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3714753486150City ? Sound ? Dream ? Memory ? World ? Water00City ? Sound ? Dream ? Memory ? World ? Water2286001885950The Department of Geography Presents: ScapesThe 9th Annual Indiana UniversityLandscape, Space, and Place ConferenceFebruary 26th - 28th, 2015 0The Department of Geography Presents: ScapesThe 9th Annual Indiana UniversityLandscape, Space, and Place ConferenceFebruary 26th - 28th, 2015 14097009525}00}-17208593345City ? Sound ? Dream ? Memory ? World ? Water 00City ? Sound ? Dream ? Memory ? World ? Water -592137-4787583 ScapesThe 9th Annual Indiana UniversityLandscape, Space, & Place ConferenceIndiana Memorial UnionFebruary 26th-28th, 2015AcknowledgementsThis conference would not have been possible without the hard work and generosity of many individuals.Thank you to the Department of Geography for continuing to provide this vital annual forum where a diverse range of scholars can present their work and exchange ideas. Special thanks to Dan Knudsen, chair of the Geography Department, for his strong ongoing support, and to Kristi Carlson, Fiscal Officer, for making the complex financial and logistical issues we encountered easier to navigate.Thank you as well to our keynote speakers, Yi-Fu Tuan, Ann Stoler, and Derek Richey, for sharing their scholarship with us and for their commitment to graduate education.Thank you to the members of the }Scapes committee – Cory Barker, Rebecca Butorac, James Gilmore, Saul Kutnicki, and Caitlin Reynolds – for their remarkable organizational efforts over the last year. Thank you to Professor James Hayes (University of Nebraska at Omaha) for coordinating faculty participation to expand this conference and for securing contributions from the Landscape Specialty Group. And thank you to all of the presenters traveling from both near and far to participate in this 9th annual conference and for adding their voices to the valuable ongoing conversations developing around issues of landscape, space, and place.Dan Johnston, Katherine Lind, and Nitasha Sharma}Scapes Co-ChairsCover image from the United States Geological Survey Orthoimagery CollectionScheduleThursday, February 26IMU Georgian Room, First Floor1:30–2:45 p.m.Roger Mullin, Dalhousie UniversityDepartment of Architecture “Sacred Landscapes of the Sámi: Nomadism / Animism / Arctic Landscapes / Finnmark”Kanika Verma, Texas State UniversityDepartment of Geography“Role of Urban and Rural Places in Geospatial Thinking of Undergraduates in the United States”Reena Dube, Indiana University of Pennsylvania Department of English“Disembedded Gaze of Embedded Stories: The Global Cityscape in Mumbai Dairies (2010) and Kahani (2012)”M. Elen Deming, University of Illinois, Urbana-ChampaignLandscape Architecture“The Structure of Feeling: Myth and Reality in the Modern Village” 3:00–3:45 p.m.Clemson University Department of History and GeographyPoster Session: “Bringing Other Clemsons to Light” Project Head: Dr. Lance HowardPresenters: Nick Bolick, Chad Lee, Marcus Mrazeck, Will Rice, Scott Shelton4:00–5:00 p.m. Student Building 017Material Demonstrationby Clemson UniversityFriday, February 27IMU State Room East, Second Floor10–11 a.m. Opening KeynoteYi-Fu Tuan, University of Wisconsin – MadisonDepartment of Geography“Space and Place: Another Look”Question & Answer Session to Follow.11 a.m.–12:00 p.m.Regional IdentitiesElizabeth Davis, Wake Forest UniversityDepartment of English“The Poet as Successor: Seamus Heaney’s ‘Follower’ and the Problem of Origins”Jacob Meeks, Rutgers UniversityComparative Literature“‘[Growing] to Manhood Among Phantoms’: Trauma, the South, and the Womb in Faulkner’s Light in August”Moussa Thiao, Indiana University – Bloomington Comparative Literature“Education Begins at Home: Coming of Age in the Information Age: A Comparative Study of Le ventre de l’Atlantique and Graceland”12 a.m.–1:30 p.m. Break for Lunch1:30–2:30 p.m.UrbanscapesMolly Briggs, University of Illinois at Urbana-ChampaignDepartment of Landscape Architecture “A Rubric for Diagnosing the Panoramic Uncanny in Landscape Design”Francine Dibacco, York UniversityCinema and Media Studies“This Must be the Place: The Image of the City and Toronto’s Urban Design Group”Mariah Smith, Indiana UniversityClassics Department“Tensions Between City and Country in the Spaces of Ancient Roman Literary Identity” 2:30–3:30 p.m.Public SpacesChelsea Wait, University of Wisconsin – Milwaukee School of Architecture “Reading and Reframing Ordinary Spaces: Interdisciplinary Studies and Performance in Milwaukee” Steve Burrows, University of Illinois at Urbana-ChampaignDepartment of Landscape Architecture“Indiana State Parks and the Exhibitionary Complex” Dan T. Johnston, Indiana UniversityDepartment of Geography“The I-69 Regional Summit: Creating a Public Private Space”3:30–4:30 p.m.History vs. Pop CultureDustin Ritchea, Indiana UniversityDepartment of Telecommunications“Realistic Fantasy and Sub-Creation: a Narratological Approach to Evaluating Storyworld Construction by Using J.R.R. Tolkien’s Middle-Earth” Beth Ciaravolo, Indiana UniversityDepartment of Geography“Spring Grove and SpongeBob: History, Memorialization, and Popular Culture in a Romantic Cemetery” Zach Vaughn, Indiana UniversitySchool of Journalism“Orientalism & The Act of Killing: A Critique of the Representations of the Indonesian Communist Purge of 1965-1966”4:30–5:30 p.m.Keynote SpeakerAnn Stoler, New School for Social ResearchWilly Brandt Distinguished University Professor of Anthropology and Historical StudiesTBD6:00–7:00 p.m. Reception at Oliver Winery DowntownHosted by Prof. James Hayes and the generosity of the Landscape Specialty GroupSaturday, February 28IMU State Room East, Second Floor10–11 a.m.Landscape and LiteratureDaniel Benyousky, Baylor UniversityDepartment of English“‘[S]trange Thanks’: Place, Displacement, and Gratitude in the Poetry of Derek Walcott” Trish Bredar, University of Colorado – Boulder Department of English“Time and Landscape in Charlotte Bront?’s Shirley”Stephen Howard, Florida State UniversityDepartment of English“‘Given Over Completely to Flowers’: Gardens as Sites of Resistance and Expression in Toni Morrison’s Paradise” 11–12 a.m.On the MarginsJennifer Lynn Jones, Indiana UniversityDepartment of Communication and Culture“Running the Gauntlet: Navigating Physical and Affective Terrains in Fat Female Embodiment” Lora Smith, Indiana UniversityDepartment of Communication and Culture“A ‘Site’ for Sore Eyes?: Exploring Performances of Place in Community”Elizabeth Morgan Stark Pysarenko, Bowling Green State Univeristy, American Culture Studies “‘Even in the Daytime it is Dark’: The Landscape of Displaced and Marginalized Bodies” 12 a.m.