By Eric Hirsch, Michael O'Hanlon
Panorama has lengthy had a submerged presence inside anthropology, either as a framing machine which informs the best way the anthropologist brings his or her examine into 'view', and because the that means imputed by way of area people to their cultural and actual atmosphere. A relevant goal of this quantity follows from those interconnected methods of contemplating panorama: the traditional, Western suggestion of 'landscape' can be used as efficient aspect of departure from which to discover analgous principles; neighborhood rules can in flip reflexively via used to interrogate the Western construct.The advent argues that panorama might be conceptualized as a cultural approach: a method situated among position and area, inside and out, photograph and illustration. within the chapters that stick with, 9 famous anthropologists and an paintings historian exemplify this process, drawing on a various set of case reviews. those variety from an research of Indian calendar artwork to an account of Israeli nature tourism, and from the production of a metropolitan "gaze" in nineteenth-century Paris to the soundscapes specific to the Papua New Guinea rainforests. The anthropological views built listed below are of cross-disciplinary relevance; geographers, paintings historians, and archaeologists can be no much less than anthropologists during this re-envisaging of the proposal of panorama.
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Extra resources for The anthropology of landscape: perspectives on place and space
Example text
Among the Umeda, the relationship between everyday 'images' and the sense of a more encompassing representation ('map') is not engendered primarily through the use of sight. Gell argues that a dense forest environment of the sort that the Umeda inhabit imposes a 'reorganization of sensibility', different in kind from that which develops in more 'open' environments. Language here takes on a salience additional to that which it possesses in more visual cultures. 2• Introduction 21 In this highly audible world nothing that we would understand as a (visible) landscape is present-only partial glimpses (compare Gow's chapter).
Thus, while the image is up for grabs from a whole spectrum of competing perspectives, the thing represented-the place or environment-is somehow rendered inviolable. This is clearly not the case with other artistic genres, whether historical and allegorical material or depictions of social and contemporary scenes. And it explains why the discussion of landscape has been located at the heart of a rather facile debate about realism as a mode of representation, a debate which seeks to adjudicate the realistic nature of an image on the basis of its supposed likeness to an objective world 'out there'.
Cambridge: Cambridge University Press. LPH, E. (1976). Piau and Plaultssntss. London: Pion. - - (1985). 'Geographical Experience and Bc:ing-in-the-World: The Phenomenological Origins of Geography', in D. Seamon and R. ), Dwr/1ing. Plact and Environm~nt: TorParJ5 a Phtnomtnology uf Person and Wr1riJ. Dordrecht: Martinus Nijhoff. SAUER, C. (1963). 'The Morphology of Landscape', inJ. ), Land and Lift: A Stlt