Conclusion: The Maritime Cultural Landscape Revisited

Westerdahl, Christer

doi:10.1007/978-1-4419-8210-0_18

Cited by 13 publications

(5 citation statements)

References 10 publications

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“…As places of superposition between ideals of humanity and non-humanity, shores are areas of construction of otherness and connectedness between contrasting ontologies (Gosden and Pavlides 1994;McNiven and Feldman 2003;Testa 2009;Kuijt et al 2010;Walker 2010;Westerdahl 2010;Hill 2011;Reid et al 2014;Mianowski 2015;Thornton 2017;Doyle 2018). In addition, as horizons of difference they are zones for configuration of narratives, tales, metaphors, and memories that jwsr.pitt.edu | DOI 10.5195/JWSR.2024.1203 nourish collective identities (Lowenthal 1975;Radstone 2000;Taussig 2000;McWilliam 2002;Breen and Lane 2004;Mack 2007;Westerdahl 2010;Kearney 2012;Hicks 2016;Thornton 2017), in particular memories related to ancestral places (Clarke and Johnston 2003;Westerdahl 2010;Leger 2016;Thornton 2017), and technologies of navigation (Harris 2014;Asbjørn Jøn 2016). In regions of cultural contrasts, as locations of ontological overlapping, narratives of identity related to the sea represent struggles between global powers and local resistances (Jackson 1995;Radstone 2000;Huang 2016;Manyanga and Chirikure 2017).…”

Section: Interethnic Systems Place and Regimes Of Seascapesmentioning

confidence: 99%

Cultural Seascapes, Regional Connections, and Colonial Powers in the Southwestern Pacific

Tiapa

2024

JWSR

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Between the second half of the nineteenth and the first half of the twentieth century, Australia and the islands of the southwestern Pacific were the setting of a wide context of encounters between Europeans and Indigenous peoples, in regions that could be perceived as disconnected at a first glance. However, it was part of a wider project of colonization that overlapped on a not less wide set of Indigenous networks of interconnection. Such a colonial project had landscape modification as a main common goal, added to projects of ethnic and cultural separation and segregation. This article suggests an approach to cultural seascapes as an approach to power relations between European colonizers and Indigenous people in this region. I suggest that this level of analysis allows to connect realities that could be perceived as disparate, but which were coherent with global projects of imposition of colonial identities according to a dominant global matrix of power. I aim to highlight the value of local spaces of interconnection as expressions of wider realities, approachable throughout the analysis of cultural seascapes as mobile spaces of power relations.

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Section: Interethnic Systems Place and Regimes Of Seascapesmentioning

confidence: 99%

Cultural Seascapes, Regional Connections, and Colonial Powers in the Southwestern Pacific

Tiapa

2024

JWSR

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“…While I am reluctant to accept a direct parallel between the Jormungandr of Gylfaginning and the Water Dragon motif on the picture stones as they are separated so distantly in space and time, I agree that they both reflect a pan-Nordic association between the dragon and the sea. Since maritime symbolism conspicuously reappears through time across Scandinavia's landscape, we can surmise that a relationship with the sea was of paramount importance to the ancient peoples of the north and deserves to have special consideration when interpreting archaeological landscapes (Westerdahl 1992;Cook 2001;Skoglund 2008;Wehlin 2010;Westerdahl 2011).…”

Section: The Water Dragon and The Snake Witchmentioning

confidence: 99%

The Water Dragon and the Snake Witch: Two Vendel Period Picture Stones from Gotland, Sweden

Pearl

2021

csa

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The style and iconography of two wellknown picture stones are reanalysed. The Hablingbo Havor II pic ture stone shows a motif that occurs frequently in Got landic art from the Vendel Period onwards: the“Water Dragon”. It is suggested that this relates to an ideo logical connection between the dragon and the sea, where the sea is the dragon that ferries ships to distant shores. This is reflected not only in picture stones, but in Viking Age art in general. The iconography of När Smiss III (the “Snake Witch”) has been interpreted in a variety of ways, but special consideration is given to Peel’s (1999) suggestion that it relates closely to the Vi tastjärna myth from the 13thcentury Guta Saga. The artistic style of the zoomorphs on both stones (Style II) is typically dated to the Vendel Period. It is suggested that Sune Lindqvist’s insistence that the stones date from before AD 600 comes from a longstanding de bate with Nils Åberg over the date and context of the east mound at Uppsala, and by association, the date of the artistic style found on Hablingbo Havor II and När Smiss III. This debate has been resolved in favour of Åberg’s interpretation. These two picture stones rep resent an artistic tradition that should be dated con servatively from the beginning of the 5th century AD to the middle of the 7th century AD.

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“…A maritime cultural landscape can be divided into different landscape types, or aspects, in order to systemize and understand the remains studied using the concept (Westerdahl, : 339; Caporaso, : 3). Each of these aspects has its own way of representing the cultural component in a maritime landscape and can be the subject of an entire study.…”

Section: Aspects and Archaeological Remnantsmentioning

confidence: 99%

“…The aim of this article is to investigate the theory and practice of the maritime cultural landscape using the theoretical approach proposed by Westerdahl (; ; ), thereby exploring ways to examine the maritime cultural landscapes of the north‐eastern Zuiderzee, primarily in the period AD 1100–1400. It demonstrates how maritime cultural landscape elements (material and immaterial), previously proposed by others, can be applied directly to investigate the region of study.…”

mentioning

confidence: 99%

Maritime Culture in the Netherlands: accessing the late medieval maritime cultural landscapes of the north‐eastern Zuiderzee

Popta

Westerdahl

Duncan

2018

International Journal of Nautical Archaeology

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This paper examines the theory and practice of the maritime cultural landscape in general, and projects the theoretical concepts and aspects involved on the highly dynamic late medieval north‐eastern Zuiderzee region in the Netherlands. The cultivation of land and marine erosion (floods and rising sea level) are considered as the main factors that caused the transformation of the physical landscape of this region from peatlands with freshwater basins into a tidal lagoon. As a consequence, multiple settlements drowned, large areas of land submerged, and culture and the landscape gradually became more maritime, giving the research area a cultural identity and dimension.

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Conclusion: The Maritime Cultural Landscape Revisited

Cited by 13 publications

References 10 publications

Cultural Seascapes, Regional Connections, and Colonial Powers in the Southwestern Pacific

Cultural Seascapes, Regional Connections, and Colonial Powers in the Southwestern Pacific

The Water Dragon and the Snake Witch: Two Vendel Period Picture Stones from Gotland, Sweden

Maritime Culture in the Netherlands: accessing the late medieval maritime cultural landscapes of the north‐eastern Zuiderzee

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