Moving Scenes by Alison E. Martin
Author:Alison E. Martin
Language: eng
Format: epub
Publisher: Taylor & Francis (CAM)
The impression which an audience gained of a given scene, whether described verbally or visually, was therefore shaped not only by the viewpoint and angle of perspective adopted by the author or artist. The scene was also refracted once more in the process of description where it was re-composed and structured to produce a 'neues Bild'.
This chapter broadly asks two questions: how did codes of visual ordering and comprehension used by German travellers such as Horstig construct landscape scenes that encouraged readerly engagement? Which rhetorical strategies did they apply to give the impression to their readership of unmediated access to the scenes represented? The first section examines Horstig's own understanding of the picturesque within the broader aesthetic framework laid down by earlier German aestheticians working on landscape, and by doyens of the picturesque such as William Gilpin and Uvedale Price. It also focuses on the relationship between the category of the picturesque and sentimental association, examining in particular Horstig's critical engagement with Alison's work. How did this influence the viewing practices adopted by Horstig and his 'reading' of the land-, sea- and townscapes he encountered? A second section offers a detailed reading of Horstig's travel account focusing in particular on light and motion in two key settings, Dover and London. In so doing it seeks to examine how, through his use of light in landscape, Horstig conferred a kinetic quality upon natural description that seemed to make the scene more direct, immediate, and emotionally engaging.
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