scholarly journals Women Album Makers from the Canterbury Region of New Zealand, 1890-1910, and Their Photographic Practices

2021 ◽  
Author(s):  
◽  
Victoria Annabel Hearnshaw
Keyword(s):  
New Zealand ◽  
Social History ◽  
Cultural Production ◽  
Social Practice ◽  
Close Association ◽  
Formative Period ◽  
Domestic Sphere ◽  
Photograph Albums ◽  
Published Evidence ◽  
Object Of Study

<p>This thesis examines the photograph albums created by fifteen women born during the reign of Queen Victoria living in the Canterbury region of New Zealand between the years 1890-1910. It will investigate how it was that these women, often working in close association with other members of their family, became involved in photography as an amateur recreational pastime. It will pursue this investigation within the conceptual and structural framework in which these women’s photographs were produced, collected or processed, and organized into albums, arguing that the making of such albums was as much a cultural and social practice as a representational one.  Photograph albums are often considered to be generic objects. However this study will treat albums as distinctive and unique documents, comparable to other more-widely consulted primary sources such as letters and diaries. In particular, it will explore the capacity of the album to be a pictorial artefact that provides its own conditions for viewing images over time and space and contribute to a growing body of literature that insists that the photograph album is an important object of study within social history, and indeed within the history of photography in general.  In drawing attention to the album making as a gendered pastime I am acknowledging the significance of this activity for women from within the upper and middle classes as a significant aspect of feminine cultural production at this period in our colonial history. As cameras became easier to operate towards the end of the nineteenth century these improvements saw women begin to take their own photographs, and also to print and distribute them within their extended families and beyond. This reflects the extent to which the practices of photography and album-making had become integrated practices by this date. Thus, the role of the album compiler working in the domestic sphere was effectively transformed from a passive consumer (collecting photographs) into an active producer of photographs.  However, the extent to which the practice of photography was undertaken by women within colonial New Zealand is only now beginning to be realized. To date, the published evidence for this has been slight. This thesis endeavours to shed light on the contribution of these women working within the domestic sphere, but also those of their number who subsequently ventured to use this knowledge outside this limited sphere, and on their visual legacy at this formative period in New Zealand’s history.</p>

scholarly journals Women Album Makers from the Canterbury Region of New Zealand, 1890-1910, and Their Photographic Practices

2021 ◽  
Author(s):  
◽  
Victoria Annabel Hearnshaw
Keyword(s):  
New Zealand ◽  
Social History ◽  
Cultural Production ◽  
Social Practice ◽  
Close Association ◽  
Formative Period ◽  
Domestic Sphere ◽  
Photograph Albums ◽  
Published Evidence ◽  
Object Of Study

<p>This thesis examines the photograph albums created by fifteen women born during the reign of Queen Victoria living in the Canterbury region of New Zealand between the years 1890-1910. It will investigate how it was that these women, often working in close association with other members of their family, became involved in photography as an amateur recreational pastime. It will pursue this investigation within the conceptual and structural framework in which these women’s photographs were produced, collected or processed, and organized into albums, arguing that the making of such albums was as much a cultural and social practice as a representational one.  Photograph albums are often considered to be generic objects. However this study will treat albums as distinctive and unique documents, comparable to other more-widely consulted primary sources such as letters and diaries. In particular, it will explore the capacity of the album to be a pictorial artefact that provides its own conditions for viewing images over time and space and contribute to a growing body of literature that insists that the photograph album is an important object of study within social history, and indeed within the history of photography in general.  In drawing attention to the album making as a gendered pastime I am acknowledging the significance of this activity for women from within the upper and middle classes as a significant aspect of feminine cultural production at this period in our colonial history. As cameras became easier to operate towards the end of the nineteenth century these improvements saw women begin to take their own photographs, and also to print and distribute them within their extended families and beyond. This reflects the extent to which the practices of photography and album-making had become integrated practices by this date. Thus, the role of the album compiler working in the domestic sphere was effectively transformed from a passive consumer (collecting photographs) into an active producer of photographs.  However, the extent to which the practice of photography was undertaken by women within colonial New Zealand is only now beginning to be realized. To date, the published evidence for this has been slight. This thesis endeavours to shed light on the contribution of these women working within the domestic sphere, but also those of their number who subsequently ventured to use this knowledge outside this limited sphere, and on their visual legacy at this formative period in New Zealand’s history.</p>

scholarly journals Books as social currency: Robert Coupland Harding and the field of book collecting in New Zealand 1880-1920

