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| Preface | |
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| Contributors | |
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| List of Figures | |
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| Places-Worlds | |
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| Introduction I: The Problematic of Grounding the Significance of Symbolic Landscapes | |
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| Symbol - Landscapes - Symbolic Landscapes | |
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| Semiotics: The Problematic of Defining 'Symbol' | |
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| Geographical Literature and Symbolic Landscapes | |
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| The Problematic of Defining 'Landscape' | |
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| Toward the Geographicity of Symbolic Landscapes: A Phenomenological Grounding | |
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| The Leading Clue: Merleau-Ponty's Gestural Theory of Language | |
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| Human Behavior: The Field of Meanings that is the Ontological Source for Symbolism | |
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| Spatiality | |
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| The Spatiality of Sensation as a Gestural Expression | |
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| Symbolic Landscapes | |
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| New Trends in Cultural Geography | |
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| Conclusion | |
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| Overview of Part One | |
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| The Road to Indian Wells: Symbolic Landscapes in the California Desert | |
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| Introduction: Symbolic Landscapes | |
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| Confronting Postmodern Symbolic Landscapes in California's Coachella Valley | |
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| Confronting Pre-Modern Symbolic Landscapes in the Coachella Valley | |
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| Two Ways of Being and Becoming in the California Desert | |
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| Conclusion: Thinking About Landscape | |
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| Wilderness as Axis Mundi: Spiritual Journeys on the Appalachian Trail | |
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| Introduction | |
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| Defining Wilderness | |
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| The Rise of Wilderness as Symbol in the Intertwining of Lived-Body and Milieu of the Shepherd Nomad | |
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| Wilderness as Axis Mundi in Judaic and Christian Scripture | |
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| Wilderness and the American Milieu | |
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| Wilderness and the Sojourner | |
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| Appalachian Trail as a Place of Spiritual Journey | |
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| Historical Background | |
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| A Pathway through the Wilderness | |
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| A Work of Art with Religious Implications | |
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| The Experiential Spirituality of the Appalachian Trail | |
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| Pilgrims on the Appalachian Trail | |
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| Communitas and Liminality in the Intertwining of Lived Body and Milieu | |
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| Time | |
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| Conclusion | |
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| Pu'u Kohola: Spatial Genealogy of a Hawaiian Symbolic Landscape | |
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| Introduction | |
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| Tides of Time | |
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| Layers of Space, Time, and Meaning | |
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| Physical Geography | |
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| Conquest | |
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| The Hawaiian Kingdom and Westernization | |
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| American Colonization | |
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| The Harbor | |
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| Embodying Transformation | |
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| Navigating the Present | |
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| Mythological Landscape and Landscape of Myth: Circulating Visions of Pre-Christian Athos | |
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| Introduction | |
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| Xerxes' Canal | |
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| Alexander's Mountain | |
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| From Emblem to Field | |
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| Conclusion | |
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| Coda | |
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| At Home on the Midway: Carnival Conventions and Yard Space in Gibsonton, Florida | |
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| Introduction | |
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| Mediated Yard Spaces | |
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| Gibsonton's Boot: Ready-to-Wear Signs and Other Systems of Symbolism | |
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| Siting Gibsonton | |
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| Clearing Space: Town as Midway | |
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| Remaking Yard Space as Carnival Midway | |
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| Breaking Camp: Gibsonton as 'Lived Symbol' Between Arriving and Departing | |
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| Speculative Spaces: At Home in the Front Yard | |
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| Crossing the Verge: Roadside Memorial-Perth, Western Australia | |
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| Introduction | |
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| Location: The Geography of Roadside Memorial Sites | |
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| Excavating the Sites | |
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| Historical Perspective and the Meaning of Memorials | |
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| Ritual and Rite of Passage | |
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| Spontaneity of the Sites | |
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| Life on "The Avenue": An Allegory of the Street in Early Twenty-First-Century Suburban America | |
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| Introduction | |
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| From Main Street to Lifestyle Retail Development | |
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| An Allegory of the Street | |
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| City Monumentality and Urban Amnesia | |
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| Suburban Idealization: The Paradox of Private Public Space | |
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| Metaphor, Environmental Receptivity, and Architectural Design | |
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| Introduction | |
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| Metaphor: Redesigning Design and Its Culture | |
