Book review: Glamour in the Pacific. Cultural internationalism and race politics in the women's Pan-Pacific

Since the publication of Leila J. Rupp’s Worlds of Women: The Making of an International Women’s Movement in 1997, historians have begun to investigate the myriad ways in which women, largely excluded from formal, government-based international relations, nonetheless forged significant personal and institutional relationships across national and cultural boundaries. As a result, women’s international activism has become an increasingly popular field of scholarly enquiry.

Book review: Review of 'John Connor, Anzac and Empire: George Foster Pearce and the Foundations of Australian Defence' (Melbourne: Cambridge University Press), 2011. ISBN10 1107009502 (Hb) pp. 248. $59.95, cloth.

Anzac and Empire is the remarkable story of George Foster Pearce – a carpenter who became one Australia's most influential politicians, and the man central to how Australia planned for, and fought in, World War I. The nation's longest-serving defence minister – holding the portfolio before, during and after the Great War – Pearce saw no contradiction in being both a fierce Australian nationalist, and also a loyal subject of the British Empire.Anzac and Empire is the first full-length biography of this extraordinary Australian. Written by one of Australia's leading military historians, this book shows that to understand Australia in the Great War, you must understand the man behind it.

Aboriginal cottages, transactional encounters and mission lifestyles at New Norcia, 1860-1900s

Several photos of Aboriginal people outside their cottages exist in the New Norcia Archives. These images could be read in different ways but have commonly been viewed as powerfully symbolic stories of successful mission life and converted Aboriginal people. While historians of colonial photography have persuasively linked the photographs of ‘settled’ Aboriginal residents with evidence of missionary success, we might add that they could also be compelling proof of Aboriginal families’ own success in adapting their land use and way of life in the context of dispossession. Reading this photograph of Aboriginal houses alongside Aboriginal voices in New Norcia’s archive it is possible to suggest Aboriginal people’s own desires for houses and settlement aligned with their ideas about respectability, as well as Aboriginal families’ own complicity in mission propaganda through such images.

Forgotten voices

Contention and disquiet never seem too far away when the subjects of Van Diemen’s Land and colonial warfare are raised. These recent books demonstrate that while the campaign by Keith Windschuttle to undermine the reputations of “revisionist” historians continues, the task of questioning both entrenched and emerging narratives in Australia’s account of its treatment of Indigenous people has not been diminished. Murray Johnson and Ian McFarlane’s Van Diemen’s Land: An Aboriginal History follows Henry Reynolds’s most recent volume, Forgotten War; while different in scope, the two books remind us that the details and consequences of colonial conflict with Australia’s First Peoples remain vitally important. This is no better evidenced than by the contestation that occurs over factual, source and narrative validity in recent historical literature.

Violence from below : explaining crimes against civilians across Soviet space, 1943–1947

The end of World War II brought little relief to the lands it ravaged most. Mass wartime violence continued in the Soviet space beyond the ‘false peace’ of 1945. Historians have sought to explain this violence in terms of the ‘wartime brutalisation’ of state and citizens alike, though this approach is limited in explaining how and why violence continued after 1945. This article shifts focus from psychology to social history to argue that the disintegration of Soviet state control is central to explaining the enduring violence after 1945 and understanding its emergence as much ‘from below’ as ‘from above’.

Imaging identity: media, memory and portraiture in the digital age

Imaging Identity presents potent reflections on the human condition through the prism of portraiture. Taking digital imaging technologies and the dynamic and precarious dimensions of contemporary identity as critical reference points, these essays consider why portraits continue to have such galvanising appeal and perform fundamental work across so many social settings. This multidisciplinary enquiry brings together artists, art historians, art theorists and anthropologists working with a variety of media. Authors look beyond conventional ideas of the portrait to the wider cultural contexts, governmental practices and intimate experiences that shape relationships between persons and pictures. Their shared purpose centres on a commitment to understanding the power of images to draw people into their worlds. Imaging Identity tracks a fundamental symbiosis — to grapple with the workings of images is to understand something vital of what it is to be human.

Eurocentrism and the history of democracy

Building atop these earlier works, this article offers a fresh critique of the work of Dunn and other political scientists and historians who have propagated the Eurocentric history of democracy. The papers argues that such work can be dissected and critiqued along several key lines: their reliance on a distinctly patriarchal discourse riddled with prejudices; the assertion that one can understand the history of democracy via the etymology of the word itself; and the deeply Eurocentric roots of the study of democracy’s past embedded in the canon of Western political thought. The paper concludes by calling on contemporary political scientists and political historians concerned with the history of democracy to be careful in re-iterating this deeply flawed history of democracy and to instead work towards a history of democracy that retrieves the silenced histories and the forgotten democratic moments that lay behind the roar of Western power.

Experts' history: the Frankfurt Auschwitz trial and Anatomie des SS-Staates

Four West German historians acted as expert witnesses in the Frankfurt Auschwitz trial, from 1963 to 1965. Their written reports for the trial became an influential book: “Anatomy of the SS State”. This research argues there is a paradoxical relationship between the historians’ courtroom roles, their written reports, and “Anatomy”.

Book review. Historical justice in international perspective

The notion that something can — and must — be done to address injustices of the past has gained signifieant political currency around the world in recent decades. As demands for apologies, reparation, restitution, and restorative justice have grown louder, the attempt to make amends has emerged as an important national marker in what Elazar Barkan has called a new era of intemational morality. For historians, this seemingly new way of engaging with the past is particularly intriguing, perhaps signalling a significant change in historical consciousness in the contemporary world. Historical Justice in International Perspective offers a window onto these events, surveying the political, judicial, and historical landscapes of what has become known as historical justice. In doing so, this collection demonstrates the widespread and increasing significance of historieal redress in contemporary political life.

In search of the philosopher’s stone: alchemy, ARM and the Sydney Opera House

Since the Middle Ages, alchemists sought the Philosopher’s Stone; a mythical elixir of life and longevity and essential for – chrysopoeia – the transmutation of lead to gold, of base metals to noble ones. The Sydney Opera House is widely regarded within the discipline of architecture as a ‘flawed masterpiece;’ its iconic exterior celebrated as Sydney’s golden architectural icon, while the interiors by Peter Hall, are largely criticised as the leaden cousins of the building’s original major and minor hall designs. Like the mythical Philosopher’s Stone, Jørn Utzon’s designs for the interior of the building remained elusive until Unseen Utzon (1994/5). This exhibition revealed the major hall (now the Concert Hall) as an expanse lined with gold and red-radiating waves, and the minor hall (now the Opera Theatre) awash in silver and blue, an apparition of Uzton’s genius and completion of his original vision.