tailieunhanh - The Postcolonial Landscape Aesthetic of the Quiet Man

From an educational perspective, this kind of phenomenon represents a tantalizing opportunity for deep, transformative learning. To this point, however, relatively little attention has been given to the role of automatic, non-conscious processes in situations where significant learning is occur- ring. Typically, the non-conscious perceptions of interest are reflexive biases and prejudices. Scholars interested in automaticity could make important contributions to understanding the nature of compelling learning experiences if they turned their attention to the kinds of non- rational perceptions associated with the emergence. | NIRSA Working Paper Series No 45 - February 2009 Nirsa National Institute For Regional and Spatial Analysis AnInstitiúid Nảisiúnta umAnailìsRéigiúnachagusSpásúil 3 id NU1 MAYNOOTH Olltcoil hCtraaan M Nuad The Postcolonial Landscape Aesthetic of the Quiet Man Eamonn Slater John Hume Building National University of Ireland Maynooth Maynooth Co Kildare Ireland. HEA Aras John Hume Ollscoil na héireann Má Nuad Má Nuad Co Chill Dara Eire. Tel 353 0 1 708 3350 Fax 353 0 1 7086456 Email nirsa@ Web http nlrsa Higher Education Authorin An Il darat urn ArdXMdeachat Funded under he Programme for Research in rhird Level Institutions PRTLIJ administered h the HE The Postcolonial Landscape Aesthetic of the Quiet Man Eamonn Slater Department of Sociology and NIRSA NUIM Abstract This paper explores how a cinematic representation of landscape appropriates not just the material objects of the landscape backdrop but can also simultaneously capture an ideological framework in which the landscape objects are physically embedded in. This process of embedding an ideological framework is a consequence of society at some historical point intentionally designing the landscape to have a particular affect on the seeing-eye - in effect constructing a garden. In choosing a considerable amount of the movie locations from within the grounds of Ashford Castle to represent Irish landscape the collective cinematographers of the Quiet Man appropriated an idealised English looking landscape - a garden which was designed to look natural . This type of garden is known as the Informal style or the Picturesque which originated in the eighteenth century England and is associated with the endeavours of Capability Brown and his followers. And the Picturesque style of garden was adopted by the large property owning classes of Britain and later by their class peers throughout the British Empire. Therefore Ashford Castle and the other large landed estates of Ireland created Brownian gardens in

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