–1:30 p.m. Break for Lunch1:30–2:30 p.m.National ImaginariesJames N. Gilmore, Indiana University Department of Communication and Culture“The (Digital) Production of Space in Zodiac” Sophia Farmer, University of Wisconsin – Madison Department of Art History“In volo sul paese: Modern Aviation and the Italian Fascist Conception of the Idealized Landscape in the Imaginings of the Aeropittura” Jonathan Bratt, Arizona State UniversitySchool of Geographical Sciences and Urban Planning“The Coherent Landscape: Parallelism in China’s Landscape Literature” 2:30–3:30 p.m.Keynote SpeakerDerek Richey, President of Bloomington Restorations Inc., Co-Author of Bloomington: Then & Now, A Bloomington Fading Project, and Advisory Board Member at Bloomington Historic Preservation Commission“Changes in the Bloomington Landscape During the Urban Renewal Era (1950-1975): How ‘Progress’ Created a Sea of Pavement and Nearly Destroyed Downtown Bloomington” AbstractsDaniel Benyousky, Baylor UniversityDepartment of English“‘[S]trange Thanks’: Place, Displacement, and Gratitude in the Poetry of Derek Walcott”In his poetry and his prose, Derek Walcott’s work maintains an honest understanding of its place in the world, which permits him to acknowledge the difficult predicament of his people in St. Lucia, caused by the displacement and diaspora of colonialism and the subsequent reactions of revenge by some of those colonized, resulting in what he deems as further harm. Yet, his poetry works to purge itself from wounds and transgressions, transforming both into gratitude by a return to place. This sense of displacement and gratitude for re-placement is never more present than in his epic poem Omeros, where the characters of the poem embark upon pilgrimages seeking relocation and healing. In my paper, I argue that Walcott perceives gratitude as a primary expression of the gift of poetry, yet that this expression may only be fully experienced and articulated through an accurate understanding of the displaced world around him. It moreover occurs through a participation in a journey requiring purgation, a Dantean influence, which leads to healing, to a return to feeling in place, to a sense of stabilization, and ultimately, to a state of gratitude. In my paper, I will trace this movement from displacement to gratitude and a return to place in Walcott’s epic poem Omeros. The primary theoretical lens for my paper will be Edward Casey’s Getting Back into Place to frame Walcott’s relocation from displacement back into place. And since displacement and a return to place frequently lead to a sense of gratitude in Walcott’s work, I will also utilize Lewis Hyde’s The Gift, which will provide an illuminating theoretical framework through which to understand the expression of gratitude for the gift of poetry. I ultimately claim that for Walcott, acting grateful for the gift of poetry makes him grateful, which is equally true for the reader of their poetry. This transformative gratitude allows Walcott to recover a sense of place within a world that has experienced much displacement.Jonathan Bratt, Arizona State UniversitySchool of Geographical Sciences and Urban Planning“The Coherent Landscape: Parallelism in China’s Landscape Literature”Parallel prose (pianwen) has been a key syntactic element of Chinese-language landscape literature for nearly two millennia. Such parallel prose appears as successions of three- to seven-character phrases, with each phrase depicting a unique element of an observed or imagined landscape. While parallelism was an important element of China’s writing and thought as early as in the First Millennium BCE, it emerged as a prominent feature of landscape description in the poetry of the Six Dynasties period (220-589 CE), particularly in the poetry of Xie Lingyun. It would eventually be incorporated into the works of travel writers, and continues to appear frequently in contemporary Chinese-language tourism literature. Landscape as expressed in the mode of parallel prose displays a dual and even contradictory identity. On one hand, the poet or writer records observations as a series of distinct scenes, each unique and different from the other; on the other hand, the scenes taken together constitute a totality that is observed, read, and imagined continuously. Both framing and spatio-temporal continuity are built not only into the literature’s content but also into the very structure of the text. In this paper, I discuss possible avenues for analyzing and explicating the representation of landscape through parallelism, arguing that concepts from scholarship on Chinese philosophy, particularly Peterson’s notion of coherence, offer the potential to resolve tension between sameness and difference and between combination and connection within China’s landscape literature.Trish Bredar, University of Colorado BoulderDepartment of English“Time and Landscape in Charlotte Bront?’s Shirley” Charlotte Bront?’s decision to place her most political novel, Shirley, in a historical setting has long been a source for critical debate. The ostensible goal of Bront?’s novel is to address both the current socio-economic conflicts between the upper and working classes and the “Woman question”– that is, the question of expanding women’s rights. Given these objectives, the fact that the novel is set during the failed, decade-old Luddite rebellion rather than the much more current Chartist movement has often struck scholars as problematic. These issues can be resolved, at least in part, by exploring the intersection between Landscape and Time. Shirley is set amid a feminized landscape that is destined for destruction at the hands of a male manufacturer’s dreams of progress. Future and past become further separated as our two heroines construct their own escape from the confines of a harsh reality by envisioning an ancient, mythologized natural space. Only here, separated from Bront?’s present day by a double-temporal gulf, in a fictionalized landscape, can our two heroines find refuge. This gulf between past and present, myth and reality, becomes a pattern throughout the novel. As Bront? works through this spatial and temporal shift, she creates a bleak but potent schema that transcends the framework of the novel. My paper will elucidate the power behind Bront?’s choice of setting, with particular attention to its ramifications for how Shirley may or may not be read as a subversive text.Molly Briggs, University of Illinois at Urbana-Champaign Department of Landscape Architecture“A Rubric for Diagnosing the Panoramic Uncanny in Landscape Design” Late-nineteenth century American landscape park design has been thoroughly described in terms of picturesque and pastoral sensibilities, but that account relegates places like Chicago’s West Parks*, which do not conform to the one-designer, monumental-scale model, to secondary