ABSTRACT
Postm odernism ’s challenge of positivist research as the basis for establishing ‘tru th ’ has placed emphasis on relativist and m ultiple ways of seeing to reveal alternative truths. O ur exploration of images and myths about the Great Wall of China depends on the intellectual space opened up by the postm odern project and is also inspired by “post-disciplinary” thinking (MacCannell and MacCannell 1982: 1). We are interested in a process of “trying to make what we all know we know seem less familiar” (Clunas 1996: 14) by de-familiarizing the single greatest touristed landscape in China, the Great Wall.
