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This thesis documents research undertaken regarding the intentions and effects of the landscape description in four of Joseph Conrad’s short stories and novels. The research was concerned with “Heart of Darkness” and “An Outpost of Progress” and how these two texts depicted Africa, and Lord Jim and “Karain: A Memory” for a description of Asia, although Conrad’s wider oeuvre was consulted where it had bearing on the research. The research was concerned with how Conrad used generic elements of the adventure stories of empire, and whether his stories could be said to support or undermine any prevailing notions of race, racial difference and racial and cultural superiority which were prevalent at the time that Conrad was writing. To this end, key examples of the imperial romance genre were analysed, and their philosophical and cultural framework was analysed. Conrad’s works were then situated against these concepts and texts, starting with Africa, and then moving on to Asia. This thesis argues that in Africa, Conrad uses landscape description and the relationship between his protagonists and the landscapes that they find themselves in to subvert notions of superiority, specifically attacking European technology, the image of the torch of progress, and the religious rationale for empire building. For Asia, this thesis argues that in the story of Lord Jim Conrad uses Orientalised images of the Asian female as they were situated in and connected to the landscapes and forests of Asia to suggest a threat to the conception of the masculine hero of imperial adventure fiction, and simultaneously show that the modes of engaging with this threat in the traditional adventure romance story were inadequate when faced with the reality of life in these spaces. Finally, the story of “Karain: A Memory” is examined from the perspectives of history and of the notion of the exotic. It is argued that in this story, Conrad is critiquing the concepts of modernization and of standard European tales of exoticism and adventure. / published_or_final_version / English / Master / Master of Philosophy

This graduate report is a chronological assessment of the photographic work, which I have produced during my three years in the UT Studio Art MFA program. I will highlight my use of photography as a mode to investigate both the physical and represented landscape. This mode has shifted focus since I first began the program. It has moved from a discourse engaging the fictional qualities of photographs, ever suggesting their tenuous relationship with the truth, to a more direct utilization of the power of a photograph as an actual document. Whatever the subject, my work is deeply rooted in a skepticism of media, structures and institutions. My camera acts as a probe to expose certain incongruities between the ways we view order and how that order is manifested. / text

Thesis (M.Sc.)--University of Hong Kong, 2007. / Includes bibliographical references (p. 100-102).

Thesis (Ph.D.)--University of Delaware, 2009. / Principal faculty advisor: J. Ritchie Garrison, Winterthur Program in Early American Culture. Includes bibliographical references.

This study of Southwestern Alberta is an attempt to focus attention on the landscape, as a fundamental approach to geographic variation and regionality. It is also an attempt to depart from the marketing region and mathematical approaches, which are at present gaining wide favour in geographic work. The area studied, Southwestern Alberta, was selected for its contrast and diversity. Pew other sections of North America offer the same degree of variety in so small an area. The method of investigation had two aspects, library research and field study. The former consisted of consulting written works, analysing climatic data, interpeting air photos and maps, together with some reference to census statistics. The field work involved several traverses of the area under study, by automobile, aeroplane and foot. Work in the field was conducted not only to check the accuracy of information gathered in the library research, but also to obtain original data and to fill gaps in the published material. It is the purpose of the thesis to (a) clarify the meaning of "landscape" as interpeted in this geographic study, (b) describe the landscape and its "spheres" in detail, and (c) arrive at a broad classification of landscape regions for Southwestern Alberta. Above all else, it is desired to present and give an appreciation of Southwestern Alberta(s landscape character. "The Landscape of Southwestern Alberta", treats the landscape as being composed of a number of "layers" or "spheres". These are the lithosphere, hydrosphere, atmosphere and biosphere, making up the physical (natural) landscape segments and the cultosphere which is the cultural (man-made) landscape segment. In reality these are all interdependent and can not exist alone. In conclusion, the southwestern corner of the province has been subdivided into a number of landscape regions. These regions are as follows: (1) The Southern Rockies, composed of a block-like Precambrian mass, lie south of the Carbondale River valley. Smooth, forested, lower slopes give way to glacially-sculptured, alpine peaks. The chief human activities here, tourism, forestry and watershed-conservation have left little mark on the wild rugged landscape. (2) The Northern Rockies are made up of long, bare, Palaeozoic ranges rising above grassy or forested, subdued, Cretaceous lands. Here the human activities of coal mining, limestone quarrying, forestry and grazing have altered the landscape more than in the south. Population is concentrated in a narrow band of mining nucleations along the Crowsnest Pass. (3) Of the three foothills regions, the Northern High Foothills presents the most rugged and forested appearence. The ridges tend to be parallel and are often herring-bone shaped supporting grass on southern exposures while the remainder is forested. Ranching is the predominent industry. (4) East and south from the High Foothills stretches the Subdued Foothills region. This land is gently rolling, much grassier and with some cultivation toward the eastern margin. (5) South of Mountain View and Cardston lie the Rolling Foothills. This region is a "sandpapered" hill-land mantled in range -grass, but broken by long, rocky ridge-scarps. The foothills are all underlain by soft Cretaceous rocks 'which have been faulted and folded by the Rocky Mountain, building movements. (6) Eastward from the northern foothills rise the Porcupine Hills. Geologically a part of the Alberta syncline, these high, rounded and brokenly - forested hills stand in isolated splendor above the adjacent plains. Forestry and grazing have both left their marks on the vegetation. (7) The Porcupine Transition region, to the east of the high hills, is a grassy rangeland zone with a low population density. (8) The Peigan and Blood Indian Reserves are physically similar to the adjacent plains, but are culturally distinct. Much of the reserves are devoted to rangeland, but some cultivation is also practiced. (9) The Dry-Farming Plains focus on the trade center of Pincher Creek. These great, sweeping plains are cut by steep-sided river valleys and coulees, and broken by the very occasional erosion remnant. Over the wide, dusty land spreads the seemingly endless pattern of golden wheat and black fallow strips. Natural trees are found only in sheltered, well - watered valleys. (10) In the vicinity of the Belly and St. Mary's Rivers stretches the horse-shoe shaped, Mormon Irrigated Belt. This land is characterized by level terrain, irrigation cultivation and nucleated, Mormon (L.D.S.) settlement. Cardston, with its gleaming white temple is both the religious "Mecca" and trade center for the region. (11) Near the Montana border stand the somewhat elevated Milk River Plateaux. High plains and ridges with old meltwater gaps characterize the physical landscape. Grazing, dry-land wheat and petroleum represent human activities in this outlying region. / Arts, Faculty of / Geography, Department of / Graduate

