《Landscape and Power》的原文摘录

  • 在‘跟团旅游’中,风景是能被展现和再现的可销售商品,一种被购买和消费的对象,甚至可以通过明信片和相册等纪念品的形式被买回家。在商品和有力的文化符号的双重角色中,风景成为拜物教行为的对象,例如游客们在同一地点以可互换的情感拍摄出无限重复的照片。 (查看原文)
    泛若不系之舟 2赞 2017-04-18 21:54:42
    —— 引自第16页
  • 风景是一种枯竭的媒介,作为一种艺术表现方式不再活力盎然。但我们不能因此就说,风景犹如生活令人生厌。 (查看原文)
    j 2018-07-10 17:44:11
    —— 引自第5页
  • 他们的妻子坐在牛背的草鞍上(肤色如炭), 这头(像欧罗巴的)公牛步伐缓慢 它们的卖价 比旁边田中其他的牛都高。 他们的歌声甜美(或押韵或自成其调), 与笛声婉转, 时断时续,如温柔的牧羊人 就像泰迪鲁斯那位缪斯。 路易斯・德・科莫・伊斯(1572) (查看原文)
    蓝道_RANDALL 2020-06-17 16:38:42
    —— 引自章节:五 “我们的荆编小屋”:托马斯·普林格尔非洲风景中的商业及家
  • 因此,关于巴勒斯坦这片1500年以来一直被占多数的非犹太人居住的土地的地理,最主要的思维模式就是“回归”的思想:对那些从来没有到过以色列的犹太人来说,回到以色列就是回到锡安山,回到一个更早的国度,而犹太人就是在那里被流放的。巴登斯坦在一个敏感的研究中注意到,一些相同的意象,包括刺梨、橙子、树和回归在犹太人和巴勒斯坦人的记忆话语中是交替出现的。但犹太人的话语则把之前巴勒斯坦人的存在从该地区的风景中抹掉了: 我曾经有机会参观了一些前巴軌斯坦村庄的旧址。它们已经被通过植树和相关的犹太国家基金(JNF)工程进行了不同程度的重新改造,所采用都是那些显然可以促进“集体”遗忘,或者说选择性的遗忘的方式。比如,如果你参观加利利地区被摧毁的加布斯亚村,经过仔细的审视你就会发现这里的树木和风景本身就给出了两种不同的、相互对立的叙述,它们汇集在同一个地点。你只能依靠风景的解读,因为这里并没有什么东西遗留下来。对于第 次到这个地点的人来说,最容易看到的就是那里的犹大国家基金项目的树木一它们都是很容易辨认的松树和其他的树种的组合,已经在那里生长了四十多年,就好像这个地区一直以来都是这个样子。3 ( (查看原文)
    蓝道_RANDALL 2020-06-17 16:46:32
    —— 引自章节:八 虚构、记忆和地方
  • 海浪就是这样生活的一一如果我们愿意,也可以这样生活一一其他毋庸赘言。 一尼采,《快乐的科学》 (查看原文)
    蓝道_RANDALL 2020-06-17 16:50:07
    —— 引自章节:十一 海滩(幻想一种)
  • landscape as a cultural medium thus has a double role with respect to something like ideology: it naturalizes a cultural and social construction, representing an artificial world as if it were simply given and inevitable, and it also makes that representation operational by interpellating its beholder in some more or less determinate relation to its givenness as sight and site.Thus, landscape( whether urban or rural, artificial or natural) always greets us as space, as environment, as that within which "we"(figured as "the figure" in the landscape) find—or lose—ourselves. (查看原文)
    ; ) 2021-03-25 00:07:38
    —— 引自第2页
  • What we have done and are doing to our environment, what the environment in turn does to us, how we naturalize what we do to each other, and how these"dongs" are enacted in the media of representation we call "landscape" are the real subjects of Landscape and Power. (查看原文)
    ; ) 2021-03-25 00:07:38
    —— 引自第2页
  • Landscape in the form of the picturesque European tradition may well be an "exhausted" medium, at least for the purposes of serious art or self-critical representation; that very exhaustion, however, may signal an enhanced power at other levels (in mass cultural and kitsch, for instance) and a potential for renewal in other forms, other places. (查看原文)
    ; ) 2021-03-25 00:07:38
    —— 引自第3页
  • I realize that this analysis will sound hopelessly evasive, generalized, and equivocal to those who insist on "owning" this landscape in the first sense, while refusing to "own" any responsibility for its fractured, agonized appearance. But only an equivocal poetry of this sort will, I suspect, prove adequate to Emerson's project of "integrating the parts of the landscape" into a unity fit for habitation, much less contemplation. (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第29页
  • Emerson says that" landscape has no power" except "the poet" who can integrate its parts. But Mohr's photography shows the sort of sight—and site—that demands a poet capable of asking, "Who owns this landscape?" The colonizing settlers who watch from their fortified dwellings? The inhabitants of the traditional dwellings in the valley, a space that must look just as deadly and threatening to the colonial gaze, as its watchtowers look to them? The photographer, who has chosen this image from all those available and presented it to us as a representative landscape of a contested territory? The only adequate answers seem at first glance radically contradictory: no one"owns" this landscape in the sense of having indelibly on it. But everyone "owns" (or ought to own) this landscape in the sense... (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第29页
  • "Landscape," says Emerson, "has no power," and the pure viewing of landscape for itself is spoiled by economic considerations:"you cannot freely admire a noble landscape, if laborers are digging in the field hard by." Raymond Williams notes that," a working country is hardly ever a landscape," and John Barrell has shown the way laborers are kept in the "dark side" of English landscape to keep their work from spoiling the philosophical contemplation of natural beauty. “Landscape“ must represent itself, then, as the antithesis of "land", as an "ideal estate" quite independent of "real estate," as a "poetic" property, in Emersion's phrase, rather than a material one. The land, real property, contains a limited quantity of wealth in minerals, vegetation, water, and dwelling space. Dig out all ... (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第15页
  • In its double role as commodity and potent cultural symbol, landscape is the object of fetishistic practices involving the limitless repetition of identical photography taken on identical spots by tourists with interchangeable emotions. (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第15页
  • The familiar categories that divide the genre of landscape painting into subgenres— notions such as the Ideal, the Heroic, the Pastoral, the Beautiful, the sublime, and the Picturesque—are all distinctions based, not in ways of putting paint on canvas, but in the kinds of objects and visual spaces that may be represented by paint. (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第14页
  • Landscape may be represented by painting, drawing, or engraving; by photography, film, and theatrical scenery; by writing, speech, and presumably even music and other "sound images". Before all these secondary representations, however, landscape is itself a physical and multi sensory medium(earth, stone, vegetation, water, sky, sound and silence, light and darkness, etc) in which cultural meanings and values are encoded, whether they are put there by the physical transformation of a place in landscape gardening and architecture, or found in a place formed, as we say, "by nature." This simplest way to summarize this point is to note that it makes Kenneth Clark"s title, Landscape and Art, quite redundant: landscape is already artifice in the moment of its beholding, long before it becomes th... (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第14页
  • 2. Landscape is a medium of exchange between the human and the natural, the self and the other. As such, it is like money: good for nothing in itself, but expressive of a potentially limitless reserve of value. (查看原文)
    ; ) 2021-03-25 00:27:35
    —— 引自第5页