In this paper, I seek to provide building blocks for a reconciliation of the ethical care for heritage protection and nature restoration ethics. It will do so, by introducing a hermeneutic landscape philosophy that takes landscape as a multi-layered “text” in need of interpretation, and place identities as build upon certain readings of the landscape. I will argue that from a hermeneutic perspective, both approaches appear to complement each other. Renaturing presents a valuable correction to the anthropocentrism (...) of many European rural cultures. Yet, heritage protectionists rightly point to the value of narratives for Old World identities. I will conclude with a short reflection on how such a hermeneutic environmental ethic can be helpful in dealing with environmental conflicts. (shrink)

Introduction : reinterpreting landscapes in an evolving world -- The pastoral tradition as inherited motives -- From classical pastorals to pastoral landscapes : rebirth of the landscape idea through analytical narration -- Instances of pastoral motivation in contemporary landscape analytical practice -- Articulating analytical narratives of contemporary pastoral landscapes -- The landscape analyst's pastoral action.

Narrative identity is said to consist of a few key reference points—places, events, peoples, ceremonies, rites, ideas, and values—that translate into sites of memory that are representative of a person’s or a community’s past. In this essay I explore the role of traumatic memories in the formation of collective identity, the national or transnational sites of memory that are officialized by the state. I argue that collective traumas need to be counterbalanced by personal memories that can diminish their pain (...) and thus enable people to regain their lost sense of being at home. To demonstrate this claim I discuss the twentieth-century traumas that have affected European identity by and through the life stories of W. G. Sebald’s characters in The Emigrants and Austerlitz, which combines the collective and the personal narrative identity. I conclude that the performative aspect of the past needs to be translated into personal forms of commemoration that surpass the official memory archive, which task requires a comprehensive and sensitive understanding of those traumas at both the individual and collective levels. (shrink)

Contributing to the cultural ecosystem services literature, this paper draws on the in-depth place narratives of two coastal case-study sites in Wales (UK) to explore how people experience and understand landscape change in relation to their sense of place, and what this means for their wellbeing. Our place narratives reveal that participants understand coastal/intertidal landscapes as complex socio-ecological systems filled with competing legitimate claims that are difficult to manage. Such insights suggest that a focus on diachronic integrity (Holland and (...) O'Neill 1996) within place narratives might offer a route to more socially and culturally acceptable environmental management strategies. (shrink)

Landscape and brandingexplores the way landscape is conceptualised, conceived, represented and designed by professionals in a brand-driven age. Landscape - incorporating tangible physical space as well as intangible concepts, narratives, images, and experiences of place - is constructed by a number of creative industries. This book tests the hypothesis that place branding, a powerful marketing and management practice, increasingly blurs the distinction between the promotionof landscape and its production in design terms. Place branding involves the strategic (...) and systematic composition of single-minded, experiential and market-friendly place identities which are consistently communicated across various media, including physical space. How does this implicate or transform notions of place, nature, landscape experience, and the qualitative value of landscape itself? How does this affect the role of landscape architecture? To answer these questions, place branding theory and practice is critically examined alongside an in depth case study of one specific landscape - the Blue Mountains (Australia). Projects undertaken between 1995 and 2015, including a branding strategy for the region, media campaigns, television, cinema, and several landscape architectural works in the public and private domain are comparatively analysed, focusing on the discourse, conventions and values informing their production, and the landscape narratives they convey. (shrink)

This book brings together two experienced educators from the fields of teacher education and arts education. The authors Richmond, a photographer, and Snowber, a dancer and poet, see aesthetic education as aiming to extend creativity, appreciation of the arts and nature, and the sensuous qualities of everyday life, to gain a more intimate understanding of the self and the world. They include poetic, narrative, philosophical, and artistic ways of writing to support a more embodied and holistic aesthetics. Landscapes of (...) Aesthetic Education has significance for educators, scholars, students, and artists, and for all who would like to explore the connections between the arts, aesthetics, and transformation. (shrink)

This paper aims to foster an interdisciplinary dialogue between Ricoeur’s phenomenological- hermeneutical thought and human geography, in particular with respect to the issue of landscape interpretation. The connection draws on the idea that landscapes and lived spaces can be read as texts, not unfamiliar to human geography and semiotics from 1980s onward. In the first part of the paper I will briefly expound some theories of landscape which make use of the metaphors “landscape as cultural image” and (...) “landscape as text” in human and cultural geography. Then, I will discuss the main contribution of Ricoeur to the issue of space. The philosopher already envisioned a possible application of his “threefold mimesis” of Time and Narrative to architectural spaces. In the conclusion, I will propose to rejuvenate the geographical metaphor of “landscape as text” by introducing a possible application of the Ricoeurian notion of “meaningful action as text” to landscape. (shrink)

