有愛的風景是故鄉

By+Fiona+Stafford

There is a big difference between “place” and“landscape”， even though the words are often used interchangeably1. The original meaning of“landscape” came from 17th-century artistic discourse. It referred to “a picture representing natural inland scenery” and the term has continued to be associated with visual perceptions of land. Regardless of the scope of its perspective， whether small or large， landscape includes awareness of how the land has been shaped by human or natural agencies. It is not “wilderness”. It is not “pristine”.2 “Place” is more personal and multidimensional altogether. It is temporal as well as spatial， because it thickens with personal memories， local stories，history and archaeology.3 Its not just a question of how things look， but of how things feel to those who know it well.

Postcodes and map coordinates offer precise locations， but dont fully distinguish one place from another. The feelings associated with local stories and histories become attached to particular features—triumph or humiliation on the school sports field； tender trysts beneath the cherry trees； the proud hotel that once opened its doors to celebrity guests； the house wounded by the fatal fire.4 The stories that can cluster around ordinary features usually remain invisible to outsiders， and even events startling enough to hit the national headlines rapidly become yesterdays news.5 People passing through see little of the life within those streets. For those looking on from a distance， buildings are houses， not homes. They might be architectural gems in stunning surroundings，6 but they wont possess the intimate associations that transform landscape into place.

William Wordsworth7 thought that landscapes should become places. He grew up in the English Lake District8， but it was personal experience and the stories of those who lived there that mattered most to Wordsworth. Many of his poems recreate the hidden lives of those who left their traces on the land； others convey vivid memories of personal experiences that altered the landscape for ever—turning it into a deeply felt place.

In Preoccupations （1980）， Seamus Heaney， a modern poet of place， paid special tribute to Wordsworth as“the first man to articulate the nurture that becomes available to the feelings through dwelling in one dear perpetual place”.9 But though Wordsworth wrote so passionately about the region he had known since birth， its special meaning dawned on him10 fully only when he wasnt there. His first substantial poem was written after he left the Lakes to study at Cambridge， while a very cold winter in Germany prompted his later recollections of his Lakeland boyhood in The Prelude （1850）.11 It was only after a decade of restless travelling that Wordsworth returned to settle in Grasmere with his sister Dorothy，12 and then poem after poem poured out. Places can require absence， at least to be felt most deeply.

So perspective matters when it comes to place. Recently， cultural geographers have challenged assumptions about the apparent difference between insider and outsider perspectives， because of the less desirable implications of dividing people into those who “belong” and others who “do not belong”. The excluded might come from another region or race， or merely fail to conform to local norms. This has led to new readings of place in terms of stasis and mobility. Instead of regarding “place” as stable and ultimately knowable to those who belong there， it might be understood as a much more mobile space， open to numerous experiences and characterised also by its confluence13 of passing people.

In recent years， David Hockneys14 great sequence of Yorkshire landscapes is perhaps the most powerful response to a place. The artist has given us， unquestionably， landscapes， in that they represent real scenes from a particular spot， but they are also passionate celebrations15 of places， created by someone who has known the area all his life. Hockneys series combines the wide view of the internationally travelled artist with the profound understanding of a deeply rooted Yorkshireman. They represent landscape and place.

place和landscape之間有很大的區別，盡管這兩個詞常常可以互換使用。landscape的詞源是17世紀的藝術語匯，意為“一幅表現內陸自然風光的畫面”，這一詞匯一直以來與人們對陸地的視覺感受相關。不論視角范圍大小，landscape包含了一種認知，即陸地是如何被人為或者自然之力所塑造的，既不是“荒山野嶺”，也不是“未鑿之地”。 place總而言之則更私人化，更具層次，與時空相關，隨著個人記憶、當地軼事、歷史和考古而愈發厚重；問題的核心不是一個地方看起來如何，而是它讓那些熟知它的人們感受如何。

郵編和地圖坐標雖然能提供準確的位置，但不能詳盡區分各地的不同。一些特殊的地點往往承載著與地方軼事和歷史相關的感悟：學校運動場上的成敗榮辱、櫻桃樹下的柔情秘會、因接待過名人貴賓而門庭榮光的酒店、遭受大火重創的宅子。這些圍繞特定地點展開的故事往往不為外人所見，甚至那些登上全國媒體頭條的驚人事件也會迅速淪為昨日舊聞。往來路過的人們幾乎窺見不到街頭巷尾中的生活。對于那些從遠處旁觀之人，建筑只是一座座房子，而不是一個個家庭。那些屋宇可能是絕佳環境中的上乘建筑，但并不具備那些將landscape轉變為place的親密關系。

