abstract:The traditional opposition between French and British landscapes—one the product of absolute monarchy, represented by Versailles; the other a marker of the ideals of a free parliament, encapsulated in the landscape garden—is well known. But how did the polarization of two national landscape types percolate down to their colonial possessions, particularly their highly exploitative landscapes? Maps, images, and the landscapes themselves indicate that the French colonial landscapes were more honest and unveiled than their British counterparts, whereas the ambivalence of Irish-Caribbean plantations to French and British narratives of landscape history may reveal an acutely paradigmatic interpretation of colonial space.
{"title":"Moving Landscapes to Saint-Domingue, Jamaica, and Ireland: Plantations, National Identity, and the Colonial Picturesque","authors":"Finola O’Kane","doi":"10.1353/hlq.2021.0036","DOIUrl":"https://doi.org/10.1353/hlq.2021.0036","url":null,"abstract":"abstract:The traditional opposition between French and British landscapes—one the product of absolute monarchy, represented by Versailles; the other a marker of the ideals of a free parliament, encapsulated in the landscape garden—is well known. But how did the polarization of two national landscape types percolate down to their colonial possessions, particularly their highly exploitative landscapes? Maps, images, and the landscapes themselves indicate that the French colonial landscapes were more honest and unveiled than their British counterparts, whereas the ambivalence of Irish-Caribbean plantations to French and British narratives of landscape history may reveal an acutely paradigmatic interpretation of colonial space.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"45 1","pages":"561 - 588"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83067197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This essay explores notions and mechanisms of garden design in colonial and early national Philadelphia, Pennsylvania, addressing whether garden creators looked beyond the immediate region to conventions of design and design practice in the Atlantic world. Although the city was among the most prosperous and populous areas of settlement in the North American colonies by the mid-eighteenth century, information about Philadelphia gardens is remarkably slim, and thus we must contend with what this paucity conveys about them. Narratives of the inevitable progress of the garden creation process toward professionally designed, suburban landscape have tended to cast either a pejorative light on other processes or led to those processes and motives for them remaining unrecognized. In order to begin to develop other narratives of garden creation, this essay addresses the role of owners and garden-makers who differ from this model, looking at the religious ideas of early estate owners, the relationship between the British elite and garden owners, and the role of the earliest American garden artists and professional plantsmen.
{"title":"\"The Last Polish of a Refined Nation\": Philadelphia and Garden Art in the Atlantic World","authors":"E. Cooperman","doi":"10.1353/hlq.2021.0035","DOIUrl":"https://doi.org/10.1353/hlq.2021.0035","url":null,"abstract":"abstract:This essay explores notions and mechanisms of garden design in colonial and early national Philadelphia, Pennsylvania, addressing whether garden creators looked beyond the immediate region to conventions of design and design practice in the Atlantic world. Although the city was among the most prosperous and populous areas of settlement in the North American colonies by the mid-eighteenth century, information about Philadelphia gardens is remarkably slim, and thus we must contend with what this paucity conveys about them. Narratives of the inevitable progress of the garden creation process toward professionally designed, suburban landscape have tended to cast either a pejorative light on other processes or led to those processes and motives for them remaining unrecognized. In order to begin to develop other narratives of garden creation, this essay addresses the role of owners and garden-makers who differ from this model, looking at the religious ideas of early estate owners, the relationship between the British elite and garden owners, and the role of the earliest American garden artists and professional plantsmen.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"1 1","pages":"541 - 560"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83081975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
• Over the last fifty years, some of the most compelling work on designed landscape on both sides of the Atlantic has focused on its symbolic power, on its ability to speak of nation and of national imaginings.1 Such histories of garden design, however, have also remained trapped within these imaginings of national landscapes and their geographies. This special issue explores the apparently “national” character of gardens in the context of their transatlantic connections during the long eighteenth century; here, we focus on shared cultures and outlooks, even as we recognize the powerful influence of local geographies and claims of national distinction. Central to this project is understanding designed landscape as constructed and contested by communities that defined themselves both by what they shared and by how they differed. Our aim is to explore the experiences of location and dislocation that might have played out on both sides of the eighteenth-century Atlantic world. By bringing together researchers who work at disciplinary boundaries, this special issue challenges understandings of the garden that continue to emphasize the borders of nation-states and national geographies. In their attention to the relation
{"title":"Introduction: Moving Landscapes in the Transatlantic World","authors":"Stephen Bending, J. Milam","doi":"10.1353/hlq.2021.0030","DOIUrl":"https://doi.org/10.1353/hlq.2021.0030","url":null,"abstract":"• Over the last fifty years, some of the most compelling work on designed landscape on both sides of the Atlantic has focused on its symbolic power, on its ability to speak of nation and of national imaginings.1 Such histories of garden design, however, have also remained trapped within these imaginings of national landscapes and their geographies. This special issue explores the apparently “national” character of gardens in the context of their transatlantic connections during the long eighteenth century; here, we focus on shared cultures and outlooks, even as we recognize the powerful influence of local geographies and claims of national distinction. Central to this project is understanding designed landscape as constructed and contested by communities that defined themselves both by what they shared and by how they differed. Our aim is to explore the experiences of location and dislocation that might have played out on both sides of the eighteenth-century Atlantic world. By bringing together researchers who work at disciplinary boundaries, this special issue challenges understandings of the garden that continue to emphasize the borders of nation-states and national geographies. In their attention to the relation","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"254 1","pages":"433 - 446"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88490774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:All landscape designs move—by pleasing people, or by enabling them to see the same materials in different ways in other places. One of the attributes of design is that it reveals the possibilities of the natural materials involved, a theme much taken up by Pierre Hadot's The Veil of Isis, here used to suggest some European models; but these models of unveiling changed when European design was adopted in America. Two Philadelphia gardenists, John Bartram and Francis Daniel Pastorius, are used to suggest the new ways in which nature was "unveiled" for a new population.
