Modernising the cultural landscape
DOI:
https://doi.org/10.5617/nm.3495Abstract
In the end, landscape turned out to be a concept almost entirely devoid of content. At worst a bad painting, at best a settled area, a stretch of native soil, in which the co-operative farmers’ movement could mobilise support, or which it could protect, using arguments drawn from the cultural history of land cultivation. And then, gradually, but also instantaneously, the term passed through a developing tank, and out came a landscape that both unified and signified. At the end of the twentieth century the notion of landscape checked the divides that had deepened between tradition and modernity, among scientific specialities and among spatial practices. But it did so without the anti-modernism that in earlier periods had restrained the passion for landscape.
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