Thesis (PhD--Geography)--University of Auckland, 2009. / " A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy." Includes bibliographical references (leaves 420-439).

Urban relics, memories of bygone eras, sit desolate and disregarded on the Northern and Southern fringes of the City of Tshwane’s inner-city, also known as Pretoria. Flaking facades, uninviting margins and deflected gazes have resulted in forgotten city  narratives, narratives that are immortalised in these monuments.  These compositions of culture, and remnants of the past, have fallen prey to the swift progress of the city and have been left forgotten as they retreat into the shadows of their former grandeur. Dwarfed by the bustle of the city and it’s towering urban fabric, a generation unknowing pass these urban gems daily, unaware of their past splendour. Existing now only as  urban scars, these buildings become spectators to the continued advancing and changing cityscape, they become invisible remnants of the city’s cultural and historical landscape.  The dissertation aims to generate a landscape design proposal for the Old Staatsmuseum building as an attempt to reactivate one such urban relic, to return it to some of its historic grandeur, and imagining new ways for old buildings to inject meaning into the cityscape. Drawing inspiration from creative industries, such as art, media and functional creations, the project investigates landscape architecture’s potential to; regenerate and remodel buildings into creative sites, prevent their further decay, celebrate their inherent adaptive history and  make them accessible to the new generation of city dwellers and visitors. Furthermore, such an attempt also seeks to connect and enhance the otherwise fragmented urban nature within the City of Tshwane, by connecting the Old Staatsmusem, to its context of the National Zoological Gardens, and further afield to the grassland landscapes of Gauteng. Landscape architecture is therefore used to present an allusion of the “continuation of cultural phenomena through built infrastructure” (Wong 2017:30) and as a catalyst for urban regeneration in the Pretoria inner-city. / Mini Dissertation (ML (Prof))--University of Pretoria, 2020. / Architecture / ML (Prof) / Unrestricted

The present research addressed an assumption of Attention Restoration Theory (ART), which predicts that built scene content captures attention more strongly than natural content. Section І covers the findings of three pilot studies that were aimed at finding a suitable methodology for contrasting the saliency of natural and built content. An initial study in which use was made of a Rapid Serial Visual Presentation (RSVP) did not provide evidence for divergent saliency levels between natural and built scene categories. Hence, a Go/No-Go paradigm with shorter exposure times was used in later studies. A second pilot study was carried out in order to determine which scene category labels are both comprehensible and interpreted consistently across respondents. A third pilot study was aimed at filtering out boundary case scenes from the set of images pre-selected by the experimenter. Section ІІ covers four studies, which addressed two aims: (1) To test whether built content is more salient than natural scene content, and (2) to test the effect of inconsistent built and natural elements on saliency. These studies supported the claim of ART that built scenes are more salient than natural scenes. In addition, they provided evidence for the assumption that a built element increases the saliency of a natural scene more strongly than a natural element increases the saliency of a built scene. The relationship between saliency of content and restoration is explored in Section ІІІ. The findings provided mixed evidence in support of ART. Restoration of alerting attention was more complete following non-salient than salient scenes. However, previous research indicating stronger restoration of executive attention and working memory span in response to natural than built content exposures was not replicated. Furthermore, restoration of orienting attention was more complete following salient than non-salient scene presentations. It is concluded that saliency of scene content is predictive of psychological restoration, albeit not necessarily in the way as predicted by ART.

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