Land is embedded in a multitude of material and cultural contexts, through which the human experience of landscape emerges. Ethnographers, with their participative methodologies, long-term co-residence, and concern with the quotidian aspects of the places where they work, are well positioned to describe landscapes in this fullest of senses. The contributors explore how landscapes become known primarily through movement and journeying rather than stasis. Working across four continents, they explain how landscapes are constituted and recollected in the stories people tell of their journeys through them, and how, in turn, these stories are embedded in landscaped forms.

Linguistic landscapes can play an important role in educating individuals beyond formal pedagogical environments. This book argues that anywhere can be a space for people to learn from displayed texts, images, and other communicated signs, and consequently a space where teachable cultural moments are created. Following language learning trajectories that 'exit through the language classroom' into city streets, public offices, museums and monuments, this volume presents innovative work demonstrating that anyone can learn from the linguistic landscape that surrounds them. Offering a bridge between theoretical research and practical application, chapters consider how we make sense of places by understanding how the landscape is used to express, claim and contest identities and ideologies. In this way, Linguistic Landscapes Beyond the Language Classroom highlights the unexpected potential of the informal settings for learning and for teachers to expand their students' intercultural experience.

This volume examines how pre-Columbian societies in the Americas envisioned their cosmos and iteratively modeled it through the creation of particular objects and places. It emphasizes that American societies did this to materialize overarching models and templates for the shape and scope of the cosmos, the working definition of cosmoscape. Noting a tendency to gloss over the ways in which ancestral Americans envisioned the cosmos as intertwined and animated, the authors examine how cosmoscapes are manifested archaeologically, in the forms of objects and physically altered landscapes. This book’s chapters, therefore, offer case studies of cosmoscapes that present themselves as forms of architecture, portable artifacts, and transformed aspects of the natural world. In doing so, it emphasizes that the creation of cosmoscapes offered a means of reconciling peoples experiences of the world with their understandings of them.

Digital soil assessments and beyond contains papers presented at the 5th Global Workshop on Digital Soil Mapping, held 10-13 April 2012 at the University of Sydney, Australia. The contributions demonstrate the latest developments in digital soil mapping as a discipline with a special focus on the use of map products to drive policy decisions partic

The volume discusses the world as it was known in the Medieval and Early Modern periods, focusing on projects concerned with mapping as a conceptual and artistic practice, with visual representations of space, and with destinations of real and fictive travel. Maps were often taken as straightforward, objective configurations. However, they expose deeply subjective frameworks with social, political, and economic significance. Travel narratives, whether illustrated or not, can address similar frameworks. Whereas travelled space is often adventurous, and speaking of hardship, strange encounters and danger, city portraits tell a tale of civilized life and civic pride. The book seeks to address the multiple ways in which maps and travel literature conceive of the world, communicate a 'Weltbild', depict space, and/or define knowledge. The volume challenges academic boundaries in the study of cartography by exploring the links between mapmaking and artistic practices. The contributions discuss individual mapmakers, authors of travelogues, mapmaking as an artistic practice, the relationship between travel literature and mapmaking, illustration in travel literature, and imagination in depictions of newly explored worlds.

"This volume is an exciting, eclectic collection of essays in honor of Kermit S. Champa, a leading scholar of impressionism and critic of twentieth-century art. The lead essay by David Carrier is followed by others from several generations of scholars and museum curators trained by Professor Champa. Together, they cover an extremely wide historical range, from the eighteenth to twenty-first centuries, and honor Professor Champa's own scholarly rigor, methodological diversity, and intellectual breadth through topics ranging from art history to cultural studies."--Jacket

Trees Beyond the Wood was written for a conference organised to celebrate twenty years of work since the first major conference on the theme of ancient trees and woodlands held in Sheffield, UK. It was held almost ten years after the landmark 2003 Working and Walking in the Footsteps of Ghosts event which started to raise issues and challenge assumptions about what is 'ancient' or 'natural' and what is meant by the terms 'wood' or 'woodland'. Since then on-going work in a range of disciplines across ecology, biology, landscape history, archaeology, forestry and nature conservation has continued the process of research and evaluation across the subject area. The collection of papers by contributors from across Europe reflects this broad range of interests and disciplines.

"Angkor, the temple and palace complex of the ancient Khmer capital in Cambodiais one of the world's most famous monuments. Hundreds of thousands oftourists from all over the globe visit Angkor Park, one of the finest UNESCO WorldHeritage Sites, every year. Since its UNESCO listing in 1992, the Angkor regionhas experienced an overwhelming mushrooming of hotels and restaurants; theinfrastructure has been hardly able to cope with the rapid growth of mass tourismand its needs. This applies to the access and use of monument sites as well. The authors of this book critically describe and analyse the heritage nominationprocesses in Cambodia, especially in the case of Angkor and the temple ofPreah Vihear on the Cambodian/Thai border. They examine the implications theUNESCO listings have had with regard to the management of Angkor Park andits inhabitants on the one hand, and to the Cambodian/Thai relationships on theother. Furthermore, they address issues of development through tourism thatUNESCO has recognised as a welcome side-effect of heritage listings. They raisethe question whether development through tourism deepens already existinginequalities rather than contributing to the promotion of the poor"--Publisher's description.

"The great purpose of landscape art is to make us at home in our own country" was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In Beyond Wilderness contributors pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked "beyond wilderness" to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession, contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montréal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trépanier (Québec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).