有愛(ài)的風(fēng)景是故鄉(xiāng)

By+Fiona+Stafford

There is a big difference between “place” and“l(fā)andscape”， even though the words are often used interchangeably1. The original meaning of“l(fā)andscape” 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(qū)別，盡管這兩個(gè)詞常?？梢曰Q使用。landscape的詞源是17世紀(jì)的藝術(shù)語(yǔ)匯，意為“一幅表現(xiàn)內(nèi)陸自然風(fēng)光的畫(huà)面”，這一詞匯一直以來(lái)與人們對(duì)陸地的視覺(jué)感受相關(guān)。不論視角范圍大小，landscape包含了一種認(rèn)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(shí)空相關(guān)，隨著個(gè)人記憶、當(dāng)?shù)剌W事、歷史和考古而愈發(fā)厚重；問(wèn)題的核心不是一個(gè)地方看起來(lái)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(biāo)雖然能提供準(zhǔn)確的位置，但不能詳盡區(qū)分各地的不同。一些特殊的地點(diǎn)往往承載著與地方軼事和歷史相關(guān)的感悟：學(xué)校運(yùn)動(dòng)場(chǎng)上的成敗榮辱、櫻桃樹(shù)下的柔情秘會(huì)、因接待過(guò)名人貴賓而門(mén)庭榮光的酒店、遭受大火重創(chuàng)的宅子。這些圍繞特定地點(diǎn)展開(kāi)的故事往往不為外人所見(jiàn)，甚至那些登上全國(guó)媒體頭條的驚人事件也會(huì)迅速淪為昨日舊聞。往來(lái)路過(guò)的人們幾乎窺見(jiàn)不到街頭巷尾中的生活。對(duì)于那些從遠(yuǎn)處旁觀之人，建筑只是一座座房子，而不是一個(gè)個(gè)家庭。那些屋宇可能是絕佳環(huán)境中的上乘建筑，但并不具備那些將landscape轉(zhuǎn)變?yōu)閜lace的親密關(guān)系。

威廉·華茲華斯認(rèn)為，landscape應(yīng)該變成place。他在英格蘭湖區(qū)長(zhǎng)大，但對(duì)他而言個(gè)人經(jīng)歷和當(dāng)?shù)厝说墓适虏攀亲钪匾?。他的許多詩(shī)作都重現(xiàn)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(dá)了個(gè)人經(jīng)歷的生動(dòng)記憶，這些記憶永遠(yuǎn)地改變了landscape，將其轉(zhuǎn)變成了令人感受至深的place。

在《先人之見(jiàn)》（1980）中，謝默斯·希尼，一位“地方”現(xiàn)代詩(shī)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(ài)之地所產(chǎn)生的，且能感知于心的育化之力明確表達(dá)出來(lái)的第一人”。雖然華茲華斯對(duì)那片他從出生起就了解的土地進(jìn)行了激情澎湃的描寫(xiě)，但只有當(dāng)他背井離鄉(xiāng)時(shí)，才幡然領(lǐng)悟到其特殊意義之所在。他實(shí)質(zhì)意義上的第一首詩(shī)是在他離開(kāi)湖區(qū)前往劍橋?qū)W習(xí)時(shí)寫(xiě)就的，而后來(lái)有關(guān)他在湖區(qū)童年回憶的《序曲》（1850）則是在德國(guó)一個(gè)異常寒冷的冬天促成的。經(jīng)過(guò)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(shī)作一首首涌現(xiàn)。places有時(shí)會(huì)需要離別，至少如此才會(huì)感受至深。

所以，對(duì)于place來(lái)說(shuō)，視角就尤為重要。最近，文化地理學(xué)家們對(duì)那些認(rèn)為“局內(nèi)人”與“局外人”視角存在明顯區(qū)別的種種假設(shè)產(chǎn)生了質(zhì)疑，因?yàn)檫@些假設(shè)暗地里將人分為“本地人”與“外來(lái)戶”兩類，是不可取的。那些不被接納的人或許來(lái)自其他地區(qū)或者種族，或者僅僅是無(wú)法適應(yīng)當(dāng)?shù)氐囊?guī)則。這就引發(fā)了從固定性與流動(dòng)性角度而言對(duì)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(gè)流動(dòng)性更強(qiáng)的空間，接納多種體驗(yàn)，以匯集了來(lái)來(lái)往往的人們?yōu)樘攸c(diǎn)。

近年來(lái)，大衛(wèi)·霍克尼偉大的約克郡風(fēng)景系列畫(huà)作也許是對(duì)place最有力的回應(yīng)。這位藝術(shù)家給我們帶來(lái)的，毫無(wú)疑問(wèn)的是landscapes，通過(guò)畫(huà)作反映從某個(gè)特定的視點(diǎn)所看到的真實(shí)景色，但它們也同樣是對(duì)place的盛情贊頌，是某個(gè)生于斯長(zhǎng)于斯、對(duì)當(dāng)?shù)刂椎娜藙?chuàng)作出來(lái)的。霍克尼的系列畫(huà)作結(jié)合了一位周游世界的藝術(shù)家擁有的廣闊視野，加之一個(gè)根深蒂固的約克郡人擁有的深刻理解。它們同時(shí)表現(xiàn)了landscape和place。

1. interchangeably： 可互換地，可交替地。

2. pristine： 未開(kāi)發(fā)的，處于原始狀態(tài)的。

3. temporal： 暫時(shí)的，當(dāng)時(shí)的；spatial：存在于空間的，受空間條件限制的；archaeology： 考古學(xué)。

4. triumph： 勝利，成功；humiliation：恥辱；蒙羞；feature： 地形，地貌；tryst： 幽會(huì)，約會(huì)；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(guó)浪漫主義詩(shī)人，與雪萊、拜倫齊名，代表作有與塞繆爾·柯?tīng)柭芍魏现摹妒闱楦柚{集》、長(zhǎng)詩(shī)《序曲》、《漫游》等，被封為桂冠詩(shī)人（1843）。

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

9. Seamus Heaney： 謝默斯·希尼（1939—2013），愛(ài)爾蘭詩(shī)人，1995年獲諾貝爾文學(xué)獎(jiǎng)，代表作有詩(shī)集《一位自然主義者之死》、《故地輪回》等，《先人之見(jiàn)》是其論文選集；articulate： 明確有力地表達(dá)；nurture： 養(yǎng)育，營(yíng)養(yǎng)物；dwell in： 居住在；perpetual： 永久的，無(wú)期限的。

10. dawn on sb.： 理解，意識(shí)到。

11. substantial： 實(shí)質(zhì)的，內(nèi)容充實(shí)的；prompt： 促進(jìn)，激起。

12. Grasmere： 英格蘭格拉斯米爾湖區(qū)，詩(shī)人華茲華斯的故鄉(xiāng)；Dorothy： Dorothy Wordsworth，多蘿西·華茲華斯（1771—1855），英國(guó)作家、詩(shī)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(wèi)·霍克尼（1937— ），英國(guó)畫(huà)家、版畫(huà)家、舞臺(tái)設(shè)計(jì)師及攝影師，生于英國(guó)布拉德福德，繪畫(huà)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(yáng)。