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| Organism As Bauplan for Architecture | |
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| Furnishing Our Primary Inhabitation | |
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| Design as Hinge: The Architectonic of the Intraworldly | |
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| Extending and Compounding Green Metaphors: Watermark | |
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| Entertaining New Vocabularies: Edge/Corridor Effects | |
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| Conclusion | |
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| Geographical Sensibilities in the Arts | |
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| Introduction II: An Apology Concerning the Importance of the Geography of Imagination | |
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| Sensibility, Geography, and the Arts | |
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| Geographies of the Imagination and Science | |
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| The Cartesian Paradigm: Banishing the Imagination from Scientia | |
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| The Relevance of the Geographies of the Imagination | |
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| Merleau-Ponty's Doctrine of the Imagination | |
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| The Artwork | |
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| Literature | |
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| Painting | |
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| Spacings and Human Creativity | |
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| Overview of Part Two | |
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| Semblance of Sovereignty: Cartographic Possession in Map Cartouches and Atlas Frontispieces of Early Modern Europe | |
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| Introduction | |
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| The Meaning of Maps | |
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| Colonial Possessions | |
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| Martial Activities in Europe | |
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| Jurisdictional Control | |
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| Conclusion | |
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| Symbolism and the Interaction of the Real and the Ideal: Scenery in Early-Modern Netherlandish Graphic Art | |
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| The Prevailing View in the Art-Historical Research: The Exploration of Realism in Early-Modern Art | |
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| Imitation and Invention of Nature in Early-Modern Art | |
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| The Real and the Transitory in Early-Modern Landscape Views | |
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| Local and Foreign Settings | |
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| Cartographic Ambiguities | |
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| Conclusion | |
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| Traversing One's Space: Photography and the feminine | |
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| Introduction | |
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| Theoretics and Approaches to Photography | |
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| Examples of My Photographic Project | |
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| Conclusion | |
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| The Philadelphia Flower Show and its Dangerous Sensibilities | |
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| Experiential Therapeutics | |
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| Symbolizing Experiences of Springtime | |
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| Experiential Structure of the Symbolizing Experience | |
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| The Dangerous Sensibility | |
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| The Physical Layout | |
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| The Major Exhibitors: Symbolizing Ideal Landscapes | |
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| Characterizing the Artificiality of Place-Worlds | |
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| Genius Loci | |
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| The Commerciality of Place-Worlds | |
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| The Instant Environment Machine | |
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| Concluding Remarks | |
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| Gardening at a Japanese Garden | |
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| Introduction | |
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| The Subjective Path | |
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| The Objective Path | |
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| The Right Path | |
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| The Double Pre-Understanding | |
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| Face to Face | |
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| Handwork-Bodywork | |
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| Spatial Activity as Identity | |
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| Japaneseness | |
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| Concluding Remarks | |
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| Symbolic Space: Memory, Narrative, Writing | |
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| Introduction | |
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| Space in Ancient Mnemonics | |
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| Narrative (Kleist: "Das Erdbeben von Chili") | |
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| Writing Space | |
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| Vienna's Musical Deathscape | |
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| Introduction | |
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| Joseph Haydn | |
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| Overtones of the Deathscape in Documents | |
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| The Church and Redemptive Death | |
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| Nature's Role in the Deathscape Phenomenon | |
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| Vienna and the Question of Suicide | |
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| Redemptive Versus Nihilistic Death | |
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| Death's Inspiration | |
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| The Deaths of Haydn, Mozart, and Beethoven | |
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| Conclusion | |
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| Crusoe's Island and the Human Estate: Defoe's Existential Geography | |
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| Introduction | |
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| Robinson Crusoe: Map and Allegory | |
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| Are We All Castaways? | |
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| Remaking the Land | |
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| Ready-to-Hand and One's Own | |
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| Of Empire and Technology | |
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| Deciphering Crusoe's Geo-Scripting | |
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| Enter the Nameless Other | |
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| Enter Friday | |
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| Defoe's Symbolism: What It Says and How It Works | |
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| Index | |