{'fraction_non_alphanumeric': 0.02, 'fraction_numerical': 0.008888888888888889, 'mean_word_length': 5.300699300699301, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Fracturing perspectives of Italy in Anna Jameson's Diary of an Ennuyée

Abstract This article explores Anna Jameson's Diary of an Ennuyée (1826), in which she describes a journey through France and Italy. The text is part romantic sentimental novel, part straightforward non-fiction travel discourse, a comprehensively flawed structure, because the shifting from one mode to the other is so obvious. The author investigates how the slippages between the two categories fracture the text. The result is a fracturing of expectation which permits a new perspective in which contemporary 1820s Italy is occasionally glimpsed and considered. The slippages also fracture to reveal a new type of woman, a strong, vibrant traveller celebrating her mobility and offering perspectives on Italy and France, their artworks and landscapes, in a tourist guide format which looks forward to a Victorian sensibility.