By Matthew Johnson
Ideas of Landscape discusses the present concept and perform of panorama archaeology and provides another time table for panorama archaeology that maps extra heavily onto the confirmed empirical strengths of panorama research and has extra modern relevance.
- The first ancient overview of a serious interval in archaeology
- Takes as its concentration the so-called English panorama culture -- the ideological underpinnings of which come from English Romanticism, through the effect of the “father of panorama history”: W. G. Hoskins
- Argues that the strengths and weaknesses of panorama archaeology may be traced again to the underlying theoretical discontents of Romanticism
- Offers another schedule for panorama archaeology that maps extra heavily onto the tested empirical strengths of panorama research and has extra modern relevance
Chapter One advent (pages 1–17):
Chapter Lonely as a Cloud (pages 18–33):
Chapter 3 an excellent Pair of shoes (pages 34–69):
Chapter 4 The lack of Innocence (pages 70–118):
Chapter 5 panorama Archaeology this present day (pages 119–161):
Chapter Six The Politics of panorama (pages 162–192):
Chapter Seven end (pages 193–202):
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Additional resources for Ideas of Landscape
On the one hand, Romanticism has been part of an explicitly socialist and libertarian programme, from the Continental influence of Rousseau, embracing figures such as the early Wordsworth, the mystic and freethinker William Blake, and the radical and revolutionary Thomas Paine. In the 19th century figures such as William Hazlitt, George Crabbe, and William Cobbett formed a distinct radical and populist tradition; from there, it can be traced through the formation of the socialist Labour Party to figures such as George Orwell, and politicians such as Michael Foot and Tony Benn.
Hoskins 1955:17) I am going to argue, then, in this chapter that the intellectual project of Hoskins, and to a great extent many of his contemporaries in this formative period of landscape history and archaeology, was the Romantic project of Wordsworth and his age, translated into academic practice. It follows therefore that the intellectual project, and the field programmes and fieldwork habits that it engendered, which came to be shaped by the thinking and research of Hoskins and many of his contemporaries, shares many of the intellectual qualities – and flaws – of Romanticism.
This turning away from social reality had racist and colonial as well as nationalist overtones. It has been argued that the development of Wordsworth as a poet, and specifically his “sublime turn,” was a move away from a confrontation with the horrors of slavery and imperialism towards a fictional “imaginative freedom nationed specifically English” (Persyn 2002:1). Such a critique can be applied to other Romantic poets such as Keats, who wrote “To Autumn” at the same time as the Peterloo riots were taking place.