Mapping the Contours of Race: Griffith Taylor's Zones and Strata Theory

This article explores the ways in which cartography served as a tool to reinforce racial divisions in the context of late nineteenth and early twentieth century race science. Racial and anthropometric mapping was an endeavour in which both European and new world anthropologists and geographers were involved. The focus here is on the work of Thomas Griffith Taylor – regarded as one of the founders of modern geography in Australia – who deployed a number of cartographic techniques to reinforce his racial theorisations. This article explores Taylor's ‘zones and strata’ portrayal of racial evolution, and other geological‐ style maps of racial difference. These representations are investigated from two standpoints. Firstly, Taylor's theories are situated within the wider context of the Victorian tradition of classifying race, a tradition where physical race type was often correlated with moral and intellectual traits, and which was supported by the acceptance of environmental determinism within geographical circles. Secondly, his maps are considered from the perspective that, as J.B. Harley has argued, maps are social texts that contain power and, as such, can be deconstructed. Taylor's cartographic representations resulted from the manipulation of the internal elements of the map text, such as shading and projection, and were supported by the widely held belief that human racial groups could be delineated through physical anthropometry.     

明代方志地图编绘意向的初步考察

在地理学史和地图学史的研究中,一般关注于古代地图的科学技术价值,而较少讨论其思想史意义,尤其较少讨论方志地图的思想史意义。因此,本文从思想史的角度对明代方志地图的编绘意向做了初步的考察。认为明代方志地图的编绘意向中突出地强调了舆图的政治功能,但是对舆图所具有的政治功能的认识存在着较为明显的差异。更值得注意的是,在此之外对区域地理景观自身的关注,反映了新的在一定程度上具有变革萌芽的知识兴趣。这些不仅在一定程度上反映了当时社会上一般的地理学观念与知识系统,同时表现出方志地图在地理学史和地理学思想史中所可能具有的地位和意义。     

清代京杭大运河全图初探

本文将收集到的国内外清代京杭大运河全圈作为史料处理,结合相关文献一一解读各幅运河图本身蕴涵的信息。在此基础上,挖掘出清代在绘制运河全图时常用的一些绘制手法,井就运河图的载体、装订形式加以分析。进而根据绘制风格等的差异,将清代运河全图的绘制划分为前期和后舰又依据用途和内容的不同,划分为运河河工图、漕运图、运河泉源圈和运河景观图四种。作者试图通过分析论证,挖掘出地图的史料价值,找到一个利用地图学视角观察社会历史景观的路径。     

Interpreting urban space through cognitive map sketching and sequence analysis

Traditionally, analysis of sketch maps of urban areas has focused on the interpretation of hand‐drawn renditions of features that are most familiar to individuals. Few researchers have investigated the sequence that sketchers use to identify features on the urban landscape and how these features are linked together to form a coherent ‘picture’ of an area. This article builds upon previous research by exploring the sequential pattern of sketch map creation. Two research questions are proposed, namely, can a repetitive sequential order in element inclusion be identified for different individuals sketching the same urban environment? If so what features are mapped in which order to create the sketchers' image of the city? Findings suggest that three distinct groups of cognitive maps exist, namely, sequential, spatial and hybrid, and that the map elements of each group are organised in a distinctive manner with paths and landmarks as principal elements. It is suggested that insights into this process provide more substance to understanding how individuals interpret and structure urban space and use this information to navigate both known and new environments.     

The Nature and Genesis of the Peutinger Map

The place of the Peutinger map in the history of both ancient and medieval geography and cartography is controversial. Many basic questions as to its sources, dating and purpose remain unanswered. In the light of various pieces of new evidence these problems are reassessed. It is argued that the Peutinger map does derive from a Roman original but that, without precedent in Roman cartography or impact on later medieval cartography, the mapping of itinerary data onto a base map of the oecumene is likely to be a genuine innovation of the designer of the archetype. There is no need to suppose the map to be an officially state‐sponsored product. The sources relied upon were commonly available and would have been familiar to the public in late antiquity. The purpose of the map is more likely to have been ornamental than practical. It is impossible to determine a precise date or location for the creation of the archetype, but the cultural viewpoint embodied in the map is undoubtedly antique, Latin and western.     