One of the most characteristic features of Comparative Literature in terms of methodological practice is that of operating in “in between” spaces. Not only does this feature suggest the comparative approach as something which originates through movement, thus making it imperative for the researcher to deal with the notion of mobility, it also characterizes many of the concepts with which it operates. Considering the possibility, as well as the fertility, of practicing this methodology in the analysis and critique of contemporary (...) visual art, we understand that it fits the analysis of any enterprise regarding the in-betweens of visual and verbal texts. These fundamental aspects were elected for a comparative analysis of two visuals artists whose œuvres operate in in-between spaces between the visual and the verbal as much as between the self and the Other. José Leonilson (Brazil 1957-1993) and Louise Bourgeois (France/EUA 1911-2010) reveal, through a comparative analysis, creative and constitutive actions which elaborate a space we could best understand through the image of a seaside landscape where the line we try to draw to divide the saltwater from the sand never stands. But, in what manners could the constituted poetic space created by them be of significance for a broader spectrum than the literary interest? In our understanding, Leonilson’s and Bourgeois’s poetics operate through a silent hearing of the Other, might that be their loved ones, the stone or cloths. This conceptual notion, required for the creative action, thus establishes a particular notion of balance between them and the Other. It is this precise aspect that also operates the mobility of the notion of love through their œuvre, and through the election of personal emotional narratives as the thriving force for creation. And what could be more needed nowadays, here as elsewhere, than considering together with Leonilson’s and Bourgeois’ images that love shall be the perpetual moving space that at times nears, and later distances us from each other? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Caring for Landscapes of Justice in Perilous Settler EnvironmentsMishuana Goemanindians are the "singing remnants" or "graffiti," in the words of Leanne Betasamosake Simpson ("i am graffiti"). The forms this graffiti takes, our inscriptions on the landscape, are as numerous as our Nations, abundant as our ancestors who loved, lived, and passed down knowledge of our lands and histories. "You are the result of the love of thousands," writes (...) Linda Hogan, who beseeches us to listen to the environment surrounding us (159). Deborah Miranda (Coastal Esselen and Chumash) reminds us that we are also the result of violent histories, in her tribal memoir Bad Indians, a book that relishes the tales of her ancestors who resist and act out to survive. This harm, genocide, and settler mapping of worlds also must be attuned to in our surroundings and in "our bodies [that are] bridges over which our descendants cross, spanning unimaginable landscapes of loss" (Miranda 74). Visual cartographic mapping has been part and parcel of the erasure of California Indians, relegated to the small, contained, and past temporal space of a romanticized mission.This paper centers on the NDN Collective's work and the photography of Cara Romero's project Tongvaland and the works of Gabrielino Tongva artist Mercedes Dorame. The setting of these projects is in the sprawling landscape of Los Angeles, or the homelands of the Gabrielino Tongva people, who call it Tovaangar. I will examine the anti-colonial aesthetics and care practices mapped out in the work rather than presenting a "true" Indigenous map or alternative map. Mapping a history of the landscape by creating a "new" narrative or "true" narrative is not enough. As Maori scholar Linda Tuhwi Smith states, "[w]e believe that history is also about justice, that understanding history will enlighten our decisions about the future. Wrong. History is also about power. In fact, history is mostly about power. … [A] thousand accounts of the truth will not alter the fact that indigenous peoples are still marginal [End Page 50] and do not possess the power to transform history into justice" (34). The Gabrielino Tongva, who comprise an estimated 2,300 people, do not possess the population power and cannot access the form of voting or democracy to make the changes needed just by telling their truth. Across California, people know about the raw deal, the embezzlement, the genocide, and the so-called lost treaties. In fact, under Eisenhower, recompense was paid out in small amounts to Tongva families of the dispossessed. Instead, to continue with the words of Smith, "[i]t is also about reconciling and reprioritizing what is really important about the past with what is important about the present" (111). What Romero and the NDN Collective—made up of numerous tribal leaders, scholars, and other artists—did was relay and prioritize how they wanted to be seen in their homelands. These billboards invite us in, in a gift of sharing, or what tribal cultural leader Craig Torres related to me as a spirit of Maxxa, a sharing, gifting, or swapping of knowledge. Dorame's beautiful and critical installations in public art spaces reflect Maxxa—they invite the viewers to think through land from her curious arrangements. As artists, part of their practice is not that of a Western version of a tortured genius but instead is energized by pulling in community and creating a collective practice. They undo settler space together and with us. The cartographic practices of these California Indians' creative arts exemplify communities of care that must be considered when we think through the unmapping of settler terrains. This question requires an approach of radical care. As Hi'ilei Hobart and Tamara Kneese make clear, the notion of care is "inseparable from systemic inequalities and power systems" (Hobart and Kneese 1).The work of the NDN Collective and Dorame counters a settler-based, commercial map of Los Angeles. Indigenous people, relegated by the settler state as expendable and erasable graffiti, confront capitalist and state ordinances at various scales. Rather than understand this as a subjugated positionality, I posit that graffiti is the critique necessary and valuable to understanding interlocking structures of oppression. In the following words of Leanne... (shrink)

This chapter discusses the slow burn of development which has impacted the Chinese landscape for a long time, despite the country’s urbanization. Although China’s modernization has been underway for the last 150 years, the country’s current global visibility has been mistaken for a sudden eruption of modernity. China has been through a variety of struggles, and the struggle between beauty and pragmatism is portrayed in films about the poor and manifested through the class aspirations of the new rich. In (...) this regard, the landscaping of China is mostly a narrative of continuous and traumatic pressure inflicted by the people on the motherland. These signs of struggle are, therefore, what articulate the Chinese landscape as a work of destruction and reconstruction in constant progress. (shrink)

