Travel and colonialism in 21st century romantic historical fiction

• Titel: Travel and colonialism in 21st century romantic historical fiction
• Titelzusatz: exotic journeys, reparative histories?
• Mitwirkende: Fresno-Calleja, Paloma [HerausgeberIn]
• Mitwirkende: Teo, Hsu-Ming [HerausgeberIn]
• Verf.angabe: edited by Paloma Fresno-Calleja and Hsu-Ming Teo
• Verlagsort: New York ; London
• Verlag: Routledge, Taylor & Francis Group
• Jahr: 2025
• Umfang: x, 206 Seiten
• Gesamttitel/Reihe: Routledge research in women's literature
• Fussnoten: Includes bibliographical references and index
• ISBN: 978-1-032-80177-3
• ISBN: 978-1-032-80179-7
• Schlagwörter: (s)Englisch / (s)Liebesroman / (s)Historischer Roman / (s)Frauenliteratur / (s)Reise <Motiv> / (s)Kolonialismus <Motiv> / (z)Geschichte 2000-2019
• Dokumenttyp: Aufsatzsammlung
• Sprache: eng
• Bibliogr. Hinweis: Erscheint auch als : Online-Ausgabe: Travel and colonialism in 21st century romantic historical fiction. - New York, NY : Routledge, 2025 |(DLC)2024040732
• Sach-SW: Literary criticism
• Sach-SW: Essays
• K10plus-PPN: 1910645141

Abstract

"Romantic fiction has often involved stories of travel. In narratives of the journey towards love, "romance" often involves encounters with "exotic" places and peoples. When history is invoked in such stories, the past itself is exoticised and treated as "other" to the present to serve the purposes of romanticisation: a narrative strategy by which all manner of things - settings, characters, costumes, customs, consumables - are made to perform a luxuriant otherness that amplifies the experience of love. This volume questions the reparative function of Anglophone romantic historical fiction to ask: can plots of travel and discourses of tourism empower women while narrating stories of healing for the wounds of the past? This is the first volume to consider how romanticised and exoticised women's historical fiction not only serves the purposes of armchair travel, but may also replicate colonial discourse, unintentionally positioning readers as neocolonial, neo-Orientalist cultural voyeurs as well as voyagers"--