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Dwelling and displacement: Tim Robinson and the questions of landscape

机译:居住与流离失所:蒂姆·罗宾逊与景观问题

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A study of the work of the writer Tim Robinson, this paper also presents a series of wider arguments regarding concepts of landscape, dwelling and writing. English-born, but resident in the far west of Ireland for nearly 40 years,Tim Robinson is the author of a series of increasingly feted books about the Aran Islands and Connemara. Erudite and dense, these texts present the Aran and Connemara landscape to the reader via a heady mix of cultural and natural history, and personal reflection and speculation.Two recurrent questions arguably frame these texts: what does it mean to dwell in a landscape? and What does it mean to write about landscape? In this paper, after contextualizing the writer, Aran and Connemara, I develop a contrast between Robinson's work and some influential current understandings of landscape and dwelling, in particular the mobile and dynamic notions of dwelling developed by the anthropologist Tim Ingold.The paper then hinges on an examination of a recurrent motif in Robinson's work -'the good step'. In the image of'the good step', I argue, we witness neither a nostalgic romanticism, nor a dynamic identification with landscape, nor more widely a fusion of land and life, but rather a displacement of land and life from each other - a displacement that is originary. The good step, the step that cannot be taken, is thus less the ideal goal, and more the aporetic possibility of writing through landscape per se - a conclusion offered here for both cultural geographers and landscape scholars and writers more generally.
机译:通过对作家蒂姆·罗宾逊(Tim Robinson)的作品进行研究,本文还提出了一系列有关景观,居住和写作概念的更广泛的论据。蒂姆·罗宾逊(Tim Robinson)生于英语,但在爱尔兰的最西端居住了将近40年,他是一系列关于阿兰群岛和康尼马拉(Aran Islands)和康尼马拉(Connemara)的书籍,其著作日益丰富。这些文本既博学又浓郁,通过大量的文化和自然历史以及个人的反思和猜测向读者呈现了阿兰和康尼马拉的风景。两个经常出现的问题可能构成了这些文本:居住在风景中意味着什么?和写关于风景意味着什么?在本文中,笔者将作家阿兰(Aran)和康尼马拉(Connemara)进行情境化之后,我将鲁宾逊的作品与当前对景观和住宅的一些有影响力的理解进行了对比,特别是人类学家蒂姆·英戈尔德(Tim Ingold)提出的关于住房的流动性和动态性的概念。在考察鲁滨逊作品中反复出现的主题-“好一步”。我认为,以“好一步”为形象,我们既没有看到怀旧的浪漫主义,也没有看到对景观的动态认同,也没有看到更广泛的土地和生活的融合,而是看到土地和生活彼此之间的错位。原始的位移。因此,好的步骤是无法采取的步骤,它不是理想的目标,而是更大的通过景观本身进行书写的可能性-这是文化地理学家以及景观学者和作家更普遍地得出的结论。

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