On some accounts, Sophocles’ Philoctetes is most notable for what it lacks: alone among the extant Attic tragedies, there are no women in the dramatis personae; alone among the extant plays of Sophocles, no characters die; and the chorus plays a relatively diminished role, adhering most closely to Aristotle’s injunction in the Poetics that a chorus should take on the role of an actor. But when viewed through the lens of ecocritical feminism and vibrant materialism, notably the work of Donna (...) Haraway, Mel Chen, Jane Bennett, and Anna Tsing, the play’s landscape, the island of Lemnos, comes to life; and it teems with feminine energies as well as compromised and complicated animacies, while the chorus serves as an empathic focalizer and world-builder. This paper argues that in addition to animating the island’s material ecosystem, Sophocles conjures Lemnos’ mythic ecosystem, most notably the tale of the notorious, murderous, and malodorous Lemnian Women. All of these elements cohere to characterize Philoctetes as an abject, sterile menstruator. Furthermore, the chorus’s brief, strange Hymn to Gaia encapsulates the play’s tension between a masculine, heroic, teleological narrative and the feminine, primordial, bestial world of Lemnos. These dynamics are further considered through the lens of fifth-century Athenian colonization, the story of the indigenous Lemnian Pelasgians, and a colonial reading of the Odyssey’s Cyclopeia. Finally, the paper explores the close, mutually constitutive relationship between text, landscape, and body via the popularity, in later antiquity, of pharmacological applications of Lemnian Earth, used to treat, among other ailments, snakebites and menstruation. (shrink)

Abstract:This article will analyze the feeling of restlessness that we discover in the representation of the border areas, seen as extreme and paradigmatic landscapes of contemporary society. The analysis is based on three narrative works of current Catalan literature: Dies de frontera (Frontier days; 2014) by Vicenç Pagèsa; La pell de la frontera (The skin of the frontier; 2014) by Francesc Serés, and L'horitzó primer (The first horizon; 2014) by Joan Todó. Traditional Catalan—and European—literature, has long since lent great (...) weight to literary representation of landscape in the creation of identity and culture. Now, however, with the desolate, degraded and forgotten landscapes of the peripheries and borders, the narrative of place speaks to us of personal and collective crises. In recent decades, academics speak of a spatial turn in the humanities, and some even talk of a shift in civilization tied to the landscape. Catalan fiction is a good example of this shift. We shall analyze these three books to see how this place is perceived aesthetically and define the feeling of disquiet and restlessness which emerges, in the end, from these specific and deeply human observations. (shrink)

Focusing on the “bian” (changes) of Chinese landscape painting in the Tang Dynasty, this essay seeks to expound a breakthrough in the study of painting in the dynasty. Such a study was once difficult to carry out in the form of pictorial and stylistic analyses due to the lack of physical works. By showing that the prevailing landscape paintings of two representative painters Wu Daozi and Li Sixun were at the time most likely to be dominated by the (...) sutra paintings and pictures of the immortal land, the essay attempts to demonstrate that the meaning of “changes” in landscape painting lies more in the change of style in representing landscape and the attitude of critics towards landscape paintings than in the change of subject matter. Meanwhile, it is worth noting that historical narratives also played a key role in constituting the concept of “landscape painting.” The focus on and analysis of the historical constitution itself provide people with another possible and feasible research approach in addition to the one based on the analysis of works and images. (shrink)

The time of the landscape is not the time when people started describing landscapes in poems or representing gardens in works of art: it is the time when the landscape imposed itself as a specific object of thought. This object of thought was constituted through quarrels about how gardens were to be arranged, through accounts of travels to solitary lakes and remote mountains, or through evocations of mythological or rustic paintings. Jacques Rancière retraces these narratives and quarrels, showing (...) how they gave rise to a form of sensibility capable of modifying the existing configuration of modes of perception and objects of thought. The time of the landscape is the time when both the harmony of arranged gardens and the disharmony of wild nature contributed to a revolution in the criteria of the beautiful and the meaning of the word ‘art’. It coincided with the birth of aesthetics, understood as a regime for the perception of and thinking about art, and also with the French Revolution, understood as a revolution in the very idea of what binds a human community. The time of the landscape was the time when the conjunction of these two upheavals brought into focus, however hazily, a common horizon: that of a revolution that no longer concerns only state laws or artistic norms, but the very forms of sensible experience. This brilliant and wide-ranging book will be of interest to students and scholars in philosophy, literature, the visual arts and the humanities generally, and it will appeal to anyone interested in critical theory and philosophy. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us (...) with essential tools for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

After establishing its roots in basic forms of sensorimotor coupling between an organism and its environment, the new wave in cognitive science known as “enactivism” has turned to higher-level cognition, in an attempt to prove that even socioculturally mediated meaning-making processes can be accounted for in enactivist terms. My article tries to bolster this case by focusing on how the production and interpretation of stories can shape the value landscape of those who engage with them. First, it builds on (...) the idea that narrative plays a key role in expressing the values held by a society, in order to argue that the interpretation of stories cannot be understood in abstraction from the background of storytelling in which we are always already involved. Second, it presents interpretation as an example of what Di Paolo et al. ( 2010 ) have called in their recent enactivist manifesto a “joint process of sensemaking”: just like in face-to-face interaction, the recipient of the story collaborates with the authorial point of view, generating meaning. Third, it traces the meaning brought into the world by interpretation to the activation and, potentially, the restructuring of the background of the recipients of the story. (shrink)

_Mind's Landscape_ is an engaging introduction to the philosophical study of mind and an elegantly persuasive account of how best to understand the nature of mental phenomena. It serves as both a text and as a contribution to the philosophy of mind. Its engaging narrative style will appeal to students, instructors, and general readers alike.