or tertiary significance. My in-progress dissertation diagnoses the period design of these parks as iterations of the “panoramic uncanny” – a simultaneously painterly, spatialized, and embodied way of seeing, feeling, and understanding place, motion, distance, and representation in a world that seemed to be shrinking in space and time. This is elucidated by comparing the parks’ built forms with the structure, experience, and theory of the round, painted panorama, popular in Chicago during the period the parks were constructed. The present-day conditions of Chicago’s historic inland parks, in neighborhoods challenged by familiar urban problems, are the outgrowth of precisely those transformative material and perceptual flows that their designs embodied. This talk surveys my thesis, with special emphasis on research methods. I use an eight-point rubric to compare the visual and haptic effects of the panorama with the West Parks: 1. Scale, 2. Circularity, 3. Containment, 4. Concealment, Blocking, and Invisibility, 5. Tourism and Virtual Travel, 6. Transportation and Transportability, 7. Changes in the Experience of Motion, and 8. Temporal and Spatial Transformation. In the talk I interpret this rubric, explain how it is applied in archival and field research, show how findings emerge through graphic synthesis, and briefly discuss the theoretical implications of those findings.*Humboldt, Garfield, Douglas, and ColumbusSteve Burrows, University of Illinois at Urbana-ChampaignDepartment of Landscape Architecture “Indiana State Parks and the Exhibitionary Complex” In its broadest sense, the Indiana State Park system grew out of a set of Progressive Era environmental conservation initiatives aimed at mediating the physical changes to the American landscape brought about by the process of industrialization. ?This paper, however, is primarily concerned with the role of Indiana’s state parks as part of a more localized cultural narrative between 1916—the year the first Indiana state park was designated—and the end of World War II. ?It speculates on the role of the Hoosier landscape in the creation and performance of institutional authority in Indiana during the first half of the 20th century. ?Through an examination of official publications of the Indiana Department of Conservation and its affiliated Bureau of Education, as well as selected newspapers, travel guides, and contemporary ephemera, I position the parks as material signs of what sociologist Tony Bennett referred to as the “exhibitionary complex,” and suggest that the parks were a crucial piece of architecture to support a developing state-wide disciplinary apparatus intent not only on educating and shaping the Hoosier citizenry, but also shaping the Hoosier landscape itself.Beth Ciaravolo, Indiana UniversityDepartment of Geography“Spring Grove and SpongeBob: History, Memorialization, and Popular Culture in a Romantic Cemetery” Spring Grove Cemetery and Arboretum is a site of historical significance in Cincinnati, Ohio. Created by a charter in 1845, at the peak of the Romantic movement, it is the final resting place of many distinguished individuals, including members of the armed forces going back to the Civil War. According to the cemetery’s website, its distinguishing feature was and continues to be its then-unusual “lawn plan,” which emphasized “developing the landscape to harmonize with nature.” This particular aesthetic is the reason that Spring Grove now claims itself to be regarded by experts as “the major example of the American rural cemetery.” But as an active cemetery, Spring Grove can only maintain this image through perpetual vigilance and careful policing of each change made to its landscape—a policy which led to controversy in October of 2013, when the family of a deceased Army sergeant tried to memorialize their loved one with a headstone in the shape of her favorite cartoon character, SpongeBob Squarepants. The cemetery ordered the memorial to be removed, stating that “we must constantly balance the needs of families who have just suffered a loss with the thousands of families who have entrusted us in the past.” Using this case as a point of departure, this paper will discuss the ideologies and power structures which continually conflict in the creation and re-creation of a place like Spring Grove Cemetery and Arboretum, and how the cemetery negotiates the relationship between its Romantic image and its inherent purpose of memorializing the dead.Elizabeth Davis, Wake Forest UniversityDepartment of English“The Poet as Successor: Seamus Heaney’s ‘Follower’ and the Problem of Origins”Seamus Heaney’s often-autobiographical poetry consistently expresses anxiety about his separation from the traditions of his Irish past, a struggle that he symbolically embeds in the landscape of Ireland. I will argue that the poet-speaker of Heaney’s “Follower” problematizes his literary attempts to “follow” his Irish heritage by chronicling memories of his father, whose technical agricultural skill is intimately tied to the Irish landscape. The speaker’s language is inspired by this agricultural, familial, and national heritage; however, due to his artistic removal from the physical reality of Ireland with which his family has worked, he is anxious about his relationship to his background. I will trace the speaker’s resulting ambivalence in simultaneously appreciating and wishing to shun the inexorable nature of his origins. His privilege as an educated poet allows him a linguistic means of accessing the cultural space that his ancestors have inhabited, therefore providing him with self-realization and self-individuation vis-à-vis his Irish traditions. However, the poem also demonstrates an ironic self-awareness of the ways in which it mediates its symbolic landscape, displacing the farm work the poet-speaker describes by representing it through language. Thus, the speaker’s linguistic facilities become both the source and the result of his ambivalence, and his view of his rural childhood reflects a sense of cyclical displacement integral to contemporary Irish poetry.M. Elen Deming, University of Illinois at Urbana-Champaign Landscape Architecture“The Structure of Feeling: Myth and Reality in the Modern Village”Urban geographers and cultural critics are keen observers of the imprint of social anxiety, myth, and consumption on contemporary urban forms. With the exception of portions of J.B. Jackson’s work, however, landscape architects have contributed relatively little to a critical understanding of the impact of social myths and anxiety on contemporary urban form. One remarkably durable and elastic hypothesis of myth is the trope of the ideal village. This study examines the village as a popular formula for encouraging conceptual (design) and commercial (market) consumption, and as a palliative for contemporary social anxieties. While villages used to be understood as an alternative to and/or critique of the problems of the industrial metropolis, modern villages were also promoted by the Garden Cities movement, Regional Planning Association of America, postwar urban renewal, and neo-traditional town planning. Historically, the term “village” conjures powerful myths of domesticity, organic community, and sustainability. More recently, incarnations of the traditional village (hometown, town center, main street), are invoked to sell housing and commercial product (retirement communities, shopping centers, urban neighborhoods). Commercial rhetoric associated with the contemporary village generally uses those myths to soothe social anxieties and stimulate consumption. This study presents a rapid survey of a range of prototypical villages of the twentieth century in order to explore the mythical utility of the village concept in contemporary culture. Various dimensions of village-ness are considered as: (a) political structure; (b) social ecology; (c) geographic lexicon; (d) module of social capital; (e) figure of anti-urbanism; (f) rhetorical palliative; and (g) commercial trope.Francine Dibacco, York UniversityCinema and Media Studies“This Must Be the Place: The Image of the City and Toronto’s Urban Design Group”My research over the past year has focused on the remnants of place at a time when mass gentrification has turned North American urban centres into almost identical sites of commerce and middle-class taste. My paper aims to answer the questions: how does “our city” inspire us when “our city” starts to look like “all cities”? Is it possible to visualize the ramifications of this loss of the unique city? To see how residents interact with what Michael Sorkin terms an “ageographical city,” a city without place attached to it? My object of study is Toronto?s Urban Design Group and specifically their use of street photography from roughly 1975-1995. The UDG is a faction of the city-planning department concerned with creating “beautiful, vibrant, safe and inclusive public places.” Interestingly, it was during one of the city?s greatest building booms that they began to use street photography, which I assume allowed them to document social conditions, facilitate the implementation of urban design criteria, and enhance the character of public space in Toronto. I say “assume” because the context in which these photographs were used has been obscured. The photographs were given to the City of Toronto Archives as a collection of individual slides, lacking any relating text that would suggest their function. I will attempt to analyze these photographs and the UDG?s agenda using the ideas of Gy?rgy Kepes and Kevin Lynch found in their seminal work, The Image of the City (1960).Reena Dube, Indiana University of PennsylvaniaDepartment of English“Disembedded Gaze of ?Embedded Stories: The Global Cityscape in Mumbai Dairies (2010) and Kahani (2012)” My presentation is about the cinematic “remapping” of the cityscape and its emergence as character as a means of registering the changed metropolitan city in globalism. The changes that have been wrought in the urban experience of space, time, identity, locality, and subjective imaginary have resulted in the increasing appearance of the global cityscape virtually as a character in film. In this presentation I explore the coincidence of the disembedded gaze on the global cityscape of Mumbai and Kolkata with the alienated subjectivity of the non-resident, non-native subject. Two recent Indian films, Kiran Rao's Mumbai Diaries (2010) and Sujoy Ghosh's Kahaani (2012) present the remapping of the local/global dynamic in the metropolis cityscapes of Mumbai and ?Kolkata. This cinematic remapping is constituted, as might be expected, around a viewing. The disembedded gaze, as distinct from Macherey’s depopulating gaze in colonialism, or Mulvey’s feminist foregrounding of the masculine gaze, and more recently Urry’s isolated, inauthentic, and objectifying tourist gaze, articulates a new cinematic grammar, participating as it does in the tension, between the local and the glocal, where the old cityscape is reproduced for the consumption of new urban imaginaries, changing urban values, new distinctions between private and public spaces, the poor and the elite and the non-resident, the ghetto and the highrise, and most importantly between the Indian citizen and the Non Resident Indian. I will attempt to suggest how the questions of sexuality, gender, class, politics, and nationality intersect with questions of genre and of the evolving cinematic grammar of cityscape films. Sophia Farmer, University of Wisconsin–MadisonDepartment of Art History“In volo sul paese: Modern Aviation and the Italian Fascist Conception of the Idealized Landscape in the Imaginings of the Aeropittura” Although Futurism is often regarded as a movement that concluded with World War One in 1918, recent scholarship recognizes that there was a ‘Second Futurism’ that followed the Great War and subsequently became associated with Fascism. Despite the death and abandonment of many of its founding members, Futurism continued to be a prolific movement well into the 1940s. One sub-movement within this second iteration, whose young members were interested in the ideology of the Fascist regime, was the Aeropittura. Their imagery, which focused on the airplane and the view of the Italian landscape from an aerial perspective, reflects the Fascist rhetoric that exalted a cultivated landscape. This paper seeks to address the shared conception of nature between Fascism and Futurism through an examination of Aeropittura paintings from the 1930s, when most of the nature projects of the regime were instituted. During this period, renovation projects like those of the Pontine Marshes were documented through literature, photography, film and newsreels. At the same time, the Futurist painters of the second decade of Fascism created vibrant works to capture an idealized version of the Italian landscape. While some scholars have considered the documentary and filmic media of this era in conjunction with the Fascist conception of nature, the connection between this topic and painting has remained largely unexamined. I argue that rather than depicting the literal Italian countryside as viewed from an airplane, the Aeropittori painted idealized imaginings that portrayed the fantasy of a conquered Italian land, as put forth by Mussolini and his regime. Moreover, the paintings of Aeropittura provide a visual representation of Fascist nature rhetoric that moves beyond photographic and filmic documentation. In their paintings, the Aeropittori create poetic and aesthetically engaging