Reflective Landscapes of the Anglophone Countries

Series:

Editor: Pascale Guibert
Too many landscapes have been reduced to silent commodities by being put into golden frames on top of our fireplaces. Too many landscapes have been reified by being considered as objects holding forth referents to an omnipotent looker-on, with his/her language ever ready to seize and transcribe. The articles gathered here, prolonging an international conference held at the University of Caen Basse-Normandie (France), 14-16 June 2007, set the landscapes loose again by engaging with their essentially relational quality.
What makes this volume particularly stimulating and critically innovative is this initial acknowledgement of a landscape’s reflectiveness – that is the fact that it contains unthought thought, and thus presents itself to us both passively and actively. This straightaway appraisal of the lines of flight in the seemingly static, tranquil images facing us, has opened the way to deeply critical readings bent on questioning old tracks, testing new itineraries, denying the closure of the subject. At the same time, and by way of consequence, it leads us to encounter the force in landscape. A force like an energy, an impetus, which makes it possible – if not advisable! – to still compose, read and enjoy landscapes in the XXIst century.

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Pascale Guibert is a Senior Lecturer at the Université de Caen Basse-Normandie, where she teaches and researches both on the representations of landscape, especially in poetry – from the Romantic to the contemporary period –, and on reading theories. A few among her latest publications are: a chapter on Heaney’s Wordsworth contributing to a volume of essays on Intimate Exposure: Essays on the Public/Private Divide in British Poetry since 1950, Adrian Grafe and Emily Merriman eds., MacFarland, 2010; and, with René Gallet, the edition of a volume on the manifold aspects taken by British Romanticism Copernician Revolution, Le Sujet romantique et le monde: la voie anglaise, Presses Universitaires de Caen, 2009.
Acknowledgements
Notes on Contributors
Pascale Guibert: Introduction
De-limiting
Matthieu Haumesser: From Interiority to Landscapes and Seascapes: The Metaphors of Reflection in Locke’s Essay Concerning Human Understanding
Aurélie Thiria-Meulemans: “Reflections on Reflections”: Wordsworth’s Narcissistic Landscapes
Sophie Aymes: “So the Horizon Line Vanishes”: Landscape and Abstraction in England from the 1930s to the 1950s
(In)accessibility
Claire Omhovère: Out of the Garrison and Beyond: The Rewriting of the Landscape Tradition in Contemporary Canadian Fiction
Timothy Mason: One Land, Three Landscapes: Frank Gillen’s Alice Springs
Allan Ingram: Taking the High Road: The Form, Perception and Memory of Loch Lomond
Eamonn Wall: Digging into the West: Tim Robinson’s Deep Landscapes
Continuous Variations
Jonathan Bordo: The Wilderness as Symbolic Form – Thoreau, Grünewald and the Group of Seven
Marjorie Vanbaelinghem: Landscape as Reflection in British Contemporary Art
Laurent Folliot: Early Wordsworth: Towards the Limits of the Picturesque
Fields of Being and Non-being
Robert Burden: Locations of Memory: A Psycho-Spatial Reading of Traumatic Landscape in Owen Sheers’ “Mametz Wood”
Catherine Lanone: Negotiating Colonial Contradiction: E. M. Forster’s and V. S. Naipaul’s Negative Landscapes
David Jasper: The Desert Landscape: A Sunlit Landscape Amid the Night of Nonbeing
Operators
Isabelle Alfandary: Page-Landscapes in the Theater of Gertrude Stein
Richard Pedot: Encountering the Unmappable: The Landscape in Heart of Darkness (Joseph Conrad)
Barbara Montefalcone: “Entering the Edges”: Visual and Verbal Landscapes in Robert Creeley’s Collaborations
Index