Topographies of Difference: Cartography of the City of Naples, 1627–1775

The eclipse of the city view by the geometric plan around 1700 is a well‐documented phenomenon that traditionally has been explained by recourse to a meta‐historical narrative about the progressive triumph of science over art. In actuality, throughout the early modern period the modes of representation available to the cartographer ranged from the geometric to the pictorial, and their employment was predicated on concerns that were more cultural and political than scientific. To show how these concerns contributed to the dramatic shift in the representation of cities which occurred at the outset of the eighteenth century, the content of the languages employed in the most famous early modern view (1627) and the plan of Naples (1775) is analyzed and the ways in which their respective strategies of representation explicitly sought to accommodate or challenge the political status quo are exposed.     

Maps,Mapping, Modernity: Art and Cartography in the Twentieth Century

While the history of cartography has freed itself from debilitating debates over the scientific and artistic status of maps, considerations of the relationship between art and cartography have continued to focus largely on pre‐modern maps, avoiding critical examination of twentieth‐century art and science in cartography and leaving intact the impression that these followed distinct paths in the modern period. In this paper, however, I have drawn on theoretical work in Science Studies and taken account of modern art's separation from aesthetics to suggest that an examination of art and cartography in the twentieth century should focus on mapping practices rather than on maps as such. A summary overview of modern‐art movements and selected works indicates a continued, if critical, engagement of avant‐garde artists with cartography, and the examination of more popular newspaper artwork produced in the context of the intensely modern visual culture of mid‐twentieth century Los Angeles indicates a similarly close connection between modernity, art and cartography.     

Emmanuel de Martonne and the ethnographical cartography of central Europe (1917–1920)

Abstract

Emmanuel de Martonne is well known among geographers as the founding father of geomorphology and as one of Paul Vidal de la Blache's main disciples. He also played a central role as a geographical expert on the Comité d'études, a body set up by Deputy Charles Benoist during the First World War to prepare guidelines for the organization of peace and, in particular, the demarcation of boundaries. De Martonne's special expertise was the construction and comparison of ethnographical maps. He applied his theories on ethnic mapping and improved methods of representation of mixed minorities to his map of the Romanian nation published in 1919 by the Service Géographique de l'Armée. In his reports on Central Europe, de Martonne claimed neutrality, but the graphical options employed on his map offered a biased view of the Romanian nation, inspired mainly by the views of the French school of regional geography.     

Finding Mid-19th Century Native Settlements: Cartographic and Archaeological Evidence from Central California

Historical maps have the potential to aid archaeological investigations into the persistence of Native American settlements during the mid-19th century, a time when many Native communities disappear from archaeological view. Focusing on Tomales Bay in central California, we evaluate the usefulness of historical maps as a way to discover and interpret archaeological deposits dating to the period, with the aim of better understanding indigenous patterns of residence at the transition from missionary to settler colonialism. In particular, we focus on diseños and plats created to document Mexican-era land grants as well as early maps produced by the General Land Office and United States Coast Survey. Although we note inconsistencies regarding the inclusion of indigenous settlements on historical maps, our case study offers an example of how archaeologists can employ historical maps and targeted archaeological ground-truthing to discover sites that are poorly represented in the historical and archaeological records.     

Can Lost Maps Speak? Toward a Cultural History of Map Reading in Medieval China

Despite the fact that virtually no Chinese maps have survived from the first millennium, it is nonetheless possible to reconstruct a rich context associated with their production, use and perception from a variety of written sources. Three cases from the Tang dynasty (618–907 ce) are presented in this article in which the characteristics of the missing maps emerge through their associated texts, which have outlasted them. These examples include two documents that once accompanied maps presented to the emperor and an anecdote that refers to a map of the remote southern frontier. They demonstrate that the maps were designed not only to encapsulate imperial territory but also to serve as guideposts for aspirational travel. They were also perceived by their users as invitations to experiences both desirable and undesirable.