Pope Gregory I, commonly known as Saint Gregory the Great, is celebrated for re-organizing both the institutional and liturgical life of the Roman Catholic Church; for instigating the first recorded large-scale mission from Rome to England; and for his writings. Among these, a distinct importance has been attributed to his “Dialogues,” a collection of four books of miracles, signs, wonders, and healings carried out by then little-known holy men, which represent a portion of central Italy as a sacred space where (...) the Christian God is present in both human and non-human form, while also interacting with the environment by performing landscaping functions. This article outlines the “Dialogues Bioregional Project,” a digital, interdisciplinary interface on Italian landscape ecology which would promote dialogues between scientists and humanists as well as provide a modeling tool for environmental and cultural awareness. Shaped around the “Dialogues” of Pope Gregory I, this digital humanities project explores continuities and discontinuities between the socio-political and ecological history of a specific section of Italian territory, a set of multidisciplinary environmental narratives, and local communities. My aim is to introduce readers to the ecological potentials of Gregory’s book and thus prompt scholars interested in the environmental humanities and the integration of biophysical and analytical approaches with humanistic and holistic perspectives to become part of the “Dialogues Bioregional Project” and collaborate in its further development. (shrink)

In the Sahara, there is a species of silver ants with coats precisely calibrated to adapt to the harsh landscape around them. Their tiny radiant armor is made of triangular, reflective hairs on their midsection that dissipate heat through thermal radiation, thus enabling them to survive in the greater than 150 degrees Fahrenheit temperatures during the twenty minutes or so each day when they leave their nests. By midcentury such examples of extreme adaptation may have increasing significance for us. (...) How we are able to become constituents of a broader landscape will gain more relevance as the earth warms and its population reaches the nine billion mark. Our deeply held values about individuality may even become... (shrink)

This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can (...) act as signposts for diverse and multilateral readings of film, as viewers “read” cinematic landscapes and time-images. In Ici et ailleurs, stratigraphic shots juxtapose the Western, static home life of a family in France with the nomadic life of Fedayeen troops in Jordan and Palestine. This article argues that Sonimage’s narrative specificity relies upon an “in-between” method that defines an inter-space between semantic orders. (shrink)

This paper begins with a brief examination of the contemporary American political landscape. I describe three recent events that illustrate how attempts to control the narrative about events that transpired threaten to undermine our shared reality. I then turn to Book I of Plato’s Republic to explore the potentially tyrannizing effect of Socrates’s narrative voice. I focus on his descriptions of Glaucon, Polemarchus and his slave, and Thrasymachus to show how Plato presents Socrates’s narrative activity as (...) a process that controls how the auditor understands the events that follow. I then turn to an alternate understanding of Socratic narrative which extols its philosophically and politically liberatory possibilities. I use my own previous work on Socratic narrative, Jill Frank’s Poetic Justice, and Rebecca’s LeMoine’s Plato’s Cave as three examples that emphasize the more positive dimensions of Socratic narrative. Finally, I end with a brief exploration of Cornel West’s Democracy Matters, and bell hooks’ works on pedagogy to argue for the possibility a Socratically-informed public space for political discourse. (shrink)

In this study Thomas Peattie offers a new account of Mahler's symphonies by considering the composer's reinvention of the genre in light of his career as a conductor and more broadly in terms of his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle. Drawing on the ideas of landscape, mobility, and theatricality, Peattie creates a richly interdisciplinary framework that reveals the uniqueness of Mahler's symphonic idiom and its radical attitude toward the presentation (...) and ordering of musical events. The book goes on to identify a fundamental tension between the music's episodic nature and its often-noted narrative impulse and suggests that Mahler's symphonic dramaturgy can be understood as a form of abstract theatre. (shrink)

In this paper, I present the conjunction between a) a new history and philosophy of science, which, under the banner of a renewed historical epistemology, articulate a new relation between conceptual history and situated history; and b) new narratives in the history of philosophy that integrate women philosophers by showing the displacements this causes in terms of corpus, objects of research, and forms of writing. By questioning the philosophical canon, new focal points are brought to light.. Then I briefly present (...) the tools of feminist epistemology as methodological instruments to, in act, proceed to these decenterings. I conclude with two examples from the Modern Age: Margaret Cavendish and Emilie du Châtelet. Until recently, these two women philosophers were mocked and little considered, but today they are part of the canon, have become mainstream in many Anglo-Saxon universities. I show how this shift changes the landscape of history and philosophy of science. (shrink)