symbols of a national identity associated with the transformation of wilderness into a bountifully productive agricultural landscape.James N. Gilmore, Indiana UniversityDepartment of Communication and Culture“The (Digital) Production of Space in Zodiac” Arguing that studies of digital visual effects have overemphasized the spectacular, this presentation develops the term “digital banality” to describe the increasingly common experience of digital effects as taken-for-granted elements of the cinematic frame. While “banality” has not often been the focus of media studies, it has particular ramifications for how we envision the intersections of mediated and spatial experiences in everyday life. Focusing on the representation and recreation of historical space—San Francisco at the end of the 1960s—in Zodiac (David Fincher, 2007), this presentation demonstrates how digital effects permit a more seamless and dynamic production of space while continuing established strategies of effects work. It further explores how digital paratexts—from DVD audio commentaries to studio-sponsored YouTube features—reinstate the spectacular into these banal elements by explicating their presence. This presentation pushes for digital media studies to be attentive to the many ways digital effects work impacts our experience and understanding of cinema and popular culture. While this presentation is ostensibly built on a media studies framework, it addresses the representations and experiences of historical space in popular culture, with an emphasis on how digital technologies construct space. To that end, I situate this presentation at the intersections of technological and spatial analysis to develop an aesthetic strategy—“digital banality”—for the study of digital visual effects and their production of space.Lance Howard, Nick Bolick, Chad Lee, Marcus Mrazeck, Will Rice, Scott Shelton, Clemson University Department of History and GeographyPoster Session: “Bringing Other Clemsons to Light” As an 1890 land grant institution sited on the Fort Hill plantation of Thomas Green Clemson, inherited from John C Calhoun after being cleared of Cherokees in the late 18th?Century, Clemson University has a long and varied relationship with the land of its campus.? The campus landscape today is an eclectic blend of aesthetic plantings adorning an eclectic assortment of architecture.? What remains of historical landscapes include the original Fort Hill house, a cemetery, some of the river bottomlands once farmed by the Cherokees and Calhoun and Clemson’s slaves, and a few relict fragments of forest here and there.? In order to maintain its ranking as a Top-20 National Public University, the unbuilt spaces of Clemson’s campus are under constant demand for development, and as the population of the university has become more diverse, ethnically, politically, sexually, etc., the appropriateness of some of the frozen historical landscapes are being called into question.? A group of Clemson faculty and students have been examining these issues from several perspectives.? Based on the premise that a landscape is an ever-evolving interactive interrelationship among the land and its diverse group of users and agents we (a group of 5-6 students and me) will present with posters and/or other media some of the landscape issues that have arisen recently and some activities we have developed to raise awareness to the Clemson campus as a more inclusive landscape of engagement. Stephen Howard, Florida State UniversityDepartment of English“‘Given Over Completely to Flowers’: Gardens as Sites of Resistance and Expression in Toni Morrison’s Paradise”Most readings of Toni Morrison’s seventh novel, Paradise, attempt to locate moments in the text when feminine agency surfaces amidst the patriarchal oppression of Ruby, the setting of the novel. Such readings include a focus on participation in spectrality and recognizing the formations of feminine coalitions that embrace equality. Although these readings explicate important aspects of power in Morrison’s work, they have yet to address the importance of garden spaces to developments of feminine agency. In order to fill this critical gap, I examine the social and political implications of garden spaces in Paradise, which act as sites of feminine resistance and expression. My analysis builds off Alice Walker’s landmark essay, “In Search of Our Mothers’ Gardens,” which serves as a reference point for understanding the importance of garden spaces to the African American literary tradition and to Morrison’s work, specifically. I suggest that garden spaces in Paradise resist the oppressive patriarchal structures of Ruby through their inclusivity and encouragement of feminine expression. Additionally, I draw on the theories of Patricia Hill Collins and bell hooks to argue that gardens extend the domestic space and function as safe spaces for women. Finally, because Walker’s piece emphasizes a garden’s influence on the creativity and identity of future generations, the garden trope reinforces Morrison’s linguistic purpose in Paradise; the novel itself functions as a garden, for it attempts to construct a language free of racially-coded discourse so that future African American women may write in a novelistic tradition “clear of racial detritus” (Morrison’s essay, “Home,” p. 9).Dan T. Johnston, Indiana UniversityDepartment of Geography“The I-69 Regional Summit: A Public Private Space” “All the world's a stage, and all the men and women merely players,” says the Bard. All our public interactions are a constant performance that happen in what can be called a ‘front region’. Socio-linguist Erving Goffman describes a ‘back-region’ as somewhere that “suppressed facts make an appearance”, and a place where “the performer can relax; he can drop his front, forgo speaking his lines, and step out of character” (1959, 112). Conferences, conventions, summits, and other events that are highly publicised and greatly attended would normally be considered public spaces. I argue here that through the establishment of symbolic boundaries, and through institutional power, such a gathering can be set up to such a level that it becomes an exclusive, familiar place that can act as a ‘back region’ for people of a similar mindset. The national Interstate 69 project originated in Indiana, and has arguably become the largest public infrastructure project in the country. In the 25 years since its inception, it has had constant opposition. Throughout the planning, production, and construction of I-69, Bloomington, IN has been at the forefront of the controversy as the center of this collective dissenting voice. It is meaningful, then, that in October 2014, the Bloomington Chamber of Commerce chose to host a Regional Summit dedicated to I-69. This