威廉·華茲華斯認為，landscape應該變成place。他在英格蘭湖區長大，但對他而言個人經歷和當地人的故事才是最重要的。他的許多詩作都重現了那些在這片土地上留下痕跡的人們的隱秘生活；還有些傳達了個人經歷的生動記憶，這些記憶永遠地改變了landscape，將其轉變成了令人感受至深的place。

在《先人之見》（1980）中，謝默斯·希尼，一位“地方”現代詩人，向華茲華斯致以了特殊的敬意，稱贊他為“將久居于自己深愛之地所產生的，且能感知于心的育化之力明確表達出來的第一人”。雖然華茲華斯對那片他從出生起就了解的土地進行了激情澎湃的描寫，但只有當他背井離鄉時，才幡然領悟到其特殊意義之所在。他實質意義上的第一首詩是在他離開湖區前往劍橋學習時寫就的，而后來有關他在湖區童年回憶的《序曲》（1850）則是在德國一個異常寒冷的冬天促成的。經過10年漂泊不定后，華茲華斯才回到格拉斯米爾，與妹妹多蘿西同住，此后其詩作一首首涌現。places有時會需要離別，至少如此才會感受至深。

所以，對于place來說，視角就尤為重要。最近，文化地理學家們對那些認為“局內人”與“局外人”視角存在明顯區別的種種假設產生了質疑，因為這些假設暗地里將人分為“本地人”與“外來戶”兩類，是不可取的。那些不被接納的人或許來自其他地區或者種族，或者僅僅是無法適應當地的規則。這就引發了從固定性與流動性角度而言對place的新解讀。place不再一成不變，基本上只能為那些本地人所了解，而是也能理解成一個流動性更強的空間，接納多種體驗，以匯集了來來往往的人們為特點。

近年來，大衛·霍克尼偉大的約克郡風景系列畫作也許是對place最有力的回應。這位藝術家給我們帶來的，毫無疑問的是landscapes，通過畫作反映從某個特定的視點所看到的真實景色，但它們也同樣是對place的盛情贊頌，是某個生于斯長于斯、對當地知根知底的人創作出來的。霍克尼的系列畫作結合了一位周游世界的藝術家擁有的廣闊視野，加之一個根深蒂固的約克郡人擁有的深刻理解。它們同時表現了landscape和place。

1. interchangeably： 可互換地，可交替地。

2. pristine： 未開發的，處于原始狀態的。

3. temporal： 暫時的，當時的；spatial：存在于空間的，受空間條件限制的；archaeology： 考古學。

4. triumph： 勝利，成功；humiliation：恥辱；蒙羞；feature： 地形，地貌；tryst： 幽會，約會；fatal： 重大的，毀滅性的。

5. cluster： 使聚集；startling： 令人吃驚的，觸目驚心的。

6. gem： 寶石；stunning： 極美的，絕妙的。

7. William Wordsworth： 威廉·華茲華斯（1770—1850），英國浪漫主義詩人，與雪萊、拜倫齊名，代表作有與塞繆爾·柯爾律治合著的《抒情歌謠集》、長詩《序曲》、《漫游》等，被封為桂冠詩人（1843）。

8. English Lake District： 英格蘭湖區，位于英格蘭西北海岸，方圓2300平方公里，因19世紀詩人華茲華斯的作品以及湖畔詩人而著稱。

9. Seamus Heaney： 謝默斯·希尼（1939—2013），愛爾蘭詩人，1995年獲諾貝爾文學獎，代表作有詩集《一位自然主義者之死》、《故地輪回》等，《先人之見》是其論文選集；articulate： 明確有力地表達；nurture： 養育，營養物；dwell in： 居住在；perpetual： 永久的，無期限的。

10. dawn on sb.： 理解，意識到。

11. substantial： 實質的，內容充實的；prompt： 促進，激起。

12. Grasmere： 英格蘭格拉斯米爾湖區，詩人華茲華斯的故鄉；Dorothy： Dorothy Wordsworth，多蘿西·華茲華斯（1771—1855），英國作家、詩人，威廉·華茲華斯的妹妹。

13. confluence： （人或物的）匯合，聚集。

14. David Hockney： 大衛·霍克尼（1937— ），英國畫家、版畫家、舞臺設計師及攝影師，生于英國布拉德福德，繪畫代表作為《克利斯多夫·伊修伍德和唐·巴查笛》和《克拉克夫婦倆》。

15. celebration： 頌揚。