The Middle Rhine valley as an imaginary landscape. Imagination and creation of a landscape as a means of debating the social and political order in modern times, c 1750-2010

在历史学中，风景经常被认为是对自然的掌握，或者是某种空间容器，在其中发生特定的经济历史或社会历史。许多历史学家无视视觉转向，认为感知是主观的和扭曲的。另一方面，在文化研究中，有时不考虑景观的真实性，几乎完全从其文化建设的角度来考虑。为了既不根据现实来衡量感知，也不认为这种现实仅仅是想象力的演绎，因此，有必要将景观的物质现实以及景观的感知和表现过程彼此联系起来。该项目想要展示两件事：a)想象、图像和现实以复杂的方式交织在一起，b)通过调查风景政治化的问题，这与19世纪和20世纪的社会史有什么相关性。为此，将引入想象景观的术语。这一术语旨在作为一种手段，以想象力的形式分析对景观的感知，并表明这些景观具有特定的图像特征，这些图像是在一个漫长的、组合的投影过程中发展起来的。这些(但不是所有)景观可以作为社会乌托邦的发展空间，作为一个国家过去的回忆录，作为现代文明的替代草案，或者它们实际上可以使一种社会或政治秩序自然化。然而，这些关系是多方面的；想象中的景观从来不会被景观、投影和设计之间的一种不同的关系以及在每种情况下产生的(政治)效果所标记。在该项目中，将以莱茵河中游为例，从纵向(约1750年至今)的角度对此进行调查。它属于德国的核心景观，与德国其他任何一条河流不同，它承载着神话和期望。虽然在18世纪末到1945年之间被风格化为一个彻头彻尾的民族演员，但同时也塑造了一种文化景观，它越来越多地从艺术家建模的浪漫情感景观转变为(引用)充满政治色彩的回忆景观(Eoq)。除此之外，中莱茵河还成为了一个旅游区，在德国和其他地方被认为是典型的德国景观，并于2002年被联合国教科文组织宣布为世界遗产。然而，在19世纪，从现代性的角度来看，景观也是文化悲观主义的投影屏，即对完好无损和残缺不全的景观的二元论看法。因此，将有丰富的材料来例证项目论文。

In historiography, landscapes are frequently considered in terms of mastering nature or as some sort of spatial container, within which a specific Economic- or Social-History takes place. Disregarding the visual turn, many historians consider perceptions as subjective and distortive. In cultural studies, on the other hand, the reality of landscapes is sometimes not accounted for and they are almost exclusively considered in terms of their cultural construction. In order to neither measure perceptions according to a reality nor to consider this reality as a mere deduction of imaginations, it is, thus, necessary to relate the material reality of landscapes as well as processes of perception and representations of landscapes to each other. The project wants to show two things: a) that imagination, image and reality are interwoven in complex ways, and b) which relevance this has for a History of Society of the 19th and 20th century, by investigating the question of a politicization of landscapes. For this purpose, the term of imaginary landscapes will be introduced. This term is intended to serve as a means to analyze the perception of landscapes in the form of imaginations and to show that these landscapes are characterized by a certain image, which developed in a long, assembling process of projections. This image in turn could become, realized materially in buildings, landscape modeling etc. Such (but not all) landscapes could serve as spaces for the development of social utopias, as lieu de memoire of a nations past, as alternative drafts for modern civilization or they could virtually naturalize a social or political order. These relations, however, are manifold; an imaginary landscape is never marked by one distinct relation between landscape, projection and design and yields in each case (political) effects. In the project, this will be investigated in a longitudinal perspective (approximately 1750 to the present) following the example of the Middle Rhine. It belongs to the German core-landscapes and it is, like no other river in Germany, loaded with myths and expectations. While stylized as a downright national actor between the end of the 18th century and 1945, a cultural landscape was modeled at the same time, which increasingly transformed from an artist-modeled romantic landscape of feelings to a (quotation) politically charged landscape of remembrance (eoq). In addition to that, the Middle Rhine became a tourist region, which is considered in Germany and beyond as a typically German landscape and which was declared a UNESCO World Heritage Site in 2002. However, in the 19th century the landscape also served as a projection screen for cultural pessimism in the light of modernity, namely in the dualistic perception of an intact and maimed landscape. Thus, there will be a rich material to exemplify the projects thesis.