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This chapter explores how military landscapes have been conceptualised and understood. The chapter starts by defining what is meant by the terms ‘landscape’ and ‘military’. The chapter then proceeds with an exploration of a range of examples from a variety of disciplinary origins in order to support the argument that military landscapes constitute a diversity of sites and have a ubiquity of occurrence. Such examples include battlefields and other sites of conflict, the interconnections between landscapes and the pursuit of specific campaigns and conflicts, the issue of environmental impacts of military activities and the interpretation of these with reference to the specificity of landscapes, and landscapes of memory and military memorialization. The chapter then goes on to consider how military landscapes can be viewed, raising questions about the visibility and invisibility of such sites. The chapter concludes with some observations about the imperative for sustained scholarly attention to military landscapes, in order to inform debates about militarism as a social force.

This chapter focuses on the authentication of wilderness and the mechanisms of power and agency through which the wilderness has come to assume its patina of authenticity, often associated with masculinity, challenge, self-(re)creation, pristine landscapes, and, perhaps above all, authenticity. Rather than examining the concept of authenticity, this chapter focuses on its process; using notions of “hot” and “cool” authentication, it attends to the ways individuals and groups navigate social terrain through discourse and performance to construct authenticity in wilderness landscapes. It examines the various mechanisms through which authenticity in wilderness is constructed, measured, and assessed, attending to the “hot” and “cool” authentication of the American wilderness.

The purpose of this paper is to propose an initial, exploratory and tentative theoretical construct related to the current consumption of landscape as a key symbolic and physical element in territorial representation and evocation, and for the deployment of place branding strategy. It constructs a line of argument to support what shall be referred to as “landscape branding”, that is, the paradigmatic role of landscape in place branding. It is, therefore, of interest to define the value of landscape as a social and cultural construction, which is why the paper awards importance to the specific analysis of their capacity for visual and/or aesthetic evocation within the context of a general branding strategy for geographical spaces.

To develop a sufficient proposal for sustaining “a theory of landscape branding”, the paper deploys a meta-analysis, that is, an extensive review and interpretation of the literature related to visual landscape and place branding, to propose a tentative initial approach to landscape-infused place branding theory.

The relationship existing between landscape images and texts and their possible situating and subsequent interpreting within the context of the political, cultural and economic logics of contemporary society give rise to a renewed analytical framework for cultural geographies (Wylie, 2007). At this point, place branding becomes a recurring argument for the consumption of carefully staged places, representing, to use Scott’s terms (2014), the arrival of a cognitive-cultural capitalism characteristic of post-Fordism.

From a practical perspective, the landscape branding approach provides several benefits. First of all, regardless of the fact that many commentators have argued that logos, slogans and advertising campaigns are relatively ineffective in place branding, practitioners still seem to be focussed on these visual design and advertising tools. The landscape branding approach facilitates an identity-focussed perspective that reconfirms the importance of linking reality with perception and hence reinforces the need to link place branding to policy-making, infrastructure and events.

Landscapes’ imageability facilitates visual storytelling and the creation of attractive symbolic actions (e.g. outdoor events/arts in attractive landscape and augmented reality or landscaping itself). This is the type of imaginative content that people easily share in social media. And, of course, landscape branding reiterated the importance of experience. If policymakers and publics alike understand this considerable symbolic value of landscape, it might convince them to preserve it and, hence, contribute to sustainability and quality of life.

The novelty lies not in the familiar use of visual landscape resources to promote places, but in the carefully orchestrated construction of gazes, angles, representations, narratives and interpretations characteristic of geographic space, which somehow hijack the spontaneous gaze to take it to a certain place. Everything is perfectly premeditated. According to this, the visual landscape represents a critical point as a way of seeing the essence of places through a place branding strategy. In this sense, that place branding which finds in visual landscape a definitive argument for the projection of aspirational places imposes a new “way of seeing” places and landscape based on a highly visual story with which to make a particular place desirable, not only for tourism promotion purposes but also with the intention of capturing talent, infrastructures and investment, among other objectives.

