By Matthew Johnson

Ideas of Landscape discusses the present conception and perform of panorama archaeology and gives an alternate schedule for panorama archaeology that maps extra heavily onto the proven empirical strengths of panorama examine and has extra modern relevance.

  • The first historic overview of a serious interval in archaeology
  • Takes as its concentration the so-called English panorama culture -- the ideological underpinnings of which come from English Romanticism, through the impression of the “father of panorama history”: W. G. Hoskins
  • Argues that the strengths and weaknesses of panorama archaeology will be traced again to the underlying theoretical discontents of Romanticism
  • Offers an alternate schedule for panorama archaeology that maps extra heavily onto the validated empirical strengths of panorama examine and has extra modern relevance

Content:
Chapter One advent (pages 1–17):
Chapter Lonely as a Cloud (pages 18–33):
Chapter 3 an exceptional Pair of trainers (pages 34–69):
Chapter 4 The lack of Innocence (pages 70–118):
Chapter 5 panorama Archaeology this day (pages 119–161):
Chapter Six The Politics of panorama (pages 162–192):
Chapter Seven end (pages 193–202):

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Extra resources for Ideas of Landscape

Sample text

The creation of the “individual” as a simultaneously fundamental, immediate, transcendental, and textualized presence is compressed in Wordsworth’s famous three questions about the function of the poet: “What is meant by the word Poet? What is a Poet? ” (Privateer 1991:1) What About Dorothy? A man speaking to other men . . Wordsworth, of course, took the theme and much of the imagery of his most famous poem “Daffodils” from his sister Dorothy’s journal for 15 April 1802: there was a long belt of [daffodils] along the shore .

Indeed, the distinction in Wordsworth’s mind, and that of the Romantic LONELY AS A CLOUD IOLC02 21 23/5/06, 5:08 PM 21 mind in general, between aesthetic criticism and appreciation of the natural world, and criticism and appreciation of the human world, was not always clear. This dovetailing of the natural and human, and the control of both by the all-encompassing gaze, was certainly evident in Romantic art. Contemporary painting, following the tradition of the picturesque, routinely included in the foreground of any landscape composition some small human figures, arranged in a suitably bucolic or pastoral manner, alluding back to the classical motifs discussed in the last chapter: perhaps some dairy maids and cattle, or shepherds tending their sheep.

Topography is also therefore a science of domination – confirming boundaries, securing 14 IOLC01 INTRODUCTION 14 23/5/06, 5:07 PM norms and treating questionable social conventions as unquestioned social facts. (Duncan and Ley 1993:1) If topography was complicit with a nascent science of domination and dispossession, much of 17th- and 18th-century English literature was a culture of protest against that process. Many of the classic evocations of landscape in the history of English literature were written in the context of direct opposition to landscape change.

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