By Mason R. McWatters
Residential Tourism: (De)Constructing Paradise deals the 1st in-depth, severe exploration of the overseas retirement/expatriate groups proliferating in either measurement and quantity all through Latin the United States. Amidst the frequent improvement and promoting of foreign locations of residential "paradise" meant for retirement, relaxation, and reports of exotica, this ebook attracts on a variety of views so one can learn the social and spatial affects that this dynamic phenomenon has at the humans and areas it without delay impacts.
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Extra resources for Residential Tourism:(De)Constructing Paradise
To be sure, the distinctions between how we value land and how we appreciate its idealized representations as landscape art are ever diminishing. Related to this idea is the transformative way that the popular diffusion of the personal camera has affected the way we experience new places and exotic landscapes. Andrews (1999), Cosgrove (1984) and Urry (1990) all suggest that this device and the way of seeing it has popularized effectively the function to commodify our encounters with new parts of the world into a series of exotic and/or aesthetically significant landscapes.
Not far away is a small forest or miniature wilderness area, tacitly recognized as the exclusive playground of the local families. Life proceeds according to a fixed schedule from one territory to another: from private house to private tennis club to parish church and private school. To pass through a gate, a portal, or a front door, or to park in a private driveway is more than merely entering: it affirms membership in a well-established group. As in a Jane Austen novel, nothing of significance happens in the public realm, and with little traffic and no sidewalks, the streets are like country roads all eventually leading to privacy and home.
Only by erasing – or completely aestheticizing – the workers who made that way of life is its celebration possible. Only by seeing California purely as a landscape view can we see beauty without understanding the lives of the damned who are an integral part of that beauty. And that move, erasing the traces of work and struggle, is precisely what landscape imagery is all about. (1996: 20, emphases in original) Raymond Williams similarly makes this point regarding the politics of landscape and the erasure of the contexts of its production when he writes about the elaborate gardens and parks – the ‘arranged landscapes’ – of Enlightenment-era England: Indeed it can be said of these eighteenth century arranged landscapes not only, as is just, that this was the high point of agrarian bourgeois art, but that they succeeded in creating in the land below their windows and terraces what Jonson at Penshurst had ideally imagined: a rural landscape emptied of rural labour and of labourers; a sylvan and watery prospect, with a hundred analogies in neo-pastoral painting and poetry, from which the facts of production had been banished: the roads and approaches artfully concealed by trees, so that the very fact of communication could be visually suppressed; inconvenient barns and mills cleared away out of sight … ; avenues opening to the distant hills, where no details disturbed the general view; and this landscape seen from above, from the new elevated sights; the large windows, the terraces, the lawns; the cleared lines of vision; the expression of control and of command.