Vernon Lee’s travel essays and the “confusion” of optical and temporal lines

Vernon Lee’s response to impressionism is mixed, but in Limbo she lauds the impressionist painters’ ability to capture “the confusion of Nature’s effects.” This article builds on the idea of impressionist confusion in Vernon Lee’s travel writing, placing her comments on visual art in parallel with h...

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Main Author: Claire McKEOWN
Format: Article
Language:English
Published: Laboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA) 2024-12-01
Series:E-REA
Subjects:
Online Access:https://journals.openedition.org/erea/18452
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author Claire McKEOWN
author_facet Claire McKEOWN
author_sort Claire McKEOWN
collection DOAJ
description Vernon Lee’s response to impressionism is mixed, but in Limbo she lauds the impressionist painters’ ability to capture “the confusion of Nature’s effects.” This article builds on the idea of impressionist confusion in Vernon Lee’s travel writing, placing her comments on visual art in parallel with her treatment of place. I attempt to identify the intermedial effects and types of confusion in her texts, which are both optical— mirroring visual art—, and emotional— focusing on her subjective impressions. Her texts play with temporal strata, blending past and present through descriptions of geographical exploration. She also includes a didactic aspect in her texts, aiming to convert her readers to the idea of “sentimental travel,” which focuses on the emotions inspired by places. Reading Lee through impressionism makes it possible to extend the idea of confusion in her texts beyond her reception of impressionism, making it a guiding principle for her representation of travel as a spiritual experience.
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spelling doaj-art-baad19f6d6084673b2b140323690b39c2025-01-09T12:55:12ZengLaboratoire d’Etudes et de Recherches sur le Monde Anglophone (LERMA)E-REA1638-17182024-12-0122110.4000/12xg5Vernon Lee’s travel essays and the “confusion” of optical and temporal linesClaire McKEOWNVernon Lee’s response to impressionism is mixed, but in Limbo she lauds the impressionist painters’ ability to capture “the confusion of Nature’s effects.” This article builds on the idea of impressionist confusion in Vernon Lee’s travel writing, placing her comments on visual art in parallel with her treatment of place. I attempt to identify the intermedial effects and types of confusion in her texts, which are both optical— mirroring visual art—, and emotional— focusing on her subjective impressions. Her texts play with temporal strata, blending past and present through descriptions of geographical exploration. She also includes a didactic aspect in her texts, aiming to convert her readers to the idea of “sentimental travel,” which focuses on the emotions inspired by places. Reading Lee through impressionism makes it possible to extend the idea of confusion in her texts beyond her reception of impressionism, making it a guiding principle for her representation of travel as a spiritual experience.https://journals.openedition.org/erea/18452travel writingintermedialityVernon Leeimpressionism
spellingShingle Claire McKEOWN
Vernon Lee’s travel essays and the “confusion” of optical and temporal lines
E-REA
travel writing
intermediality
Vernon Lee
impressionism
title Vernon Lee’s travel essays and the “confusion” of optical and temporal lines
title_full Vernon Lee’s travel essays and the “confusion” of optical and temporal lines
title_fullStr Vernon Lee’s travel essays and the “confusion” of optical and temporal lines
title_full_unstemmed Vernon Lee’s travel essays and the “confusion” of optical and temporal lines
title_short Vernon Lee’s travel essays and the “confusion” of optical and temporal lines
title_sort vernon lee s travel essays and the confusion of optical and temporal lines
topic travel writing
intermediality
Vernon Lee
impressionism
url https://journals.openedition.org/erea/18452
work_keys_str_mv AT clairemckeown vernonleestravelessaysandtheconfusionofopticalandtemporallines