In the age of artificial intelligence, writing machines or robot authors have already begun to produce narrative texts in a variety of genres, including short stories and poetry, as well as journalistic articles. This article is based on the prospect that the narrative ecosystem is in a transitional period of decisive disconnection as it enters the era of artificial intelligence. The primary force driving this transition is the formidable execution of artificial intelligence algorithms, which fully automate narrative (...) communication and narrative works. This article attempts to lay the groundwork for building a new paradigm of post-narrativity through a critical examination of several detailed themes in narrative semiotics and non-anthropocentric narratology. The process of narrative creation based on artificial intelligence algorithms is a key condition that constitutes post-narrativity. This presupposes a non-anthropocentric view. In the landscape of post-narrativity, human writers, paper books, computer screens, and invisible narrative algorithms are all agents with equal influence. Automated narrative production by algorithms accelerates the repositioning of other existing media and actors, and changes the narrative ecosystem by incorporating new elements into activities such as production, distribution, and reception of narratives. (shrink)

The micro blogging platform Twitter is actively used by millions of people. By using the geo tags of the messages sent a virtual landscape of online activity at a certain place is generated to visualize the interface between the real-world location and the virtual activity. These New City Landscapes (NCL) visualize the amount of activity as density surfaces with hills, peaks and valleys. Across a set of different cities from around the world the resulting landscape morphologies are compared (...) and characterized as types. This article focuses on temporal narratives and how they travel through the urban fabric via the virtual landscape in different cities around the world. The findings are discussed as cross comparisons according to activity in time and space. (shrink)

In this article, we explore the worldview of the pilgrim and how it relates to the drama of human existence. The worldview of the pilgrim is the starting point in our explorations of the postmodern conundrum and interrelated subjects such as epistemology, ethics, religious symbolism, hospitality and practical life strategies from a narrative and confessional perspective. These elaborations will serve the ultimate goal of this article, which is to contribute to the philosophy of education (including educators and educationists) and (...) consequently to equip individuals with skills and substantial knowledge that would allow them to understand, define and pursue their own life goals as well as to participate with integrity in their community as full-fledged, responsible citizens. (shrink)

The ArgumentThis article confronts an old-new orientation in the historiographical literature on the “Galileo affair.” It argues that a varied group of historians moved by different cultural forces in the last decade of the twentieth century tends to crystallize a consensus about the inevitability of the conflict between Galileo and the Church and its outcome in the trial of 1633. The “neo-conflictualists” — as I call them — have built their case by adhering to and developing the “three dogmas of (...) the Counter-Reformation”: Church authoritarianism is portrayed by them as verging towards “totalitarianism.” A preference for a literal reading of the Scriptures is understood as a mode of “fundamentalism.” And mild skeptical positions in astronomy are read as expressions of “instrumentalism,” or “fictionalism.” The main thrust of the article lies in an attempt to historicize these three aspects of the Catholic reform movement. Finally, the lacunae in insufficiently explored historiographical landscape are delineated in order to tame the temptation to embrace the three dogmas, and to modify the radical conflictualist version of the story of Galileo and the Church. (shrink)

Over the recent years, some authors have questioned the hegemony of mankind (Anthropocene) over nature. The recent virus outbreak known as COVID19 starts a new period known as “violence” where humans are forced to recede to the private sphere. The COVID19 pandemic not only alerted the health authorities but also disposed of extreme measures which included the close of borders, airspaces, as well as the imposition of lockdown and social distancing. Not only global commerce but also the tourism industry was (...) placed on the brink of collapse. In this grim landscape, the problem of climate change is far from being solved. While steps to reverse the greenhouse gas emission should be taken globally coordinating efforts among nations, the current climate of tension without mentioning the geopolitical discrepancies (among countries) impedes the formation of global sustainable institutions to monitor and regulate the effects of climate change. The present article centers on a visual ethnography on the film Contagion, to lay the foundations towards a new understanding of ideology and its effects on ecological justice. (shrink)

this article confronts an old-new orientation in the historiographical literature on the “galileo affair.” it argues that a varied group of historians moved by different cultural forces in the last decade of the twentieth century tends to crystallize a consensus about the inevitability of the conflict between galileo and the church and its outcome in the trial of 1633. the “neo-conflictualists” — as i call them — have built their case by adhering to and developing the “three dogmas of the (...) counter-reformation”: church authoritarianism is portrayed by them as verging towards “totalitarianism.” a preference for a literal reading of the scriptures is understood as a mode of “fundamentalism.” and mild skeptical positions in astronomy are read as expressions of “instrumentalism,” or “fictionalism.” the main thrust of the article lies in an attempt to historicize these three aspects of the catholic reform movement. finally, the lacunae in insufficiently explored historiographical landscape are delineated in order to tame the temptation to embrace the three dogmas, and to modify the radical conflictualist version of the story of galileo and the church. (shrink)

This article explores the propensity of Iliadic landscape similes to encourage reflections on human fragility. Landscape in the similes is usually interpreted as a medium which conveys a consistent symbolic value (for example storms as the hostility of nature); however, landscape is often a more flexible medium. By offering close readings of three Iliadic similes (winter torrents at 4.452–6, snowfall at 12.279–89 and clear night at 8.555–9), this article argues that landscape allowed the poet to frame (...) the main narrative in various ways, both helping the listener to imagine described events and interrupting the listener's immersion in the main narrative. While many have analysed how similes offer analogies to the main narrative, the ways in which the same simile can also disrupt and reframe the narrative are less understood. This article observes that shifts in narrative space and time played a key role in changing the perspective of the listener. Taking a broadly phenomenological approach, it proposes that embodied descriptions of space, which recreate the experience of the moving body in landscape, invite the listener to consider the temporal scale of the natural world. By looking at how landscape in select similes shifts the listener's spatial and temporal experience, this article argues that landscape contributes to the wider Iliadic theme of human fragility. In particular, it identifies the potential for landscape similes to minimize the scale of human experience, question the possibility of human agency, and reveal the limitations of human perspectives and knowledge. (shrink)

