Chapter 24 Photography and Genius Loci: Hol Lars (Lewis) Larsson’s “Kaiserin Augusta Victoria Stiftung on Olivet” (1910–1914)

R. Lev
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Abstract

This chapter examines Jerusalem ’ s genius loci, as communicated in the work of the American Colony Photo-Department (ACPD) active in Jerusalem between 1896 and 1934. The ACPD ’ s photographs were distributed in Scandinavia and worldwide, and early in the twentieth century they shaped the idea of Jerusalem in people ’ s minds. Narrowing my study from the wider Jerusalem ( “ The Jerusalem code ” ), to a specific place in Jerusalem ( “ Genius Loci ” ), I try to examine the encrypted data of one photograph taken by the Swede Hol Lars (Lewis) Larsson between 1910 to 1914: the “ Kaiserin Augusta Victoria Stiftung on Olivet [Mount of Olives]. ” While reading the photograph as a locus, a place, I rely on the Norwegian architect Thorvald Christian Norberg-Schulz ’ s (1926 – 2000) idea of the interconnectedness of natural and man-made qualities that, as a totality, constitute a pervading spirit of place or a genius loci. The chapter will examine the cultural setting of the American Colony in Jerusalem photographic collective (1896 – 1934) as well as the spatial dynamic that underlined their work. The notion genius loci , was developed by Norberg-Schulz in his influential publication, Genius Loci: Towards a Phenomenology of Architecture (1979), in which he inves-tigated the theory of organization of space and built form. 1 His view was shaped by Martin Heidegger ’ s phenomenology of place: “ A place is therefore a qualitative ‘ total ’ phenomenon which we cannot reduce to any of its properties such as spatial relationships, without losing its concrete nature out of sight. ” 2 It is the dynamic inter-Rachel Archaeology seemed to spur on the study of theology. A majority of the annual students from the colleges of Europe were theological graduates; Palestine Archaeology was in fact insepara-ble from Bible research. The Colony was a host to the great majority of American students and the young men of the Colony, thanks to their intimate knowledge of the land and the Arabic language, became the guides and interpreters of the annual excursions. 29
第24章摄影与天才之迹:霍尔·拉尔斯(刘易斯)·拉尔森的《奥古斯塔·维多利亚皇帝基金会》(1910-1914)
本章考察了耶路撒冷的天才位置,正如1896年至1934年间活跃在耶路撒冷的美国殖民地摄影部(ACPD)所传达的那样。ACPD的照片在斯堪的纳维亚半岛和世界范围内分发,在20世纪早期,它们在人们的脑海中塑造了耶路撒冷的概念。将我的研究范围从更广泛的耶路撒冷(“耶路撒冷密码”)缩小到耶路撒冷的一个特定地点(“天才地点”),我试图检查瑞典人霍尔·拉尔斯(刘易斯)·拉尔森在1910年至1914年间拍摄的一张照片的加密数据:“奥古斯塔·维多利亚皇帝在橄榄山上的基金会”。当我将这张照片视为一个场所,一个地方时,我依靠挪威建筑师Thorvald Christian Norberg-Schulz(1926 - 2000)的想法,即自然和人为品质的相互联系,作为一个整体,构成了一种无处不在的场所精神或天才场所。本章将考察美国殖民地在耶路撒冷的摄影集体(1896 - 1934)的文化背景,以及强调他们的工作的空间动态。诺伯格-舒尔茨在其颇具影响力的出版物《天才轨迹:走向建筑现象学》(1979)中提出了天才轨迹的概念,在这本书中,他研究了空间组织和建筑形式的理论。他的观点受到了马丁·海德格尔(Martin Heidegger)的场所现象学的影响:“因此,场所是一种定性的‘总体’现象,我们不能将其还原为其任何属性,如空间关系,而不失去其在视线之外的具体本质。”正是这种动态的相互作用——雷切尔考古学似乎推动了神学的研究。欧洲大学的大部分年度学生都是神学毕业生;巴勒斯坦考古学实际上与圣经研究密不可分。殖民地是绝大多数美国学生的东道国,殖民地的年轻人由于对这片土地和阿拉伯语的熟悉,成为每年远足的向导和翻译。29
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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