Landscape and Inscape between landed cultures and subcultures
Landscape and Inscape are the constructed and the construct, respectively. But how to tell them apart?
For example, Steen Høyer on the Danish landscape (in Recovering Landscape 1999):
“For the most part, Denmark is a coherent and yet diverse fabric of fields, woodlands, small towns, and gentle, glacial topography bathed in changeably soft and luminous light. The character of the landscape derives not only form natural conditions but also, and perhaps in larger measure, from a collective and organized approach to its management… The country enjoys a clarity of open order that expresses the Danish democratic and social tradition…”
Is this poetic passage descriptive of the landscape as constructed or is it recounting the cultural construct? Perhaps for landed cultures (cultures that have a nation state with definable borders) it may seem easier to examine the constructed landscape and harder to get at the cultural construct.
What of the landscapes of Australian Aborigines, Puerto Ricans in the USA, Polynesian Islanders, Inuit, African Americans, Jews, or Chinese in south-east Asia? It seems that these cultural groups have large populations that are either thinly spread through a very large geographical area, exist within the cultural matrix of other larger groups, or both. What do their landscapes look like?
Luis Aponte-Pares on Puerto Ricans in New York City (in 2000 Preserving Cultural Landscapes in America):
“… Villa Puerto Rico, a casita, or little house, in the south Bronx…is a source of pride and memory – it articulates and validates the community’s Puerto Rican identity in space. …casitas stand as cogent metaphors of place and culture.”
An Inuksuk is a stone figure traditionally used by Inuit and other indigenous people in the Arctic.
“Among many practical functions, they were employed as hunting and navigation aids, coordination points, indicators... The term Inuksuk means 'to act in the capacity of a human.' It is an extension of Inuk, meaning 'a human being'. …they appear not only on the earthly landscape but in legends and stories, in figures that emerge from the movements of fingers playing string games. These stone figures were placed on the temporal and spiritual landscapes. http://www.arcticinuitart.com/culture/inuk.html
Yiddishland in one conception refers to the former Jewish pale of settlement in pre war Europe:
“Yiddishland, a mythical and real land that has never appeared on a map of the world, but whose frontiers have forged rivers, crossed oceans and spanned continents…. alive with rabbis, professional marriage brokers, itinerant water carriers, bright-eyed yeshivot students, porters…, plus synagogues, hospitals, cemeteries…” (amazon.com review of Yiddishland by Gerard Sylvain et al.)
In another conception Yiddishland refers to
“…a virtual locus construed in terms of the use of the Yiddish language, especially, though not exclusively, in its spoken form… Yiddishland infers a highly contingent tenacity inherent in any spatial entity defined by language use…” (Jeffrey Shandler 2006 Adventures in Yiddishland)
So what do their landscapes look like? Constructed cultural signifiers within the larger environment that humanize and/or appropriate the environment and confer cultural meaning to those who thereby recognize the Landscape and read therein the Inscape.
Posted by geoffreykatz
at 5:21 PM PDT
Updated: Wednesday, 14 May 2008 11:22 AM PDT