Please use this identifier to cite or link to this item: 192.168.6.56/handle/123456789/52977
Full metadata record
DC FieldValueLanguage
dc.contributor.authorHauser, Kitty-
dc.date.accessioned2019-03-13T05:42:51Z-
dc.date.available2019-03-13T05:42:51Z-
dc.date.issued2007-
dc.identifier.isbn978–0–19–920632–2-
dc.identifier.urihttp://10.6.20.12:80/handle/123456789/52977-
dc.descriptionIn my formulation, the archaeological imagination can be regarded as a way of seeing the landscape. D. W. Meinig points out how, presented with the same portion of landscape, we will not all see the same things, or interpret what we see in the same way. Meinig distinguishes between ten such ways of seeing the landscape: ‘as Nature’; ‘as Habitat’; ‘as Artifact’; ‘as System’; ‘as Problem’; ‘as Wealth’; ‘as Ideology’; ‘as History’; ‘as Place’; and ‘as Aesthetic’.⁴ Within this taxonomy of seeing-as, the sensibility I am describing corresponds most closely to ‘landscape as History’ but with elements of ‘landscape as Place’. The viewer who sees landscape as Place, according to Meinig, considers every landscape as ‘a locality’, unique in its flavour and ‘ineffable feel’.⁵ To the viewer who sees landscape as History, ‘all that lies before his eyes is a complex cumulative record of the work of nature and man in this particular place. In its most inclusive form it sends the mind back through the written record and deep into natural history and geology.-
dc.languageenen_US
dc.language.isoenen_US
dc.publisherOxford University Pressen_US
dc.subjectPhotography, Archaeologyen_US
dc.titleShadow Sites Photography, Archaeology, and the British Landscape 1927–1955en_US
dc.typeBooken_US
Appears in Collections:Archeology and Heritage Management

Files in This Item:
File Description SizeFormat 
21.KITTY HAUSER.pdf11.01 MBAdobe PDFView/Open
Show simple item record


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.