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The Genesis of "Reading Mont Blanc"
The project entitled "Reading Mont Blanc" began as a faint wisp of an idea while my group and I were browsing the hypertext in search of other topics. Happening upon the wonderful maps and illustrations of Wordsworth's travels through France and Switzerland, one member remarked that perhaps we could make use of these in some manner. Then, as the various images of Mont Blanc passed before our eyes -- some picturesque and others clearly sublime -- we wondered if these could not somehow frame an exploration of how nature was conceived and presented by the various travel writers, 'grand tourists', and (of course) poets of the Romantic era. Our decision to focus on a single natural phenomenon, namely Mont Blanc, allowed us a certain amount of 'experimental control' in assessing the potential disparities in perception between our three 'subject groups.' It is of course only in retrospect that one can reduce an epiphany to such rigid, lifeless terms.
Initially we considered designing a poster whereon the pyramidal contours of Mont Blanc could serve as a sort of hierarchical frame in which to organize the various impressions according to their sublime or transcendent qualities. I believe we expected Shelley's "Mont Blanc" to rise to the top. Had any of one of us been particularly adept with scissors and coloured paper, our presentation might have taken this rather more delimiting turn. As it was, we decided to acquaint ourselves with the literature and artistic renderings of Mont Blanc before determining the format of our project. A book of aerial photography of the Alps convinced us that in order to convey the colossal grandeur of Mont Blanc to a group of people who had likely never seen it befor...
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...ce moments in which to engage Mont Blanc (as text) on a personal level. I was pleased to read in the responses we received that students were indeed reminded by our presentation of their own experiences with the sublime in nature. Music has the potential I think, more so than literature, to raise that which lies buried in the mind and to forge imaginative connections between distant conceptual poles.
Ultimately I think we learned that Mont Blanc cannot mean one thing; its impact on the beholder cannot be distilled into generic emotive states. Although themes of wonder and awe recur in many of the descriptions of Mont Blanc, such fleeting reactions are but shadowy apprehensions of the potential evocative force of this vista. It is through the mediation of the beholder's own imaginative faculties that s/he vivifies nature or, rather, apprehends its vivifying power.
Krakauer also adored what nature had in store for his yearning for intriguing natural events. In is youth, he “devoted most of [his] waking hours to fantasizing about, and then undertaking, ascents of remote mounts in Alaska and Canada” (134). Shown by the time he spent dreaming, people can infer him as a person who deeply admires nature. At the age of eighteen, Ruess dreamed of living in the wilderness for the sake of fascination. He wandered to find events that could surprise him until his near death, in which he decided to find the more ...
The Appalachian Mountains in the nineteenth century landscapes are often depicted in a grand, glorious, and often spiritually uplifting form. The Hudson River School artists painting in the romantic style engages viewers to tell a story through naturally occurring images as well as interior knowledge of the times at hand.
It is true that the essence of any story is emphasised through distinctively visual images created for the audience. The ability of any composer- an artist with paint brushes, a musician with chords or the writer with words- to entice and evoke is at the centre of a narrative. Both Peter Goldsworthy’s novel Maestro and Beneath Clouds by Iven Sen evoke emotions in the responder through distinctively visual elements and exploration of the concepts appearance versus reality and influence of environment.
Florian Maier-Aichen is a landscape photographer and drawer.With the computer he is able to alter photographs and make them a piece of artwork that not only pleases his thoughts, but also makes a statement.Since he takes real life images of a landscape and then constructs them in different modes that satisfy him , those images aren’t reality anymore.In Blum & Poe you can observe the strange colors he added to enrich myth-making.He fantasizes landscapes, making them open ended
Everyone’s experience is not all the same similarly to the Grand Canyon situation that is mentioned by Percy. The individual needs to be taken into consideration. Like with me, I went to many tourists spots, such as the Valley of Ten Peaks, that are talked among many people that and have been influenced by the media, but when I got their I was left speechless by the sight of the of the Peaks. This experience is a counter point Percy’s idea, that prejudges of situations can skew the perspective of people. Percy states “[a tourist] Does not one see the same sight from the Bright Angel Lodge that Cardenas saw” (Percy 464). This quote explains how people cannot see the true beauty of a sight with these expectations that block it for us. Most of the time I have had my expectations of a sight given to me by media or other people lessen my experiences in life. This occurs because how much someone is willing to let so...
Examining the formal qualities of Homer Watson’s painting Horse and Rider In A Landscape was quite interesting. I chose to analyze this piece as apposed to the others because it was the piece I liked the least, therefore making me analyze it more closely and discover other aspects of the work, besides aesthetics.