This paper reveals the importance of stories associated to specific objects. The study argues that storytelling can infuse life and meaning into insignificant things. From a semiotic point of view, material objects become signs linked to particular people, experiences, desires, values, thus creating strong emotional bonds with the landscapes part of human daily routines. Beyond fetishism or consumerism, these significant objects could serve the purpose of eco-critical awareness. Through the lenses of a micro-narrative by British novelist Tom McCarthy, attached (...) to the insignificant object of a “Mermaid figurine”, the paper explores the ecology of little things in order to draw attention to sustainability concerns. (shrink)

The Rasūlid chronicles of the reign of al-Manṣūr Nūr al-Dīn ʿUmar b. ʿAlī b. Rasūl depict its first ruler as steadily consolidating the political foundation of the sultanate. Most of these reports clearly portray the dominance of the sultan in Yemen during this period. But a few reveal the limitations of his power in a more complex political landscape, such as an aborted military campaign against a local tribe, an insurrection by a Zaydi sharīf, and the sultan’s assassination by (...) his own military. These specific narratives of opposition to the sultan, however, progressively change over the course of their production from the late 13th century until the first half of the 15th century, as the strength of the sultanate initially peaks and then slowly declines. As a result, the ambiguity of al-Manṣūr ʿUmar’s authority in these narratives is largely reduced, and the historical memory of the sovereignty of the emergent Rasūlid sultanate solidifies in increasingly ideological ways. (shrink)

Well-intended natural resource policies that ignore the complexity of socio-ecological systems too often threaten local values and opportunities for sustainable development. Upland areas throughout Indonesia provide examples of complex socio-ecological systems experiencing rapid socio-economic and environmental transformations in response to interactions between development policies and local agendas. Broad natural resource policies influence socio-ecological systems in different ways. In some cases, there are converging national and local goals, while in others the goals of national policy conflict with local aspirations. This study (...) identifies how broadscale policies could respond to the unique characteristics of upland areas to optimise development outcomes and avoid unintended risks for people and the landscape. The theory of reflexive modernity is utilised to illustrate how two national policies, the Community Forestry initiative and the Irrigation Reservoir program, largely discount the complexity of local values in the uplands of Pagar Alam, Indonesia. We identify local farmer aspirations through an analysis of development narratives and relate how they are impacted upon by the two policies. Our findings indicate that dominant development goals and associated sustainability pathways diverge in a range of ways from local farmer values and aspirations. We suggest that policymakers take more consideration of four interacting elements, namely: local ecological traits; local values and institutions; the multiple development pathways; and exogenous market drivers that affect local development, to promote sustainability and increase the likelihood of achieving all desired policy outcomes. (shrink)

The analysis of fundamental texts such as “Architecture and Narrativity” and Memory, History, Forgetting aims to fill a gap in studies of Environmental Hermeneutics. Indeed, the analogy between space and narrative, through parallelism with the process of triple mimesis, is usually deduced by environmental hermeneuticists from the works Time and Narrative and Oneself as Another. However, Ricœur himself took it upon himself to make this transposition in a direct and elaborated way from a phenomenological and hermeneutic analysis of (...) the built space and the inhabited space, opening the way for a broader and more grounded epistemology of environmental hermeneutics. The introduction of the critical concept of landscape, as seen today by constructivist and cultural geography, legitimizes the claims of an environmental hermeneutics as an interpretive process of formally non-textual objects. Indeed, landscape in its connection to territory has its own semiotic and semantic character, which is appealed to for reading and interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina (...) Reza, "Sunday in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

Canadian landscapes on gallery walls in art museums serve as a primer for understanding the nation. Visitors cannot easily escape the purposeful emptiness of rugged scenes meant to visually assure them of the nation’s right to colonial possession. Most viewers respond positively to these pretty pictures because such ways of seeing the art history of Canada has been naturalized and normalized, appearing politically neutral.Ubiquitous Canadian landscape paintings also reinforce colonial claiming of land and authorize erasure of Indigenous relations with (...) the land. Understanding the noted landscapes as something other than part of a national narrative, however, has not been widely accepted, even as a sanctioned mandate to broaden art historical narratives has resulted in displaying additional Indigenous art in galleries. In an analysis that considers ways to re-vision the privileged colonial narrative present in Canadian art museums, deeper ethical issues arise in relation to institutional structures. Here the analysis focuses on three projects in and around Canada 150, including examples such as Shame and Prejudice: A Story of Resilience, the rehanging of Norval Morrisseau’s Artist and Shaman between Two Worlds at the National Gallery of Canada, and the Michael Belmore and A. J. Casson: Nkweshkdaadiimgak Miinwaa Bakeziibiisan/Confluences and Tributaries exhibit at the Ottawa Art Gallery. This essay explores questions regarding whether ways of seeing land differently come about simply by hanging Indigenous art on institutional walls or whether more systemic change is required. (shrink)

