The Conditional Autonomy of Tafuri's Historian / De Provisorische Autonomie van de Historicus bij Tafuri

This article considers the conditions placed on the autonomous architectural history discipline often understood at stake in Manfredo Tafuri's 1968 book Teorie e storia dell'architettura.

Remembering sport history: Narrative, social memory and the origins of the rugby league in Australia

This study examines the historiography of the origins of rugby league in Australia. By accepting the inclusive nature of representation of the past as found in social memory theory, a wide range of sources ranging from histories written by academics to annuals, yearbooks and newspaper books are consulted. These sources reveal that there are several competing and conflicting accounts of the emergence of rugby league in Australia. These divergent accounts are used to facilitate a discussion of the role of narrative in sport history This article argues that narrative is an integral, not optional, feature of the production of history and that the historography of the origins of rugby league highlight the problematic nature of objectivity in history and the unavoidable, impositionalist role of the historian.

Historic Bridge Photographs: The Lahey Collection

Romeo Watkins Lahey (1887-1968) was a distinguished Queensland engineer. He graduated in engineering from the University of Sydney in 1914 and served in World War I from 1915 to 1918 with The Royal Australian Engineers. Following the war, he accepted an offer to remain for a period in England and studied town planning at the University of London. He visited Europe and collected a remarkable set of historic bridge photographs. In the course of this visit, he met Paul Sejourne, a distinguished French bridge engineer, the designer of at Ieast one of the bridges (at Fontpedrouse, pages 25-27) included in this set. When Lahey died, his wife Sybil and daughter Ann took steps to give this remarkable set of 58 historic bridge photographs to The University of Queensland. More recently, Lahey's daughters Ann Neale and Alison Drake have given a set of lantern plates collected by their father, many of which also have photographs of bridges. This volume is divided into three parts: (a) a biography of Romeo Watkins Lahey, written by his daughter, Ann Neale; (b) copies of the original set of 58 bridge photographs, and (c) copies taken from 32 lantern plates. To these have been added captions. Many of the original photographs carried titles; where these are available they have been printed in italics. Further work has been done to identify bridges and where possible the captions include the completion date, major dimensions, locations, and references to published works. Plates 8.1-10 are copies of drawings used as Figures in a book. These drawings have not been copied and the source has not been identified. Two lists of photographs and plates are included - the first in the order of the original collections and a second with bridges listed in the order of material, structural form and date. The collection is of remarkable value to any bridge historian, and is recommended for study by students.

'Why does cultural studies want history?'

Cultural studies has often been accused of maintaining too strong a focus on the contemporary and the immediate as a result of its primary interest in popular culture and the media. The role of history, such criticisms suggest, has been displaced by this contemporary emphasis. Nonetheless, much cultural studies work takes a principled stand on the necessity of historicising the products of its research. Consequently, it is worth asking, with British historian Carolyn Steedman--'why does cultural studies want history?' This article begins to answer that question through the discussion of some aspects of a specific research project within Australian cultural studies.