This places the reader in recognisable landscape which is brought to life and to some extent made clearer to us by the use of powerful, though by no means overly literary adjectives. Machado is concerned with presenting a picture of the Spanish landscape which is both recognisable and powerful in evoking the simple joys which it represents. Furthermore, Machado relies on what Arthur Terry describes as an `interplay between reality and meditation' in his description of landscape. The existence of reality in the text is created by the use of geographical terms and the use of real names and places such as SOrai and the Duero, while the meditation is found in...
She starts by bringing a pessimistic view to photographs of nature, by describing what may or may not lie just outside the boundaries of the picture. Mockingly she leads the reader to assume that there are no real nature photos left in the world, but rather only digitaly enhanced photos of nature wit...
Many people regarded nature and the world with their eyes only. However, some perceived the world through all their senses. They stopped and listened to what appeared before them, and then they experienced their surroundings. One person who looked beyond his first impression was Francis Parkman. Parkman’s love for history and nature drove him to overcome his physical weaknesses. He pursued his passion with the diligence of a soldier and brought a different perspective to nineteenth century history.
Roland Barthes, Camera Lucida, explores the stream of consciousness Barthes experiences when viewing his Winter Garden photo. The photo depicts his mother as a child and how Barthes decides to handle the understanding of this image. For this essay my Winter Garden photo will be titled The Father. This essay will be an attempt to work through the ideas and vocabulary used by Barthes in understanding his own photo.
The audience which the book appeals to is for those adventurous and suspenseful readers. It is an adventure with the ascent of the mountain and its travels. Adventurers will like this book for the climb and amazing views. “The majestic 21,000 Siula Grande.” Page 16. It is suspenseful in describing the ascent, descent, and fall. It describes the suffering and sorrow of losing a friend and of ano...
The Romantic Period is known as a transformative era that brought forth fresh perspectives and unique ways of thinking, flourishing through the 1800s. As a reaction to the Age of Enlightenment that hailed scientific reason and logic in Europe, Romanticism instead celebrated man’s ability to feel and express various emotions, praising aesthetics over rationality. In the preface of The Penguin Book of Romantic Poetry, this period’s focus is defined as the “valuing of emotion, of imagination, a belief in human potential taken beyond its ordinary limits” (xxiii). The artists of this period often explored their imaginations, depicting new ways of perceiving the world around them through their various forms of art. Romantic poets were famous for sharing common themes throughout their poetry. Many of these poems drew parallels regarding extensive outdoor landscapes and the individuals that inhabited these settings. The Romantic poets used vivid imagery and imagination to describe certain elements of nature and the impact these elements had on the human mind.
Nature is often a focal point for many author’s works, whether it is expressed through lyrics, short stories, or poetry. Authors are given a cornucopia of pictures and descriptions of nature’s splendor that they can reproduce through words. It is because of this that more often than not a reader is faced with multiple approaches and descriptions to the way nature is portrayed. Some authors tend to look at nature from a deeper and personal observation as in William Wordsworth’s “I Wandered Lonely as a Cloud”, while other authors tend to focus on a more religious beauty within nature as show in Gerard Manley Hopkins “Pied Beauty”, suggesting to the reader that while to each their own there is always a beauty to be found in nature and nature’s beauty can be uplifting for the human spirit both on a visual and spiritual level.
Wordsworth recognizes the connections nature enables humans to construct. The beauty of a “wild secluded scene” (Wordsworth, 1798, line 6) allows the mind to bypass clouded and obscured thinking accompanied with man made environments. “In which the heavy and the weary weight of all this unintelligible world, is lightened,” (Wordsworth, 1798, lines 40-43). Wordsworth observes the clear and comprehensive mindset conceived when individuals are exposed to nature. Wordsworth construes nature as a force, delving further into the depths of humans, bringing forth distinct universal and spiritual perspectives. Wonder and awe in the face of nature is awakened within even the most stubborn of minds. The human spirit becomes at mercy to nature’s splendor.
Nature has inspired countless poets from primitive times to the present. They have used it as a metaphor for virtually all human emotions-his stormy brow, her sky blue eyes, as wild as a summer storm. Very few, however, have so masterfully crafted their verse to fully express the range of nature’s power and influence, or suited the tone of a poem to encompass both human nature and ‘true’ nature. This is true in the poetic works of Robert Frost. The aspects of nature that are continually demonstrated in the poems of Frost symbolize both the physical world and its changes, and the nature of humans.