In this essay I discuss Zineb Sedira’s two-screen video projection “Saphir” in relation to the landscape which Hélène Cixous has called the “the immense landscape of the trans-, of the passage.” My non-conclusive text explores the acts of transition taking place on the dual screen of Sedira’s video work. The work – filmed in the harbour area of Algiers – forms a multifaceted visual narrative of departures and arrivals. Within this narrative an intriguing choreography develops between (...) two solitary characters, a man and woman, who never meet but nonetheless, step by step, mutually perform a ritualistic dance. “Saphir” – which borrows its name from a French colonial hotel – is filled with ambiguities that evoke the landscape described by Cixous. Contemplating its topography, I become involved in Cixous’s bodily word world. “Passage” is what she calls part of this landscape, but it is also a word. It is a password which when split in two in the French language becomes ill-behaved and unwise. But could the word, I ask, also lead to a wise step (un pas sage )? And where do the steps danced by Sedira’s man and woman lead? (shrink)

The aim of Language for those who have Nothing is to think psychiatry through the writings of Mikhail Bakhtin. Using the concepts of Dialogism and Polyphony, the Carnival and the Chronotope, a novel means of navigating the clinical landscape is developed. Bakhtin offers language as a social phenomenon and one that is fully embodied. Utterances are shown to be alive and enfleshed and their meanings realised in the context of given social dimensions. The organisation of this book corresponds with (...) carnival practices of taking the high down to the low before replenishing its meaning anew. Thus early discussions of official language and the chronotope become exposed to descending levels of analysis and emphasis. Patients and practitioners are shown to occupy an entirely different spatio-temporal topography. These chronotopes have powerful borders and it is necessary to use the Carnival powers of cunning and deception in order to enter and to leave them. The book provides an overview of practitioners who have attempted such transgression and the author records his own unnerving experience as a pseudopatient. By exploring the context of psychiatry's unofficial voices: its terminology, jokes, parodies, and everyday narratives, the clinical landscape is shown to rely heavily on unofficial dialogues in order to safeguard an official identity. (shrink)

Abstract:There is an established narrative in which the world shrinks, distances are overcome and rendered insignificant, and the near and the far lose their salience as means of orientation and understanding. Yet, within this narrative, new distances are equally felt and observed to have opened up. New distances between and amongst us, multiplying distances of indifference, incomprehension and antagonism. And felt distances also between ourselves and ‘land’ and ‘nature’—a sense of separation, alienation and loss which it then becomes (...) imperative, ethically and environmentally, to overcome.In this general context, this article asks: is it possible to sense distance more positively? Given the scope of the topic, the article aims primarily to offer key frameworks and avenues for rethinking distance. In two initial sections I consider distance in terms of ethics and spatialities respectively. Then, in a lengthier third and final discussion, I turn to landscape specifically as a venue for thinking distance anew. Notions of apartness and alienation are, it can be argued, historically stitched into Western visual art traditions of landscape. In Robin Kelsey's terms, landscape names a “fantasy of not belonging to the totality of life of a terrestrial expanse.” But, drawing in particular upon Jean-Luc Nancy's account of landscape as uncanny and estranged spatiality, I will argue that the distances of not-belonging are actually the signature elements of landscape's distinction as a mode of experience, imagination and presentation. (shrink)

During the past fifty years, a dispute over the nature of historical discourse has taken place with the narrativist approach, arguing for the dominance of narration in history, on the one hand, and professional historians defending historiography's will to tell the truth, on the other. Paul Ricoeur entered the discussion with his work Time and Narrative where he offered an inventive response. According to him, both narration and scientific explication are essential to historical discourse. To support his statement, he (...) introduces terms such as ‘a third time,‘ ‘a quasi-narration’ or ‘a historical consciousness.’ Thus, he shifts attention from narration to time. These terms can prove their usefulness when interpreting historical works. In the rest of the article, we aim to carry out such an interpretation on the example of Landscape and Memory by Simon Schama. In a Ricœurian perspective, Schama's book reveals its deep time significance. (shrink)

Here it is shown that the discourse of contemporary advertising derives from verbal and visual narratives encoded in Locke's representation of American landscape. These narratives embrace the idea of nature as an artifact, the imperial self, picture theory, and palimpsest representation. They are given careful attention in this study not because of their timely value but, precisely, because they are anachronistic and widely disseminated by the advertising media, a national nostalgia industry parasitical upon an intellectual inheritance originating with Locke. (...) Incident to the popularity of Lockean ideas achieved by these means is that counter-narratives on the environment advanced by resource economics and conservation biology are rendered marginal and ineffective. (shrink)

This article is based on German and Japanese sources and shows how around 1900 European psychiatric concepts and practices embedded themselves into emerging scientific Japanese discourses. The article argues that now forgotten German–Japanese exchanges in the field of psychiatric pathology, together with the historical development of psychiatric care, were central mechanisms for the establishment of a distinctly psychiatric discourse in Japan prior to its broad institutionalization. Three discursive strategies were key: Japanese and German experts from a range of medical fields (...) reinvented a body of traditions loosely related to actual pre-modern cultural practices; they engaged in comparative evaluations of psychiatric conditions; and, through the simple but effective transformation of specific concepts and termini at the margins of European psychiatry, these experts contributed to the transfer not only of a psychiatric discourse but also affected the power relations on a national and international scale as European psychiatry permeated into new territory, namely the Japanese landscape of emerging modern scientific disciplines. (shrink)