2021 ◽  
Author(s):  
◽  
M.A. Hughes
Keyword(s):  
New Zealand ◽  
Cultural Production ◽  
Social Practice ◽  
Trade Journal ◽  
Jean Baudrillard ◽  
Highly Active ◽  
The Social ◽  
Book Collecting ◽  
Social Currency ◽  
Book Collectors

<p>“Here, indeed, lies the whole miracle of collecting,” Jean Baudrillard asserted, “it is invariably oneself that one collects” (“Systems of Collecting” 12). If Baudrillard's premise that a collection is itself a representation of the collector, then how can we read a person through his/her private library? There have been several large and important studies produced on the three preeminent figures in New Zealand book collecting: Sir George Grey, Dr Thomas Hocken and Alexander Turnbull. However, to understand book collecting as a whole during the highly active period at the turn of the twentieth century, it is vital that we investigate 'minor' book collectors alongside our esteemed 'major three'.  This thesis explores the private library of Robert Coupland Harding (1849-1916), an internationally recognised expert on printing and typography, whose trade journal Typo: A Monthly Newspaper and Literary Review (1887-1897) was celebrated as a remarkable achievement. Very little documentation of Harding's life exists. However, one tantalising artefact discovered in a Wellington antiquarian bookshop is the basis for this research: the auction catalogue of Harding's extensive private library. Focusing on the New Zealand-related section of the catalogue, this thesis examines the book collecting field in New Zealand 1880-1920. Applying Bourdieu's theories of capital, habitus and the field of cultural production, the thesis examines the social practice of book collecting during this period. Three case studies from Harding's library illustrate some key trends in the book collecting market, and help to build a picture of Harding's social networks and the influence this had on his collecting habits. The thesis also describes the collecting identity of Robert Coupland Harding, placing him in his circle of fellow book collectors. Describing a model of book collecting practise and presenting a method for categorising book collectors, this thesis argues for the recognition of lesser known book collectors and the contribution that they made to the field of New Zealand book collecting.</p>

scholarly journals Books as social currency: Robert Coupland Harding and the field of book collecting in New Zealand 1880-1920

2021 ◽  
Author(s):  
◽  
M.A. Hughes
Keyword(s):  
New Zealand ◽  
Cultural Production ◽  
Social Practice ◽  
Trade Journal ◽  
Jean Baudrillard ◽  
Highly Active ◽  
The Social ◽  
Book Collecting ◽  
Social Currency ◽  
Book Collectors

<p>“Here, indeed, lies the whole miracle of collecting,” Jean Baudrillard asserted, “it is invariably oneself that one collects” (“Systems of Collecting” 12). If Baudrillard's premise that a collection is itself a representation of the collector, then how can we read a person through his/her private library? There have been several large and important studies produced on the three preeminent figures in New Zealand book collecting: Sir George Grey, Dr Thomas Hocken and Alexander Turnbull. However, to understand book collecting as a whole during the highly active period at the turn of the twentieth century, it is vital that we investigate 'minor' book collectors alongside our esteemed 'major three'.  This thesis explores the private library of Robert Coupland Harding (1849-1916), an internationally recognised expert on printing and typography, whose trade journal Typo: A Monthly Newspaper and Literary Review (1887-1897) was celebrated as a remarkable achievement. Very little documentation of Harding's life exists. However, one tantalising artefact discovered in a Wellington antiquarian bookshop is the basis for this research: the auction catalogue of Harding's extensive private library. Focusing on the New Zealand-related section of the catalogue, this thesis examines the book collecting field in New Zealand 1880-1920. Applying Bourdieu's theories of capital, habitus and the field of cultural production, the thesis examines the social practice of book collecting during this period. Three case studies from Harding's library illustrate some key trends in the book collecting market, and help to build a picture of Harding's social networks and the influence this had on his collecting habits. The thesis also describes the collecting identity of Robert Coupland Harding, placing him in his circle of fellow book collectors. Describing a model of book collecting practise and presenting a method for categorising book collectors, this thesis argues for the recognition of lesser known book collectors and the contribution that they made to the field of New Zealand book collecting.</p>

Concubines and Courtesans

2017 ◽  
Keyword(s):  
Social History ◽  
Cultural Production ◽  
18Th Century ◽  
Middle Eastern ◽  
Formative Period ◽  
Deep Roots ◽  
Islamic History ◽  
Near Eastern ◽  
Female Slaves ◽  
Late Ottoman

