The dynamic interaction between landscape and life is one of the key themes in the poetry of Baukje Wytsma, a Frisian writer who has been practicing her craft for some five decades. Included among her work is a poem called Gers, which translates as “Grass” (For the original Frisian text, see Appendix 1). The word “landscape” often gets confused with scenery and natural vistas. It is a conception of landscape that has, by and large, been promulgated by Art rather than Science or Law. Kenneth Olweg points out that this aesthetic approach to landscape, which is well established in art history, has provided new insights for cultural geography. He argues that this conception of landscape can be “somewhat one-sided and, thereby, obscure the relation between the aesthetic form of landscape and its substantive content.” Olweg also asserts that a substantive conception of landscape “is more concerned with social law and justice than with natural law or aesthetics.” For him, landscape is “a nexus of community, justice, nature, and environmental equity, a contested territory that is as pertinent today as it was when the term entered the modern English language at the end of the sixteenth century.” Although the Frisian environment is aesthetically pleasing, little if anything in it is either natural or primarily scenic, simply because it has been created, claimed, appropriated, constructed, deconstructed, and reconstructed over millennia for reasons other than providing a pretty place. Accepting its artifice, the provincial authority responsible for the Frisian environment, called It Fryske Gea, nonetheless emphasizes the area’s natural and cultural landscape. It Fryske Gea is a cooperative with some 30,000 members, and, according to its website (www.itfryskegea.nl), its aims are “the protection, maintenance and development of nature, landscape and cultural heritage in Fryslân.” In Fryslân, the latter three are more or less the same thing. It is in this context that grass as both an image and a metaphor for the landscape assumes its primacy. Whereas in most other places grass and other greenery is seen as an opposite of industry and development, in Fryslân, it is a component thereof and the province promotes itself as “green” both in terms of scenery and as commitment to sustainability and eco-friendliness. Grass, in the form of meadows and grazing lands, is an essential aspect of how Fryslân sees and promotes itself to the world. Along with water, grass is at the heart of most pictorial representations. Generally, the whole area is presented, for tourism at least, as a bucolically agrarian environment with a romantic relationship with the sea. For most Frisian people, that imagined relationship is a layer over the deeper, richer, and more binding substrata of

中文翻译：

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居住的风景：Baukje Wytsma 翻译 Gers

风景与生活之间的动态互动是 Baukje Wytsma 诗歌的关键主题之一，Baukje Wytsma 是一位弗里斯兰作家，她已经练习了大约五年的技艺。她的作品中包括一首名为 Gers 的诗，翻译为“草”（弗里斯兰语原文，见附录 1）。“风景”这个词经常与风景和自然景观混淆。总的来说，它是一种景观概念，是由艺术而非科学或法律传播的。Kenneth Olweg 指出，这种在艺术史上建立起来的景观美学方法为文化地理学提供了新的见解。他认为，这种景观概念可能“在某种程度上是片面的，从而模糊了景观的审美形式与其实质内容之间的关系。” Olweg 还断言，景观的实质性概念“更关注社会法和正义，而不是自然法或美学。” 对他来说，景观是“社区、正义、自然和环境公平的纽带，这是一个有争议的领域，今天与 16 世纪末这个词进入现代英语时一样重要。” 尽管弗里斯兰的环境在美学上令人愉悦，但其中几乎没有任何自然或主要风景，仅仅因为它已经被创造、声称、挪用、建造、解构和重建了数千年，而不是为了提供一个美丽的地方。接受它的诡计，负责弗里斯兰环境的省级当局，称为 It Fryske Gea，仍然强调该地区的自然和文化景观。Fryske Gea 是一家拥有约 30,000 名成员的合作社，根据其网站 (www.itfryskegea.nl)，其目标是“保护、维护和发展 Fryslân 的自然、景观和文化遗产”。在 Fryslân，后三者或多或少是一回事。正是在这种背景下，草作为景观的形象和隐喻占据了首要地位。在大多数其他地方，草地和其他绿色植物被视为工业和发展的对立面，而在弗里斯兰，它是工业和发展的一个组成部分，该省在风景和对可持续性和生态友好性的承诺方面都将自己宣传为“绿色” . 以草地和牧场形式出现的草是 Fryslân 如何看待并向世界宣传自己的一个重要方面。与水一起，草是大多数绘画作品的核心。一般来说，整个地区，至少是为了旅游，呈现为一个与大海有着浪漫关系的田园农业环境。对于大多数弗里斯兰人来说，这种想象中的关系是在更深、更丰富、更有约束力的基础之上的一层。