{"title":"The portable community: place and displacement in bluegrass festival life","authors":"K. Forbes-Boyte","doi":"10.1080/08873631.2021.2006532","DOIUrl":null,"url":null,"abstract":"origins, and meanings, questions about how people experience the landscape are never far removed from the book’s discussions. Some of the most provocative ideas come in the final three chapters, which address the ways in which the scenic landscape becomes bound up with transcendent space and the implications of this. One concern involves how the scenic landscape works to deceive. Unlike radical and Marxist cultural geographers who highlight the ways that scenic landscapes disguise labor and power relations, Olwig focuses on deception via the illusion of what is real. At the risk of oversimplifying a discussion that stretches from Heidegger to Latour, the scenic landscape deceives though the illusion of the “verity of things” (p. 153). Strongly shaped by linear perspective, the scenic landscape constructs what is real and reifies abstract space. By educating us that the root of the word diabolic means to confuse, and revisiting Christaller’s work on the spatial planning of Poland for the Nazis, Olwig explains how landscape can simultaneously convey both reactionary and modern meanings. Olwig also calls attention to reactionary modernism in the work of E.O. Wilson and the journalist George Monbiot, drawing parallels between the former’s ideas about sociobiology and the latter’s views about rewilding. A critique of modernism informs many of these essays and gives additional resonance to Olwig’s “cubist collage” metaphor. The Meanings of Landscape succeeds in its elucidation of one of cultural geography’s most contested words. In the process, the book laments the loss of the substantive landscape, particularly the meaning and values of local decision making, and offers a cautionary account of how the scenic landscape can conflate, confuse, and deceive. The Meanings of Landscape deserves a place on our bookshelves for its contributions to the geohumanities, and as well as its valuable work on the evolution of the term landscape and the history of geographic thought.","PeriodicalId":45137,"journal":{"name":"Journal of Cultural Geography","volume":"39 1","pages":"152 - 154"},"PeriodicalIF":0.7000,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Cultural Geography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/08873631.2021.2006532","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"GEOGRAPHY","Score":null,"Total":0}
引用次数: 3
Abstract
origins, and meanings, questions about how people experience the landscape are never far removed from the book’s discussions. Some of the most provocative ideas come in the final three chapters, which address the ways in which the scenic landscape becomes bound up with transcendent space and the implications of this. One concern involves how the scenic landscape works to deceive. Unlike radical and Marxist cultural geographers who highlight the ways that scenic landscapes disguise labor and power relations, Olwig focuses on deception via the illusion of what is real. At the risk of oversimplifying a discussion that stretches from Heidegger to Latour, the scenic landscape deceives though the illusion of the “verity of things” (p. 153). Strongly shaped by linear perspective, the scenic landscape constructs what is real and reifies abstract space. By educating us that the root of the word diabolic means to confuse, and revisiting Christaller’s work on the spatial planning of Poland for the Nazis, Olwig explains how landscape can simultaneously convey both reactionary and modern meanings. Olwig also calls attention to reactionary modernism in the work of E.O. Wilson and the journalist George Monbiot, drawing parallels between the former’s ideas about sociobiology and the latter’s views about rewilding. A critique of modernism informs many of these essays and gives additional resonance to Olwig’s “cubist collage” metaphor. The Meanings of Landscape succeeds in its elucidation of one of cultural geography’s most contested words. In the process, the book laments the loss of the substantive landscape, particularly the meaning and values of local decision making, and offers a cautionary account of how the scenic landscape can conflate, confuse, and deceive. The Meanings of Landscape deserves a place on our bookshelves for its contributions to the geohumanities, and as well as its valuable work on the evolution of the term landscape and the history of geographic thought.
期刊介绍:
Since 1979 this lively journal has provided an international forum for scholarly research devoted to the spatial aspects of human groups, their activities, associated landscapes, and other cultural phenomena. The journal features high quality articles that are written in an accessible style. With a suite of full-length research articles, interpretive essays, special thematic issues devoted to major topics of interest, and book reviews, the Journal of Cultural Geography remains an indispensable resource both within and beyond the academic community. The journal"s audience includes the well-read general public and specialists from geography, ethnic studies, history, historic preservation.