A recent shift in tourism studies has focused on the emotional, affective, embodied, and performative dimensions of heritage landscape experience. However, such research often struggles to transform theoretical and conceptual discussions into practical and applicable terms that can be effectively implemented by site managers. The concept of presence is therefore proposed to identify emotional and affective dimensions of heritage landscapes through an embodied, observational, and collaborative approach. Inspired by landscape phenomenology, I share how my own embodied encounter in the Viking Age site of Birka in Sweden prompted further observations and reflections on the existing site experience to confirm that certain areas of the landscape have been largely unexplored for their affective and emotional potential. Practical strategies to utilize these new dimensions emerge from focus groups and interviews with site managers, re-enactors, and tour guides. I conclude that a more collaborative study of presence grounded in embodied and observational encounters provides a useful stepping stone to transform theoretical and conceptual discussions of emotion and affect into more practical heritage management strategies. 摘要 最近,旅游研究的一个转变集中在遗产景观体验的情感、情绪、亲 身体验和展演方面。然而,这类研究往往致力于将理论和概念讨论 转化为现场管理人员有效执行的实用而适用的术语。因此,本研究 提出了在场的概念,并通过一个亲身观察和合作的方法来识别遗产 景观的情感和情绪方面。受景观现象学的启发,我分享了我自己在 瑞典比尔卡维京时代遗址的亲身经历,这促使我进一步观察和反思 现有的当场体验,以证实该景观的某些区域在情感和情绪潜力上很 大程度上未被挖掘。利用这些新维度的实用策略来自于我对焦点 小组和现场管理人员、演员和导游的访谈。我的结论是,一个基于 亲身实察经历的在场的更为协作性的研究,为将情感和情绪的理论 和概念讨论转化为更实用的遗产管理策略提供了一个有用的跳 板。 ARTICLE HISTORY

The standardization of writing styles and formats and the use of jargon in the social sciences have had considerable consequences on the quality of academic work. Due to the emphasis on method, theory, and empirical rigor, creativity, personal narrative, and storytelling no longer play a large role in academic writing. Addressing the growing concern for researchers losing their sense of self, the suppression of emotional reflection, the inaccessibility of jargon-filled work to the public, and the overall deterioration of writing quality, this paper argues for a renewed focus on teaching writing as a foundational qualitative method in the social sciences. Using creative writing examples by students from a graduate course in landscape geography, I suggest strategies for teaching, practicing, and reflecting on writing as method. Addressing the significance of creative and reflective writing earlier on in higher education will help young academics foster their own narrative voices, and will ultimately contribute to more interesting, accessible, and affective research that (re)enchants geography and other fields in the social sciences.

Learning by doing has become a common phrase in the scholarship of teaching and learning as research continues to emphasize the benefits of active student engagement in higher education. Instead of passive vessels to be filled with information, students become the architects of their own education. While traditional ways of teaching focus on what students should learn, there is now more interest in how they should learn. With the emotional turn in geography, research has increasingly focused on the lived experience and the emotional and affective dimensions of space and place. However, the question often remains as to how to bring such research into an active learning environment that extends beyond the classroom. Instead of learning by doing, learning by feeling is presented as a new way of teaching emotional geographies. Student projects from two courses in landscape geography reveal how excursions into the affective landscape help students explore emotional geographies through more creative, reflective, affective, and active learning assessment strategies.

No abstract