William Hole’s frontispiece (from the Folger Shakespeare Library [http://luna.folger.edu/luna/servlet/s/7ihql3])
“Poly-Olbion is an expansive poetic journey through the landscape, history, traditions and customs of early modern England and Wales. Originally published in two parts (1612, 1622), it is also a richly collaborative work: Michael Drayton’s 15,000-line poem, which navigates the nation county by county, is embellished by William Hole’s thirty exquisite engraved county maps, and accompanied for its first eighteen ‘songs’ by the young John Selden’s remarkable prose ‘Illustrations’. Drayton was a close associate of Shakespeare and Ben Jonson, and his Poly-Olbion crystallizes early modern ideas of nationalism, history and memory.”
So I’m having to do some fairly niche reading for my PhD, which starts in October, since I am investigating a concept from the 16th-17th centuries although it’s provenance is much older than that and begins with Ptolemy’s Geographia (149AD). I am tracing it’s roots and development through British History and Antiquarianism (the historical precursor to Archaeology) which flourished in the 17th century and was part of an epic effort to map Britain, one famous example being William Camden’s Brittania (1586). With its overriding pre-occupation with place Camden’s Brittania, arranged chronologically, is a county-by-county survey of England & Wales which travels from the South to the North and represents a new ‘topographical-historical method’ (Mendyk 1986 cited in Rohl 2011: 22).
The book articulates the image of the antiquary in 17thC England, it’s relation to the graphic arts, art and antiquity in the long 19th Century, the interpetation of ancient objects, prehistory in the 19thC, nineteenth-century antiquarian culture and the project of archaeology, antiquaries and conservation of the landscape, grand excavation projects of the twentieth century and antiquaries and the professionalization of archaeology.
I am hard at work on my Bibliography and see some exciting trips to the Bodleian library, Oxford in the future.
Making Place, Making Self explores new understandings of place and place-making in late modernity, covering key themes of place and space, tourism and mobility, sexual difference and subjectivity. Using a series of individual life stories, it develops a fascinating polyvocal account of leisure and life journeys. These stories focus on journeys made to the North Cape in Norway, the most northern point of mainland Europe, which is both a tourist destination and an evocation of a reliable and secure point of reference, an idea that gives meaning to an individual’s life. The theoretical core of the book draws on an inter-weaving of post-Lacanian versions of feminist psycho-analytical thinking with phenomenological and existential thinking, where place-making is linked with self-making and homecoming. By combining such ground-breaking theory with her innovative use of case studies, Inger Birkeland here provides a major contribution to the fields of cultural geography, tourism and feminist studies.
‘She was always looking forward’: Isabella Bird. Photograph: Royal Geographical Society/Getty Images
That reckless lady with “the up-to-anything and free-legged air,” as she herself described it, … went breezing about the remote parts of the Asian and American continents for thirty years and became one of the most popular, respected and celebrated travellers of the later nineteenth century. — Pat Barr, Preface.
“Isabella Bird (married name Bishop) was an English explorer, writer and photographer. She was the first women to be made a Fellow at the Royal Geographical Society. Bird was born near Leeds, in Boroughbridge in the Harrogate district of North Yorkshire, on 15th October 1831.
From a young age, Isabella Bird suffered with health problems. Her doctors recommended a sea voyage to help improve her condition and in 1854, aged 23, she set off to America on her first international journey. This was documented in her first of several books, The Englishwoman in America. Her books were written in an entertaining and accessible way and became very popular. This gave many people the chance to learn about the world beyond their home.
Isabella’s trip to America was just the beginning of her adventures. She explored countries all over the world including Australia, Hawaii, China, Japan, Vietnam, Korea, India and Iran. She climbed mountains, trekked through jungles, and rode for thousands of miles on horseback. She even rode on elephants! Her final travels were to Morocco when she was in her 70s. Isabella Bird was 60 years old by the time she took up photography. She produced beautiful images on her travels, and her later writings were published with her photographs alongside.
‘The Cobbler’ by Isabella Bird
Difficulties Facing Women Explorers
Isabella Bird led a life full of adventure and excitement, exploring sometimes dangerous regions and often setting out on her travels alone. This meant that her life was very different from how women were expected to live in the nineteenth century. When she became a Fellow at the Geographical Society in 1892, it was regarded an exception by the council members. They did not see women in general as able to contribute to scientific and geographical knowledge, and it was argued that women were not well suited to being explorers. In 1873, she rode 800 miles throughout the Rocky Mountains in North America. She was angry when a Times review of her book that described this journey described her appearance as “masculine” because of her clothing.
Although she was not a part of the Suffragette movement, she has been regarded as an important role model for women, and her images was used on a Suffragette placard. Isabella Bird is a character in Top Girls, a 1982 play by Caryl Churchill that looks at women’s roles and success in society. Churchill took quotes from Isabella Bird’s books to make up much of the dialogue of Isabella’s character in the play.”
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