所有的景观设计都是通过取悦人们，或者让人们在其他地方以不同的方式看到同样的材料。设计的属性之一是它揭示了所涉及的自然材料的可能性，皮埃尔·哈多(Pierre Hadot)的《伊希斯的面纱》(the Veil of Isis)在这里提出了一些欧洲模式;但当欧洲设计被美国采用后，这些揭幕的模式发生了变化。两位费城的园艺家，约翰·巴特拉姆和弗朗西斯·丹尼尔·帕斯托里乌斯，被用来提出自然为新种群“揭幕”的新方式。
{"title":"Disclosure and Unveiling of Nature in European and Early American Gardens","authors":"J. Hunt","doi":"10.1353/hlq.2021.0031","DOIUrl":"https://doi.org/10.1353/hlq.2021.0031","url":null,"abstract":"abstract:All landscape designs move—by pleasing people, or by enabling them to see the same materials in different ways in other places. One of the attributes of design is that it reveals the possibilities of the natural materials involved, a theme much taken up by Pierre Hadot's The Veil of Isis, here used to suggest some European models; but these models of unveiling changed when European design was adopted in America. Two Philadelphia gardenists, John Bartram and Francis Daniel Pastorius, are used to suggest the new ways in which nature was \"unveiled\" for a new population.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"127 1","pages":"447 - 466"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83781725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Garden historians have often emphasized the divergent development of designed landscapes in America and England in the course of the eighteenth century. This essay argues that the extent of that divergence in the period before about 1760 has been exaggerated, largely as a consequence of misconceptions about the real nature of English gardens. Only after 1760 did landscape design on both sides of the Atlantic really follow different trajectories, for reasons that were essentially social and ideological in character.
{"title":"Production, Power, and the \"Natural\": Differences between English and American Gardens in the Eighteenth Century","authors":"T. Williamson","doi":"10.1353/hlq.2021.0032","DOIUrl":"https://doi.org/10.1353/hlq.2021.0032","url":null,"abstract":"abstract:Garden historians have often emphasized the divergent development of designed landscapes in America and England in the course of the eighteenth century. This essay argues that the extent of that divergence in the period before about 1760 has been exaggerated, largely as a consequence of misconceptions about the real nature of English gardens. Only after 1760 did landscape design on both sides of the Atlantic really follow different trajectories, for reasons that were essentially social and ideological in character.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"70 1","pages":"467 - 490"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78733850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Taking up the challenge of comprehending the history of gardening in the Atlantic world through the frame of "moving landscapes" demands that we confront the wake of the unfinished histories of transatlantic slavery, settler coloniality, and dispossession. Such a confrontation obliges us to reckon with the spectral violence of landscaping in the making of the Atlantic world, or what I call landscape vertigo. In understanding landscape vertigo not only as a matter of effects and affects but also as a call for praxis, I lay out four propositions for understanding landscaping as machine of necropower.
{"title":"Landscape Vertigo","authors":"Jill H. Casid","doi":"10.1353/hlq.2021.0039","DOIUrl":"https://doi.org/10.1353/hlq.2021.0039","url":null,"abstract":"abstract:Taking up the challenge of comprehending the history of gardening in the Atlantic world through the frame of \"moving landscapes\" demands that we confront the wake of the unfinished histories of transatlantic slavery, settler coloniality, and dispossession. Such a confrontation obliges us to reckon with the spectral violence of landscaping in the making of the Atlantic world, or what I call landscape vertigo. In understanding landscape vertigo not only as a matter of effects and affects but also as a call for praxis, I lay out four propositions for understanding landscaping as machine of necropower.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"58 7 1","pages":"635 - 656"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88067508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:George Washington shaped his estate at Mount Vernon to indicate his moral position as an individual and as the leader of a new nation. He subscribed to the Scottish Enlightenment idea that the lure of luxury and the vice of ostentation were at the heart of personal ruin and the downfall of nations. In his landscape, he avoided luxury, and even removed or reduced human presence, including that of enslaved people. While Washington's descriptions emphasized Mount Vernon's rustic and unpretentious character, visitor accounts indicate that Washington's gardens achieved an elegance and fine sense of style, with a modesty and sobriety fitting the leader of a virtuous republic.