paper is a discourse study of a pre-Summit planning meeting. The focus is on how the planning committee members framed the Summit and the opposition movement through their discourse and use of institutional tactics. Their explicit and implicit goals were to restrict access to the Summit in order to maintain their power over the message, and to create a space where project proponents could conduct their business, in what essentially became a backroom, without attendees having to put on a performance. The organizers created a private space within a very public context, thus a public private space.Jennifer Lynn Jones, Indiana UniversityDepartment of Communication and Culture“Running the Gauntlet: Navigating Physical and Affective Terrains in Fat Female Embodiment” Being fat and female in public is a radically ambivalent experience. Subjects often experience a sensation of being both invisible and visible: invisible to the common courtesies typically shared where people cross paths, visible to various kinds of harassment often hurled at such intersections instead. Exercise can intensify this experience: since it defies definitions of fatness as slothful and gluttonous, and of femininity as passive and domestic, working out in public can activate disciplinary mechanisms meant to put the offending subject back in their allegedly inactive place. Endurance thus becomes not only physical but also affective, a bolstering of body and mind needed to overcome the range of obstacles in the fat female subject’s path. What’s more, such obstacles can come from the self as much as others. Many fat activists advocate body acceptance as a way to deal with such obstructive thoughts, but this approach alone overlooks the complex ways that self image functions through interactions with others. It also privileges the intellectual over the emotional, and constructs a teleological conception of self image, as if it were a static entity to be achieved through mental discipline, rather than a dynamic experience emerging through the evolution of time and encounters in space. This presentation will explore fat, female embodiment through the experience of public exercise. It will be an autoethnographic meditation, incorporating analysis of the author’s personal experience of exercising in public through a foundation of both affect theory and fat studies. Terrain will thus function both literally and figuratively, as the ground covered through both exercise and examination of that experience. The presentation will highlight the challenges and complexities of this experience, shaping both the body and the mind through interchanges between self and other, interior and exterior, thought and action. This investigation is important to refute both popular perceptions of fat female embodiment specifically and misconceptions about the evolution of self image generally.Jacob Meeks, Rutgers UniversityComparative Literature“‘[Growing] to Manhood Among Phantoms’: Trauma, the South, and the Womb in Faulkner’s Light in August”In this paper I intend to explore how, in William Faulkner’s Light in August, the experiences of pregnancy, infertility, and childbirth act as metaphors for belated signification and recuperation of meaning from traumatic experiences. In particular, this paper will examine the ways in which the bodies of Lena Grove and Gail Hightower’s mother resemble the traumas of Southern history. Reading Light in August alongside the work of Walter Benjamin and his theoretical progeny reveals how, in Faulkner, the relationship between the Southern landscape and the womb is part of a discourse on the nature of trauma, death, and meaning in post-bellum South. Because she starved during the last years of the American Civil War, Gail Hightower’s mother was unable to produce children for two decades following the war. Characterizations of her infertility closely resemble the Southern landscape that haunted Confederate soldiers returning home from combat. Faulkner also replicates the tragedy of Lena Grove, wandering through the South looking for the man who impregnated her and abandoned her, by reproducing her story in the ruins of the “New South” Industrial wasteland which “takes” the equipment and men from the community and leaves traces behind. My contention is that the womb in Light in August conveys that “the real problem of the trauma will be that of the second generation […] the post-narrator wants to establish the transmissibility of [their] experience, and to transmit the happening that cannot be told – to transmit the war, the corpse, the suicide – to [their] son[s]” (Felman 47).Roger Mullin, Dalhousie UniversityDepartment of Architecture“Sacred Landscapes of the Sámi: Nomadism / Animism / Arctic Landscapes / Finnmark” In 2013 I completed the Ivar Jaks artist residency in the Arctic area of Norway known as Sápmi. I was able to travel through a vast and sparsely populated landscape known by the indigenous Sámi people as a land of eight seasons. ?The Sámi people have inhabited Arctic Europe for over 5000 years and they believe that people belong to the landscape instead of the largely held opposite belief. Like many indigenous groups their lives, language and culture have been negatively affected through pressures (applied by the governments of Sweden, Finland, and Norway) to adopt foreign language and religious beliefs. Their lands have also been subject to resource extraction and use that conflicts with reindeer husbandry. My mission was to visit, photograph and complete ‘en-plein-air’ drawings and sculptural works that interpreted traditional Sámi beliefs in animism and the supernatural as they relate to landscape. I would like to present these completed works and other research that illustrates their deep and important cultural relationship to place.Elizabeth Morgan Stark Pysarenko, Bowling Green State UniversityAmerican Culture Studies“‘Even in the Daytime it is Dark’: The Landscape of Displaced and Marginalized Bodies”Located beneath Riverside Park in-between 72nd and 125th Streets in New York City is a transit tunnel maintained by Amtrak. Although it is used to transport passenger trains departing from Pennsylvania Station, this underground space, known as the Freedom Tunnel, was once a haven for marginalized individuals seeking alternatives to the city’s shelter system. During the 1980s, groups of men settled in the tunnel to negotiate the decade’s socioeconomic challenges related to unemployment, displacement from affordable housing, deinstitutionalization and substandard social assistance. In 1990, following Amtrak’s decision to convert the Freedom Tunnel into an active rail line, officials discovered more than 100 people inhabiting crude homes built from cinderblocks and plywood embedded throughout the tunnel’s