides a boat along the Loire, defying the gendarmes as she navigates the culture and history she finds on the river's banks as well as the contemporary political exchanges that threaten to stop her tour. Each writer is excited about visiting new realms while also affirming the differences between their own country's practices and landscapes and those they witness on their Continental tours.

This eight-volume set in two parts gives voice to some intrepid women travellers touring post-Napoleonic France. The volumes are facsimile editions and are introduced and edited by experts in their field.

Percy Bysshe Shelley joined the deluge of sightseers that poured onto the Continent after Napoleon's defeat in 1814, and over the next eight years Shelley followed major travelling trends, visiting Switzerland in 1816 and Italy from 1818. Shelley's Eye is the first study to address Shelley's participation in the travel culture of Post-Napoleonic Europe, and the first to consider Shelley as an important travel writer in his own right. This book is informed by original research on a wide range of period travel writings, including Mary Shelley and Shelley's neglected collaboration, History of a Six Weeks' Tour (1817), in which 'Mont Blanc' first appeared. Fully responsive to the culture of travel, Shelley's travel prose and poetry form fascinating conversations with major Romantic travellers like Byron, Wollstonecraft, and Wordsworth, as well as lesser-known but widely read travel writers of the day, including Morris Birkbeck, Charlotte Eaton, and John Chetwode Eustace. In this provocative study, Benjamin Colbert demonstrates how the Grand Tour remains a vital cultural metaphor for Shelley and his contemporaries, under pressure from mass travel and popular culture. Shelley's travel prose and 'visionary' poetry explore motives of perception underlying travel discourse and posit an authentic 'aesthetic vision' that reconfigures social, historical, and political meanings of 'sights' from the perspective of an ideal tourist-observer. Shelley's Eye offers a new perspective on Shelley's intellectual history. It is also a timely and important contribution to recent interdisciplinary scholarship that aims to re-evaluate Romantic idealism in the context of physical, experiential, or material cultural practices.

From the mid-eighteenth century to the twentieth, tourism became established as a leisure industry and travel writing as a popular genre. In this collection of essays, leading international historians and travel writing experts examine the role of home tourism in the UK and Ireland in the development of national identities and commercial culture.

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.