{"title":"\"Without Partaking of the Follies of Luxury and Ostentation\": Virtue, Nature, and the Human Presence at Mount Vernon","authors":"J. Manca","doi":"10.1353/hlq.2021.0034","DOIUrl":"https://doi.org/10.1353/hlq.2021.0034","url":null,"abstract":"abstract:George Washington shaped his estate at Mount Vernon to indicate his moral position as an individual and as the leader of a new nation. He subscribed to the Scottish Enlightenment idea that the lure of luxury and the vice of ostentation were at the heart of personal ruin and the downfall of nations. In his landscape, he avoided luxury, and even removed or reduced human presence, including that of enslaved people. While Washington's descriptions emphasized Mount Vernon's rustic and unpretentious character, visitor accounts indicate that Washington's gardens achieved an elegance and fine sense of style, with a modesty and sobriety fitting the leader of a virtuous republic.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"26 1","pages":"517 - 540"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84526941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This essay explores the meaning of European plants in American gardens, and of American plants in French gardens, in the context of eighteenth-century French–American botanical exchange. Such exchanges, carried out in the Revolutionary Era, reveal Americans' eagerness to use plants to bring America into the intellectually and aesthetically cosmopolitan European cultural world as well as Europeans' simultaneous use of American plants to achieve colonial power in the world and to suit an aesthetic that communicated and reinforced that power. At the nexus of fashion, scientific curiosity, and geopolitics, transatlantic plants became potent vehicles of power.
{"title":"\"A Reciprocal Exchange of the Productions of Nature\": Plants and Place in France and America","authors":"Elizabeth Hyde","doi":"10.1353/hlq.2021.0037","DOIUrl":"https://doi.org/10.1353/hlq.2021.0037","url":null,"abstract":"abstract:This essay explores the meaning of European plants in American gardens, and of American plants in French gardens, in the context of eighteenth-century French–American botanical exchange. Such exchanges, carried out in the Revolutionary Era, reveal Americans' eagerness to use plants to bring America into the intellectually and aesthetically cosmopolitan European cultural world as well as Europeans' simultaneous use of American plants to achieve colonial power in the world and to suit an aesthetic that communicated and reinforced that power. At the nexus of fashion, scientific curiosity, and geopolitics, transatlantic plants became potent vehicles of power.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"2 1","pages":"589 - 611"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73592170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:The topos of the English cottage garden had become, by the end of the eighteenth century, a British ideal, its horticultural verbiage entwined in certain "traditional" georgic poems, though not those written by laborer poets. Garden fragments advanced an audience's proclivity to read georgics not merely as authentic, but unified, whereas their structure is founded on digression. The illusion of coherence is paradoxically maintained through juxtaposition and fragmentation, strategies reliant on readerly impulse to interpret georgic in terms of integration rather than assemblage; verse coheres because of grammatical tactics rather than internal logical strategy.
{"title":"Gardens Fragmented","authors":"R. Crawford","doi":"10.1353/hlq.2021.0040","DOIUrl":"https://doi.org/10.1353/hlq.2021.0040","url":null,"abstract":"abstract:The topos of the English cottage garden had become, by the end of the eighteenth century, a British ideal, its horticultural verbiage entwined in certain \"traditional\" georgic poems, though not those written by laborer poets. Garden fragments advanced an audience's proclivity to read georgics not merely as authentic, but unified, whereas their structure is founded on digression. The illusion of coherence is paradoxically maintained through juxtaposition and fragmentation, strategies reliant on readerly impulse to interpret georgic in terms of integration rather than assemblage; verse coheres because of grammatical tactics rather than internal logical strategy.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"64 1","pages":"657 - 681"},"PeriodicalIF":0.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73416825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This essay is based on an assembled corpus of anglophone works of fiction not printed during the author's lifetime. Many of these texts have been detached from their moorings of author, recipient, or even geographic origin. Emily C. Friedman discusses what we can and cannot say about manuscript fiction during the age of print—where there is consensus and an existing knowledge base, and where there are still unknowns. She focuses on some reasons why a work might not have entered print, and why an author of fiction might have considered scribal publication or circulation superior to print. She also considers the work that fan studies has done to describe a wider array of circulation methods. While technology changes, many of the challenges remain the same for writers, especially women writers.
{"title":"Manuscript Fiction and the Survival of Scribal Practices in the Age of Print","authors":"E. Friedman","doi":"10.1353/hlq.2021.0008","DOIUrl":"https://doi.org/10.1353/hlq.2021.0008","url":null,"abstract":"abstract:This essay is based on an assembled corpus of anglophone works of fiction not printed during the author's lifetime. Many of these texts have been detached from their moorings of author, recipient, or even geographic origin. Emily C. Friedman discusses what we can and cannot say about manuscript fiction during the age of print—where there is consensus and an existing knowledge base, and where there are still unknowns. She focuses on some reasons why a work might not have entered print, and why an author of fiction might have considered scribal publication or circulation superior to print. She also considers the work that fan studies has done to describe a wider array of circulation methods. While technology changes, many of the challenges remain the same for writers, especially women writers.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":"30 26 1","pages":"75 - 84"},"PeriodicalIF":0.3,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84053692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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