alcoves. Save for a few angles of light radiating from ventilation shafts, the residents were enveloped by darkness as no electricity or plumbing was available. In the documentary Dark Days, Greg, a former resident of the Freedom Tunnel, explains one’s ability to adapt to this harsh environment with the statement: “You’d be surprised what the human mind and human body can adjust to.” “‘Even in the Daytime it is Dark’: The Landscape of Displaced and Marginalized Bodies” investigates former residents’ cultural, social and spatial experiences through their appropriation, as well as reconceptualization, of the defunct tunnel to reconcile dislocation and, more broadly, deficiencies in affordable spaces. Images taken during my explorations of the Freedom Tunnel supplement this presentation to reveal past residents’ relationships with the site as evinced by their discarded items which still remain strewn throughout the underground landscape.Derek Richey, President of Bloomington Restorations Inc., Co-Author of Bloomington: Then & Now, A Bloomington Fading Project, and Advisory Board Member at Bloomington Historic Preservation Commission“Changes in the Bloomington Landscape During the Urban Renewal Era (1950-1975): How ‘Progress’ Created a Sea of Pavement and Nearly Destroyed Downtown Bloomington” Like many cities and towns throughout the United States, Bloomington, Indiana experienced dramatic changes to it's landscape during the Urban Renewal Era. While Bloomington experienced little change because of federal urban renewal initiatives, it was irrevocably altered by the "demolish and develop" mentality that became pervasive during the urban renewal era. From 1950-1975, Bloomington lost nearly 50% of its horse and buggy era homes and buildings along major roads like Walnut, College and Kirkwood--and in some cases, we lost whole neighborhoods. The repercussions of the mass demolition would lead to major changes in how Bloomingtonians lived, shopped, and interacted--changes that nearly turned the square into a ghost town by the late 1970s, and left the town with countless empty, paved lots for nearly 50 years.?In this presentation, the author of "Bloomington Then and Now" outlines the evolution of local demolition from 1950-1975 using old photographs, aerial footage, and historic maps. Using newspaper accounts from the era, he'll also explain the thinking that encouraged this demolition; and how disdain for horse and buggy era structures nearly led to the demolition of the county courthouse and portions of the square.Dustin Ritchea, Indiana UniversityDepartment of Telecommunications“Realistic Fantasy and Sub-Creation: A Narratological Approach to Evaluating Storyworld Construction by Using J.R.R. Tolkien’s Middle-Earth” This essay examines J.R.R. Tolkien’s term “sub-creation,” or myth creation and the power to create artificial storyworlds, and how it predates the contemporary view of narratology. Each of the terms has very similar thought processes. This essay examines how Tolkien’s fantasy builds off of the foundation of narratology and even helps create certain narrative dynamics before contemporary narratology defined the terms. Relying primarily on elements of narrative dynamics and Tolkien’s insights on art and imagination, as well as the creation of artificial worlds, I have developed a set of criteria to showcase Tolkien’s techniques: 1) Space and temporality within the storyworld can be mapped. 2) ?The storyworld’s construction has a witness (nested frames and an implied author). ?3) The textual and textual reference world of the implied storyworld draws reference from, or allows readers to interact with, the actual world. Using these criteria, I evaluate Tolkien’s Middle-Earth in an effort to give equity for Tolkien’s advancement of Vladimir Propp and Tzvetan Todorov’s original work on narratology. As Tolkien would say, it takes the “craft of the elves” to “sub-create,” maybe it takes the same to study narratives.Lora Smith, Indiana UniversityDepartment of Communication and Culture“A ‘Site’ for Sore Eyes?: Exploring Performances of Place in Community”The Heidelberg Project is an open-air art environment situated in the heart of the dilapidated homes in an east side neighborhood of Detroit, Michigan. ?Specifically, it addresses the brokenness of a community; however, the art installations are a clear representation of dissent since they “speak” messages of humor, joy, and life. The art installation becomes a persuasive artifact because “it provides a platform for discussions on various levels with people from all walks of life. It challenges our beliefs about art, life, people, society, community, economics, class, and religion (Guyton, 2007)…” This shows the power in landscape performance communication; art that can be considered an “eye-sore” by local citizens has the same citizens engaging in conversations dealing with the shared understandings of how to improve Detroit.Mariah Smith, Indiana UniversityClassics Department“Tensions Between City and Country in the Spaces of Ancient Roman Literary Identity” Pliny the Younger and Martial both lived, worked, and wrote in the city of Rome during the 1st century CE. ?Pliny is known for his personal letters; Martial published satiric poems. Scholars have documented how topography and maps are incorporated into their works, particularly the layout of Rome for Martial, and the design of villas for Pliny. ?Little attention has been paid, however, to the ways in which these two authors utilize space as a method of artistic identification and as an expression of social status. ?Although both men were authors at the same time, their works reflect the values of their respective social positions. ?Pliny was a rich elite man, a native Italian, and a senator who advised the emperor and wrote as a hobby while Martial was lower status Spanish immigrant and an independent poet who used his poetry as a way of addressing social inequities. Despite their different social positions, Pliny and Martial express similar attitudes towards artistic space and the tensions between city and country. ?They both claim that it is impossible to write within the city of Rome and extoll the virtues of the country as an inspirational, productive environment. ?The realities of writing in the country, however, are dependent upon social rank and responsibilities. ?While they cannot write in Rome, their works are aimed at an audience within the city. ?I explore the ways in which this tension between the spaces of city and country reflects artistic identity and reinforces or circumvents social status.Moussa Thiao, Indiana UniversityComparative Literature“Education Begins at Home: Coming of Age in the Information Age: A Comparative Study of Le ventre de l’Atlantique and Graceland” This paper