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Whatever concerns you may have had about hiring an essay help service are things this company has aimed to address in their guarantees. You will be able to buy a paper that meets all of your assignment requirements and will always pass as your own. University of auckland italian and art history [email protected] deep south v.2 n.1 autumn, 1996 copyright c 1996 by sarah hill, all rights reserved.

This text may be used and shared in accordance with the new zealand copyright act 1962. It may be archived and redistributed in electronic form, provided that the journal is notified. This consent does not extend to other kinds of copying, such as copying for general distribution, for advertising or promotional purposes, for creating new collective works, or for resale. For such uses, written permission of the author and the notification of the journal are required. It seems to me an interesting idea: that is to say the idea that we live in the description of a place and not in the place itself, and in every vital sense we do. Wallace stevens descriptions and depictions of place are an important part of new zealand's literary and art history, but although accounts of our literary and painted landscapes are common, photography has tended to be characterised as a footnote to the history of painting, and the theoretical complications of the relationship between landscape, writing, and photography have not been thoroughly explored. Whilst there is a vast body of theoretical writing on each of these individual categories, and whilst any two of them are occasionally treated together, there has been very little written about the ways in which the three of them interrelate.

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This is perhaps because of the difficulties involved in comparing a visual and a written medium and the ways in which these are both worked out and complicated through landscape. Rather than glossing over these difficulties, this paper will confront and explore them in an attempt to come to terms with the complicated interrelationships between writing, photography and landscape, and to re examine and challenge the boundaries which traditionally separate them. Part of this project involves bringing together and examining a variety of theories and definitions of the territories of the three terms. By looking at the ways in which landscape, writing, and photography have traditionally been separated, i want to make room for an approach which recognises their similarities as well as their differences, and which seeks to appreciate their complex interactions. One of the most important elements of this is their shared status as cultural constructs, which both create and are part of an intricate network of narratives which are themselves both created and lived by the viewers/readers who help to construct them.

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It is in the context of these narrative webs that the text metaphor is most useful in attempting to understand the relationship between landscape and its written and photographic representations. Landscape is inevitably an ambiguous concept the term itself is a slippery one whose meaning slides between the actual and the virtual, the real and the represented. It means both the physical fact of inland scenery, and the representations of that scenery. Even this distinction between reality and representation comes into question in relation to landscape. Cosgrove see landscape as always and inevitably a kind of representation executed in a variety of materials and on many surfaces, be they paint on canvas or earth, stone, water, and vegetation on the ground. To them a landscape park is more palpable but no more real, nor less imaginary, than a landscape painting or poem.