Nationalist landscapes mobilize through the countryside as much as the city

Evidence

In a complementary fashion at times of national crisis the landscapes of nationalism can resonate through the countryside as much as the city.’ The novelist Kazuo Ishiguro cleverly played with such a notion in tracing the seething growth of 1930s fascism to the bastion of Englishness in the country house at the center of The Remains of the Day* Likewise it should be of no surprise at all that the British National Party in 2000 turns towards the countryside, with a Cambridge University-educated leadership based on a rural small landholding in Wales (Back, 2000) to identify discontented nationalist sentiment, with its launch of a new journal The Countryman. — David Theo Goldberg, John Solomos, A Companion to Racial and Ethnic Studies, 2296 (#corroborates, via linked claim)

The conscientious imitation of landscape in music corresponds historically to the development of landscape painting, which seems to have been first cultivated by the Flemish painters of the Renaissance and developed into the principal genre of painting in the nineteenth century. Such developments are explicable only as a result of the displacement of the art gallery farther and farther from the natural landscape in the hearts of growing cities. — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 370 (#complicates, via linked claim)

Categorization

  • XREF: connects to: Nationalist sentiment can be represented through the countryside as much as the city — David Theo Goldberg, John Solomos, A Companion to Racial and Ethnic Studies, 2296; Landscape art imitating nature grew as cities swallowed the countryside — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 370; Pre-capitalist cities sustain an ideological unity against the countryside (+4 more)

Broader Connections