examines the relation between media, migration, and subjectivity in ?Le Ventre de l’Atlantique (2003) by Fatou Diome, a Senegalese novelist; and Graceland (2004) by Kris Abani, a Nigerian novelist and playwright. In other words, the paper explores the collapse of collective identities and the formation of subjectivities in a context of wide exposure to information technologies and foreign popular culture forms. Both novels examine among other things, the toll globalization – with the subsequent spread of mass media and popular culture – is taking on African youths today. Drawing on Mary Louise Pratt’s concept of “contact zone”, which she defines as “social spaces where cultures meet, clash, and grapple with each other” (575), the paper seeks to illuminate the way in which these two stories extend this concept by introducing a new platform for cultural encounters and interactions. This paper is part of a dissertation project entitled “Coming of Age in an Era of Mass Mediated Multiculturalism” which looks at ways in which young protagonists in African and Caribbean Bildungsromane develop awareness of the larger world due to access to information technologies and increasing connectedness. My argument is that such consciousness represents a challenge to collective identity as these adolescents find new ways of socializing within and across borders. And such social connectedness contributes to the emergence of new a selfhood marked by complex cultural attachments and allegiances.Zach Vaughn, Indiana UniversitySchool of Journalism“Orientalism & The Act of Killing: A Critique of the Representations of the Indonesian Communist Purge of 1965-1966”Released in 2012 to widespread critical acclaim, The Act of Killing questions Indonesian state-sponsored impunity for the mass executions of ethnic Chinese under dubious claims of their involvement in the spread of Communism. Despite the documentary’s exploration of such a theme, Joshua Oppenheimer constructs an Orientalist narrative that territorializes the killings as a hyper-localized event rather than as the product of geopolitical contestation supported by American capitalistic interests. This is concerning for a number of reasons. First, he fails to account for the poverty the three subjects—Anwar Congo, Herman Koto, and Adi Zulkadry—faced during the 1960s and their marginalization in Indonesian society. This poverty and marginalization made them prime targets for a capitalist-backed dictatorship to exploit. Second, the fascination and admiration of U.S. cultural products exhibited by the principle subjects is underexplored. This is worrying because of the role media plays in constructing hegemonic narratives, and such representations legitimize the killing Anwar, Herman, and Adi performed as they attempt to rationalize themselves as national heroes in the mold of American filmic depictions of lawfully lawless men. Finally, Oppenheimer’s subject position as a white, Western man is disquieting because it reifies the West as arbiters of moral superiority. The gaze with which non-Indonesian audiences view the film affirms the preeminence of civilized Western society in contrast to that of barbaric Southeast Asia. Notwithstanding its utility to Indonesian discourse, the film is problematic in a global media environment because it fails to recognize the transnational context of the killings.Kanika Verma, Texas State UniversityDepartment of Geography“Role of Urban and Rural Places in Geospatial Thinking of Undergraduates in the United States”Spatial thinking and learning are essential components of geography education. ?The National Research Council’s 2006 report “Learning to Think Spatially” emphasized that people vary with respect to performance on spatial tasks. Geospatial thinking is a subset of spatial thinking in general. Geospatial thinking is using Earth space at different scales to structure problems, find answers, and express solutions using geospatial concepts, tools of representation, and reasoning processes. Scholars in geography and other disciplines have studied group differences in spatial and geospatial thinking but have mostly focused on sex and age. ?Yet other geographic or spatial variables, such as urban and rural places or census divisions, should be investigated as well for differences regarding geospatial thinking abilities. Indeed, no literature exists about variances in geospatial thinking based on urban and rural places. This groundbreaking national study follows Spatial Thinking Ability Test (STAT) published by Lee and Bednarz (2012) and endorsed by Association of American Geographers (AAG) to assess geographic group variances in geospatial thinking abilities of undergraduate students (n = 1479) in 61 public universities in the United States.Chelsea Wait, University of Wisconsin – MilwaukeeSchool of Architecture“Reading and Reframing Ordinary Spaces: Interdisciplinary Studies and Performance in Milwaukee” The Field School of the Buildings-Landscapes-Cultures (BLC) Program uses public history, cultural studies, and built environment studies to build a thick description neighborhood by neighborhood. In the act of drawing vernacular spaces, students learn through tactile engagement and observation of minute details. Themes of space and place—power, boundaries, belonging, social capital, and the public realm—are extracted and deconstructed from interviews with everyday Milwaukeeans. Drawings, interviews, archival materials, and photographs becomes a body of interdisciplinary field work that forms what anthropologist Clifford Geertz describes as a ‘thick description.’ These materials become the foundation for mini-documentaries, designs, performances, and installations that examine and experiment with ordinary places in the American urban landscape. To describe the work of the Field School and its students, I will present briefly about the five-week format, its methods, and take two examples of student artwork involving common urban landscape elements: domestic windows and empty lots. Windows occupy an important place in the material culture of the built environment: they are the humanized eyes of building, sensory outlets, and public/private membranes which enable a shared experience between inside and outside. Artwork in windows takes advantage of this cultural significance and questions public and private boundaries. Empty lots once fostered a tiny thread of a larger and multicolored history. Public history methods recover some of this lost history—interviews with former occupants and neighbors can reanimate a space. As an artist paints the floor plan on the grass of the lot, visitors can use their imagination to understand the past and the forces that erased this place. ................
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