The American nineteenth century saw a largely rural nation confined to the Eastern Seaboard conquer a continent and spawn increasingly dense commercial metropolises. This time of unprecedented territorial and economic growth has long been thought to find its most sweeping visual equivalent in the period’s landscape paintings. But, as Matthew N. Johnston shows, the age’s defining features were just as clearly captured in, and motivated by, visual material mass-produced through innovations in printing technology. Illustrated railroad and steamboat guidebooks, tourist literature, reports of geological surveys, ethnographic studies: all of these new print vehicles brought new meanings to the interplay of time, space, and place as American continental expansion peaked. Instrumental to that project of national and industrial growth, these commercial and scientific publications introduced readers, travelers, and citizens to a changing North American landscape made more accessible by new travel routes blazed between 1825 and 1875. More fundamentally, as Johnston shows in his nuanced analysis, by simulating new temporal frameworks through their presentation of landscape, these print materials established new models of consumption and new kinds of knowledge critical to expansion. Johnston relates these sources to traditional art historical subjects—the landscapes of the Hudson River school, luminist paintings by John Kensett and William Trost Richards, Native portraits painted by George Catlin, and photographs by Timothy O’Sullivan—to show how key discourses associated with expansion shifted away from picturesque strategies pairing imagery and narrative toward entirely new forms that gave temporal structure to viewers’ experience of an emerging modernity. Revealing the crucial role of print and visual culture in shaping the nineteenth-century United States, Narrating the Landscape offers fresh insight into the landscapes Americans beheld and imagined in this formative era.

The heart of this study is a detailed narrative account of a teacher in an inner-city school. For two years, the author collaborated with an immigrant teacher from the Caribbean, studying her practice from three perspectives: place—the community and school landscape; temporality—the history of the school and current programs; and interaction—the teacher's relationship with the school, parents, and students. Current ways of examining multicultural issues focus on the analysis of broad factors affecting large groups of people. In the process, the individual is subsumed within catagories and the subtle nuances of experiences are lost. The narrative approach outlined in the book offers a new perspective on multiculturalism and research into multicultural education, one the author terms narrative multiculturalism. Narrative multiculturalism begins with experience as it is shaped by the contexts in which people live and work. It is also shaped by broader societal and global forces. In this approach, multiculturalism is viewed as a fluid process, continually evolving, changing, and transforming. Narrative multiculturalism develops an in-depth understanding of individual experiences and thereby creates an alternate perspective on multiculturalism.

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.

Landscape Citizenships, featuring work by academics from North America, Europe, and the Middle East, extends the growing body of thought and research in landscape democracy and landscape justice. Landscape, as a milieu of situated everyday practice in which people make places and places make people in an inextricable relation, is proving a powerful concept for conceiving of politics and citizenships as lived, dialogic, and emplaced. Grounded in discourses of ecological, environmental, watershed, and bioregional citizenships, this edited collection evaluates belonging through the idea of landscape as landship which describes substantive, mutually constitutive relations between people and place. With a strong international focus across 14 chapters, it delves into key topics such as marginalization, indigeneity, globalization, politics, and the environment, before finishing with an epilogue written by Kenneth R. Olwig. This volume will appeal to scholars and activists working in citizenship studies, migration, landscape studies, landscape architecture, ecocriticism, and the many disciplines which converge around these topics, from design to geography, anthropology, politics, and much more.

Pilgrimage, Landscape, and Identity: Reconstructing Sacred Geographies in Norway explores the ritual geography of a pilgrimage system that arose around medieval saints in Norway, a country now being transformed by petroleum riches, neoliberalism, migration and global warming. What it means to be Norwegian and Christian in this changing context is constantly being renegotiated. The contemporary revival of pilgrimage to the burial site of St. Olav at Nidaros Cathedral in Trondheim is one site where this negotiation takes place. St. Olav played a major role in the unification of regions of Norway into a nation united by Christian law and faith, though most contemporary pilgrims have only a passing interest in the historical background of the pilgrimage. The pilgrimage network comprises a wide variety of participants: individuals, casual groups, guided group pilgrimages, activist pilgrims raising awareness for causes such as climate change and hospice services, as well as increasing numbers of local and foreign pilgrims of various ages, government officials, pilgrimage activists, and pilgrimage priests supplied by the Church of Norway (Lutheran). Part of the study focuses on the Olavsfest, a cultural and music festival that engages the heritage of St. Olav and the Church of Norway through theater, music, lectures, and discussions, and theological and interreligious conversations. This festival offers an opportunity for creative and critical engagement with a difficult historical figure and his contested, violent heritage and constitutes one of the ways in which this pilgrimage network represents a critical Protestant tradition engaging a legacy through ritual creativity. This study maps how pilgrims, hosts, church officials, and government officials participate in reshaping narratives of landscape, sacrality, and pilgrimage as a symbol of life journey, nation, identity, Christianity, and Protestant reflections on the durability of medieval Catholic saints.

Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This volume of new work will address fundamental questions: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? How is landscape deployed in the work of such filmmakers as Greenaway, Rossellini, or Antonioni, to name just three? What are differences between the use of landscape in Western filmmaking and in the work of Middle Eastern and Asian filmmakers? How is cinematic landscape related to the idea of a national cinema and questions of identity. The first collection on the idea of landscape and film, this volume will present an impressive international cast of contributors, among them Jacques Aumont, Tom Conley, David B. Clarke, Marcus A. Doel, Peter Rist, and Antonio Costa.

Why is it that in some places around the world communities live in villages, while elsewhere people live in isolated houses scattered across the landscape? How does archaeology analyse the relationship between man and his environment? Making Sense of an Historic Landscape explores why landscapes are so varied and how the landscape archaeologist or historian can understand these differences. Local variation in the character of the countryside provides communities with an important sense of place, and this book suggests that some of these differences can be traced back to prehistory. In his discussion, Rippon makes use of a wide range of sources and techniques, including archaeological material, documentary sources, maps, field- and place-names, and the evidence contained within houses that are still lived in today, to illustrate how local and regional variations in the 'historic landscape' can be understood. Rippon uses the Blackdown Hills in southern England, which marked an important boundary in landscape character from prehistory onwards, as a specific case study to be applied as a model for other landscape areas. Even today the fields, place-names, and styles of domestic architecture are very different either side of the Blackdown Hills, and it is suggested that these differences in landscape character developed because of deep-rooted differences in the nature of society that are found right across southern England. Although focused on the more recent past, the volume also explores the medieval, Roman, and prehistoric periods.

Current neuroscience discloses that all emotional feeling originates as movement. Kinesthesia, our sixth sense, begins with movement of muscle cells and ends as emotion. Depth perception, which depends on movement, is always feeling-laden. To be expressive, art must somehow move our bodies. Studies of expressive dance demonstrate that we unconsciously model observed movements, duplicating in ourselves the feelings that generated the dancer's movements. The art of landscape creates choreography for a walk. But each of the fine arts play a role in landscape design. Here, then, is a new theory of landscape that easily extends to all the fine arts, explaining our enjoyment in landscape, as well as aesthetic enjoyment more generally.