Van den Berg, Dirk2019-08-052019-08-051999Van den Berg, D. (1999). Spectators in Jerusalem: urban narrative in the scenic tradition. Acta Academica, 31(1), 27-62.0587-2405 (print)2415-0479 (online)http://hdl.handle.net/11660/10261English: This investigation of the narrative prospects of urban pictures in the scenic tradition is devoted co Hans Memling's painting depicting a sequence of Passion scenes set in a topographical view ofJerusalem. In refuting Goodman's view that the painting offers 'not only no direction but no order of telling at all', attention is drawn to the celling rhetoric ofcertain 'micro-scenic' core motifs, whose mature typiconic features emerged only with the formation of che scenic tradition's full array of picture types. Ir is conjectured chat aposcopic vision may well be a source of scenic parallels between distance and proximity, and hence also of narrative parallels between prospector and sightseer roles implicic in various scenic piccure types.Afrikaans: Die narratiewe potensiaal van stadsbeelde in die sceniese tradisie word ondersoek aan die hand van Hans Memling se skildery wat 'n reeks van tonele uit die lydensgeskiedenis in 'n topografiese uitsig van Jerusalem voorstel. Om Goodman se siening te weerle dat hier 'nie slegs geen rigting nie maar ook geen orde van vertelling sou wees nie', word die verhalende retoriek van sekere 'mikro-sceniese' motiewe uitgelig en in verband gebring met tipikoniese eienskappe wat mettertyd, met die vestiging van die sceniese tradisie se omvattende versameling van prenttipes, uit hierdie kernmotiewe sou ontwikkel. Aposkopiese visie word voorgestel as moontike bron vir sceniese parallelle tussen afstand en nabyheid, en dus ook vir narratiewe parallele tussen implisiete betragtersrolle van die prospektor en die toeskouer by sceniese prenttipes.enUrban narrativeScenic traditionSpectators in Jerusalem: urban narrative in the scenic traditionArticleUniversity of the Free State