Libido Operandi or Conflict: Tafuri on Historic Preservation and Historiography

A brief analysis of an interview with Manfredo Tafuri (1991) on the relationship between historiography and judgements bound up in architectural preservation, restoration and conservation.

The myth of the nation: Historiography of New Zealand architecture since 1907

This paper considers the relationship between the recent historiography (of the last quarter century) of “New Zealand architecture” and the historical notion of “New Zealand-ness” invoked in contemporary architecture. It argues that a more recent programmatic uptake of post-War discussions on national identity and regional specificity has fed the tendencies of practicing architects to defer to history in rhetorical defences of their work: the beach-side mansion as a contemporary expression of the 1950s bach; a formal modernism divorced from the social discourse adherent to the historical moment that it “restates”; and so on. The paper will consider instances in the historiography of New Zealand architecture where historians have compounded, consciously or accidentally, a problem that is systemic to the uses made by architects of historical knowledge (in the most general examples), identifying the difficulties of relying upon the tentative conclusions of an under-studied field in developing principles of contemporary architectural practice under the banners of New Zealand-ness, regionalism, or localism, or with reference to icons of New Zealand architectural history. At the heart of this paper is a reflection on historiographical responsibility in presenting knowledge of a national past to an audience that is eager to transform that knowledge into principles of contemporary production. What, the paper asks, is the historical basis for speaking of a New Zealand architecture? Can we speak of a national history of architecture distinct from a regional history, or from an international history of architecture?

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.

'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.

Black and white and re(a)d all over again: Indigenous minstrelsy in contemporary Canadian and Australian theatre

This essay considers processes by which community identities are challenged by discussing the use of whiteface as an activist strategy in recent indigenous theatre in Canada and Australia. To understand whiteface, I employ Susan Gubar's notion of racechange, processes that test and even transgress racial borders. I also situate whiteface in relation to the history of blackface minstrelsy. Noting the ways these racial performances affirm the hierarchies of color and how power becomes invested in such color codings, the essay highlights indigenous employment of whiteface as a potential form of critical historiography. I then analyze how whiteface functions in two productions, Daniel David Moses's Almighty Voice and His Wife (1991) in Canada and the Queensland Theatre Company's 2000 revival of George Landen Dann's Fountains Beyond in Australia. My analysis posits that such indigenous performances of whiteface can affirm the identity of the marginalized other even as they destabilize the fixity of race and its meanings.