This study explores the depictions of landscapes and emotions in the ninthcentury hagiographies associated with Liudger: the three vitae Liudgeri and Liudger’s own vita Gregorii. The Frisian missionary founded the monastery of Werden, situated near the Frankish-Saxon frontier. It will be argued that previous historiography on early medieval frontiers has predominantly focused on the military nature of frontiers. Here, more cultural or symbolic natures of the Frankish-Saxon frontier will be discussed. The hagiographical narratives will be examined in conjunction with the (...) notion of a frontier as a ‘third space’. The vitae Liudgeri shaped a discourse that legitimated Liudger’s translation to Werden. This resulted in the creation of a new place of Christian worship in the competitive landscape of post-conquest Saxony, as part of the Christianization of the region. Monasteries like Werden were the places where new missionaries were educated who would continue this Christianization. Exemplary emotional behaviour of the saints, narrated in hagiographies, could help instruct this new generation. Altfrid and Liudger tried to dissuade emotions of anger, indicated by ira or furor, with their hagiographical narratives. These two perspectives offer a glimpse into the attempts of a local monastery to stand out in the Frankish-Saxon frontier. (shrink)

In 2008, renowned Australian composer Peter Sculthorpe remarked that almost everything he has written since the early 1960s has been influenced by Indigenous music “because that was a music … shaped by the landscape over 50,000 years.” 3 His preference for accumulating “an effect of relentless prolongation” through the use of long drones has seen his music fail, until recently, to appeal to an Australian ear attuned to Bach and Mozart. 4 His aim, however, has not been to satisfy (...) the European-trained ear, but to “mirror the Australian outback”; to capture a sense of time and space that many Australians have repeatedly failed to access. 5 Sculthorpe‟s efforts to form connections with the landscape are by no means singular; representations of the bush have dominated the arts from early settlement, albeit in a largely negative fashion. The contradiction between an accepted Australian vision of the landscape as empty, unwelcoming bush or desert, and the social reality of a nation living mainly in coastal communities has not gone unnoticed. 6 Nevertheless, contemplating this “accepted vision” alongside the lukewarm reception of Sculthorpe‟s work gives rise to the following question: what conclusions, if any, may be drawn from insistently negative representations of the landscape? In consideration of this question, I propose an analysis of two texts in which the representations of landscape have been overlooked in favour of feminist or classical readings: Barbara Baynton‟s Bush Studies and Joan Lindsay‟s Picnic at Hanging Rock. If “landscape is personal and tribal history made visible,” what is one to make of Bush Studies? 7 The parallels between Baynton‟s narratives of isolation and her own experiences cannot fully account for her portrayals of the bush as “a lonely, hostile place, antagonistic to its inhabitants,” where time recedes into the vast distances of the plains, and the past and future are uncertain. 8 Baynton‟s settlers, cut adrift from cultural and religious traditions, fail to form communities and conform to the notion that “where si gnificant tradition counts for little, places may be virtually without time,” leading to “no awareness of history.” 9 In short, Baynton‟s settlers are plagued with a sense of timelessness that appears to originate from perception, rather than the environment. (shrink)

This article argues that gaushalas, or cow shelters, in India are mobilized as sites of Hindutva or Hindu ultranationalism, where it is a “vulnerable” Hindu Indian nation—or the “Hindu mother cow” as Mother India—who needs “sanctuary” from predatory Muslim males. Gaushalas are rendered spaces of production of cows as political, religious, and economic capital, and sustained by the combined and compatible narratives of “anthropatriarchy” and Hindu patriarchy. Anthropatriarchy is framed as the human enactment of gendered oppressions upon animal bodies, and (...) is crucial to sustaining all animal agriculture. Hindu patriarchy refers to the instrumentalization of female and feminized bodies as “mothers” and cultural guardians of a “pure” Hindu civilization. Both patriarchies commodify bovine motherhood and breastmilk. which this article frames as a feminist issue. Through empirical research, this article demonstrates that gaushalas generally function as spaces of exploitation, incarceration, and gendered violence for the animals. The article broadens posthumanist feminist theory to illustrate how bovine bodies, akin to women's bodies, are mobilized as productive, reproductive, and symbolic capital to advance Hindu extremism and ultranationalism. It subjectifies animal bodies as landscapes of nation‐making using ecofeminism and its subfield of vegan feminism. (shrink)

A room of their own: the social landscape of infant sleep This paper draws on findings of a study in which new and experienced mothers’ caregiving practices were investigated, in order to examine social perspectives of infant sleep. Health professionals who work to support early parenting and promote child health and well‐being provide guidance to their clients concerning infant sleep cares. Currently, advice is predominantly informed by understandings and strategies derived from Sudden Infant Death Syndrome (SIDS) risk reduction campaigns (...) and behavioural training models. The social context of caregiving is a significant if somewhat neglected perspective. The analysis presented in this paper suggests that in sleep arrangements, a complex social locale is revealed, an elaboration of carers’ values and understandings about infants as developing persons, juxtaposed with their own desires and needs. Tensions between child‐centred nurturing and adult‐focused concerns are expressed and reconciled in caregiving. These understandings may assist health professionals to develop proactive and responsive practices in the area of early childrearing support. (shrink)