By Denis Cosgrove
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Geography and imaginative and prescient is a sequence of non-public reflections by means of top cultural geographer, Denis Cosgrove, at the complicated connections among seeing, imagining and representing the realm geographically. Ranging traditionally from the 16th century to the current day, the essays comprise reflections upon discovery and the function of mind's eye in giving it which means; colonisation and 16th century gardening; the shaping of yank landscapes; desert, imperial mappings and masculinity; city cartography and utopian visions; conceptions of the Pacific; the cartography of John Ruskin; and the creative grip of the Equator.
Letters are tangible language. becoming a member of jointly in never-ending mixtures to truly exhibit speech, letters exhibit our messages and inform our tales. whereas we come upon those tiny shapes hundreds of thousands of occasions an afternoon, we take without any consideration the lengthy, interesting heritage in the back of some of the most primary of human innovations -- the alphabet.
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The twenty-seventh quantity of Geographers: Biobibliographical reviews comprises essays protecting the geographical paintings and lasting value of 8 participants among the overdue 16th century and the early 20th century. The essays hide early glossy geography, cartography and astronomy, geography's connections with overdue Renaissance humanism and spiritual politics, 'armchair geography' and textual enquiry in African geography, scientific mapping and Siberian trip, human ecology within the Vidalian culture, radical political geography in twentieth-century united states, American agricultural geography and cultural-historical geography in Japan and in India.
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Extra resources for Geography and Vision: Seeing, Imagining and Representing the World (International Library of Human Geography)
GEOGRAPHY AND VISION mass and volume, composed of tangible and corruptible elements, which required a temporal process of separation from an originally undiﬀerentiated chaos. Light had to be separated from darkness, water from earth, for any semblance of balance and harmony to be established and sustained within the corruptible elemental sphere. This cosmogony too could be observed along the Nile, as a cultural landscape of bounded and diﬀerentiated spaces was annually recovered from the confused chaos of earth and water left by ﬂood, and the earth once more made productive.
42 In similar vein but with a diﬀerent reference point, Geddes’ pupil, Patrick Abercrombie, creator of the inﬂuential post-war plan for London, appealed to Chinese geomancy or feng shui as a way of grasping intrinsic environmental and spatial order. New technology, particularly powered ﬂight, which seemed to many mid-twentieth-century observers to oﬀer a wholly new vision of spatial order, required a reworking of our ‘graphic vocabulary’: To convert this new environment into a human landscape, we need more than a rational grasp of nature.
An order supposedly evident in Georgian townscape and parkland, when God’s handiwork in nature had been complemented by cultivation and building, was deemed to have been lost to the evils of urban industrialism in the succeeding century. This conservative narrative forms the structure of the most inﬂuential single twentiethcentury text on landscape in England, W. G. 40 Progressive modernists believed that electricity and scientiﬁcally advanced technologies oﬀered an opportunity to recapture the ‘natural’ order without abandoning the beneﬁts of human progress.