By Yi-Fu Tuan
Geography
On the twenty fifth anniversary of its e-book, a brand new version of this foundational paintings on human geography.
In the 20 years on the grounds that its unique e-book, house and position has not just verified the self-discipline of human geography, however it has confirmed influential in such varied fields as theatre, literature, anthropology, psychology, and theology. Eminent geographer Yi-Fu Tuan considers the ways that humans believe and look at area, how they shape attachments to domestic, local, and kingdom, and the way emotions approximately house and position are plagued by the feel of time. He means that position is protection and area is freedom: we're connected to the single and lengthy for the opposite. even if he's contemplating sacred as opposed to "biased" area, legendary house and position, time in experiential area, or cultural attachments to area, Tuan's research is considerate and insightful all through.
Until retiring in 1998, Yi-Fu Tuan was once a professor of geography on the collage of Wisconsin-Madison. he's ranked one of the country's such a lot unusual cultural geographers and has earned quite a few honors, between them a Guggenheim Fellowship, the Bracken Award for panorama structure, and an award for meritorious contribution to geography from the organization of yank Geographers. He was once lately named the Lauréat d'Honneur 2000 of the overseas Geographers Union. he's the writer of many essays and books, together with Escapism (1998) and Cosmos and fireplace (Minnesota, 1999).
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Additional resources for Space and Place: The Perspective of Experience
Sample text
1 W h e n we see an animal moving through a long and devious path to reach f o o d or h o m e , it is tempting to ascribe to the animal an experience similar to what our own w o u l d be if we were to make the t r i p . In particular, it is t e m p t i n g to postulate that the animal envisages a specific goal (a wedge of cheese or a hole in the dining room wall) and that it can picture the path along which it is to travel. This is highly improbable. Even human beings, w h o are visually and mentally equipped for such acts, rarely f i n d it necessary to exercise their imagemaking powers.
Visual cues are of primary importance, but people are less dependent on imagery and o n consciously held mental maps than they perhaps realize. Warner Brown's experimental w o r k suggests that human subjects can learn to negotiate a maze by integrating a succession of tactual kinesthetic patterns. They learn a succession of movements rather than a spatial configuration o r map. 7 Major steps in Brown's experiment are as follows. The subject wears a gadget over his eyes so that he cannot see the maze but can see the upper portions of the larger environment (the room) and also perceive light and noises f r o m outside the r o o m .
The physically vital— children and athletes—enjoy a sense of spatial expansiveness little known to office-bound workers, w h o listen to tales of physical prowess with a mixture of admiration and envy. Eric Nesterinko, a hockey player w i t h the Toronto Maple Leafs, described how even as a child w i n n i n g was secondary to the joy of movement. " W h e n I was a k i d , " he recalled, " t o really move was my delight. I felt released because I could move around anybody. I was f r e e . " As a middle-aged man of thirtyeight Nesterinko retained his delight in spatial f r e e d o m .