In this chapter, the authors focus on the development of the peer-to-peer (P2P) lending industry in China. As a modern borrowing platform, P2P lending allows clients to obtain funding from peer lenders for a multitude of loan purposes, including credit consolidation, personal purchases, and the development of business ventures. However, the speed at which this industry has grown has created numerous problems for regulatory agencies, particularly in China, the largest P2P lending market in the world. This chapter examines how lenders in the Chinese context continue to function as formal institutions regulating this sector continue to grow following a series of highly publicized illegal lending activities in recent years. Additionally, the authors determine whether implemented regulatory measures are providing an overall benefit or detriment to the Chinese P2P lending industry. Finally, the authors highlight the potential for positive social change and social entrepreneurship arising from P2P lending, particularly in terms of the empowerment of traditionally disadvantaged groups by providing access to capital. The authors use the P2P lending industry in the United States, currently the second largest in the world and one operating in a highly regulated financial industry, as a comparison for the Chinese case.

The purpose of this paper is to determine the basis for a management agenda for the Tolima Coffee Cultural Landscape (CCLT) in Colombia. To this end, a delimitation model has been developed. However, the approach taken to institute the agenda of the CCLT, as a comprehensive academic and policy-based theme, is based on the formulation of a social agenda that supports its construction.

A theoretical framework is proposed that addresses the sociocultural complexities of the Tolima cultural landscape. This is based on an ethnohistorical approach that elucidates the development of this landscape as a collective construction of pre-Hispanic origin. Therefore, this investigation has been perceived through the theoretical and conceptual framework of the cultural landscape concept and the unique historical and cultural phenomenon that help to define all landscapes. More specifically, the authors have demonstrated the close links that exist between nature and culture, requiring increasingly accurate methods in order to adapt the landscape definition to the specific Latin American context, rather than adhering to the institutional framework proposed by UNESCO.

The assessment methods currently in use support the interpretation of a set of qualitative and quantitative attributes inherent to the Tolima region. However, additional methods still remain similar to those of the Coffee Cultural Landscape of Colombia (CCLC) that has already been inscribed on UNESCO's World Heritage List. The CCLC is considered to be a representative landscape—or “type” landscape—that “mirrors” the CCLT. Taken as a whole, this theoretical construction combined with the official designation allows local communities to understand the spatial phenomena of the CCLT. This will have the effect of enabling communities at all levels, from local government to landholders and farmers, to authorize its existence and allow for its continuing development and governance. The additional approval for further academic research, combined with the totality of these elements, also has the added effect of empowering communities, their economic future and their cultural interests.

The management agenda that the authors are proposing may form the beginning of regional policy initiatives that reflect a positive strategy for highlighting the value of cultural heritage, thereby ensuring the protection of cultural properties and landscapes and allowing for a more sustainable environment and livelihood for its occupants.

The purpose of this paper is to examine the Golden Gate Bridge (GGB) as a work of art and the role of the bridge in shaping community identity and discourse. Particular attention is focussed on the discourse surrounding mental illness and suicide, which perpetuate the problem of suicides involving the bridge as a means and mechanism of death. An analysis of the person who attempts or completes suicide is also performed.

Multiple research articles, writings, and a cinematic production are drawn on to frame the argument in terms of Michel Foucault's adaption of Pantopticism Theory and Jacques Lacan's Mirror Theory, which includes the concepts of the Real, the Imaginary, and the Symbolic.

The GGB is a major factor in shaping the discourse on mental illness and suicide in the San Francisco community. The influences the GGB exerts combines with and exacerbates a culture of stigma, which perpetuates negative discourse and increases the risk of suicides in those already vulnerable.

The research for this paper was performed at a distance and was conducted, with the exception of one personal communication, by literature search and application to theory. Ethnographic research would be a logical next step to study the phenomenon further.

Theory developed from this paper could be used in determining a relevant course of action for adding to existing suicide prevention efforts in the San Francisco Area and any other community with a prominent icon, such as the GGB, that may be exerting a negative influence on the suicide rates of that area.

An awareness of how art, culture, and psychology interact would increase awareness of the creation of a stigmatized environment and perhaps precipitate a change in the underlying negative discourse.

This paper takes a fresh look at the phenomenon of violent death by suicide where a physical object/icon (the GGB) is used as a means to die. The particular theories and approach used to explain the interactions that intensify the suicide death rate have never been combined and interwoven in such an interdisciplinary way to seek an explanation.