Concubines and Courtesans: Women and Slavery in Islamic History contains 16 essays that consider, from a variety of viewpoints, enslaved and freed women across medieval and premodern Islamic social history. The essays bring together arguments regarding slavery, gender, social networking, cultural production (music, poetry, and dance), sexuality, Islamic family law, and religion in the shaping of Near Eastern and Islamic society over time. They range over nearly 1,000 years of Islamic history—from the early, formative period (7th–10th century CE) to the late Ottoman, Safavid, and Mughal eras (16th–18th century CE)—and regions from al-Andalus (Islamic Spain) to Central Asia (Timurid Iran). The close, common thread joining the essays is an effort to account for the lives, careers, and representations of female slaves and freed women participating in and contributing to elite urban society of the Islamic realm. Interest in a gendered approach to Islamic history, society, and religion has, by now, deep roots in Middle Eastern and Islamic studies. The shared aim of the essays collected here is to get at the wealth of these topics and to underscore their centrality to a firm grasp on Islamic and Middle Eastern history.

Law in Common

2019 ◽  
Author(s):  
Tom Johnson
Keyword(s):  
Fifteenth Century ◽  
Social History ◽  
Social Practice ◽  
Local Governance ◽  
Common People ◽  
Legal Documents ◽  
Economic Practice ◽  
History Of ◽  
History Of Law ◽  
Late Medieval England

There were tens of thousands of different local law-courts in late-medieval England, providing the most common forums for the working out of disputes and the making of decisions about local governance. While historians have long studied these institutions, there have been very few attempts to understand this complex institutional form of ‘legal pluralism’. Law in Common provides a way of apprehending this complexity by drawing out broader patterns of legal engagement. The first half of the book explores four ‘local legal cultures’ – in the countryside, towns and cities, the maritime world, and Forests – that grew up around legal institutions, landscapes, and forms of socio-economic practice in these places, and produced distinctive senses of law. The second half of the book turns to examine ‘common legalities’, widespread forms of social practice that emerge across these different localities, through which people aimed to invoke the power of law. Through studies of the physical landscape, the production of legitimate knowledge, the emergence of English as a legal vernacular, and the proliferation of legal documents, it offers a new way to understand how common people engaged with law in the course of their everyday lives. Drawing on a huge body of archival research from the plenitude of different local institutions, Law in Common offers a new social history of law that aims to explain how common people negotiated the transformational changes of the long fifteenth century through legality.

scholarly journals El conocimiento administrativo, retos y oportunidades en la identificación de una epistemología de la administración

2014 ◽  
Vol 13 (1) ◽  
pp. 11-32
Author(s):  
Patricia Carolina Barreto Bernal
Keyword(s):  
Social Sciences ◽  
Complexity Theory ◽  
Organizational Theory ◽  
Social Practice ◽  
Human Action ◽  
Current Paper ◽  
The Third ◽  
Siglo Xix ◽  
Object Of Study ◽  
Xix Century

Pensar en la administración como un conjunto de conocimientos organizados y sistemáticamente construidos para explicar la especificidad de una disciplina ha sido un esfuerzo aun no terminado de más de un siglo de autores que desde finales del siglo XIX hasta estas primeras década del siglo XXI han venido construyendo el discurso teórico de la administración. El presente artículo hace un pequeñorecorrido por los diferentes intentos de organización de dicho conocimiento desde la reflexión de los tres componentes que constituyen una epistemología a saber: su objeto de estudio, su cuerpo teórico y su relación con las demás ciencias sociales para el desarrollo de un método. A partir de dichos elementos, en la tercera parte del artículo se arriesga una propuesta de construcción epistemológica en elconocimiento administrativo acudiendo a la filosofía integradora de la teoría de la complejidad. La metodología seguida para realizar el artículo fue la de revisión documental y concluye que la potencialidad de la administración como práctica social y conjunto de herramientas de gestión y dirección puede ser pensada como un campo epistemológico flexible y abierto a las relaciones de transdisciplinariedad que se presuponen necesarias para una comprensión integral y dinámica de larealidad.PALABRAS CLAVEPensamiento administrativo, epistemología, teoría de las organizaciones, acción humana. ABSTRACTThinking about administration as an ensemble of organized and systematically constructed knowledge in order to explain the specificity of a discipline has been an unfinished effort of more than a century of authors who since the late XIX century until the first decades of the XXI century, have been constructing the theoretical discourse of administration. The current paper makes a brief tour through thedifferent attempts of organization of such knowledge, from the three components reflection which compose an epistemology as follows: its object of study, its theoretical body and its relationship with other social sciences for the development of a method. From these elements, in the third part of the paper, it is taken the risk of making a proposal of epistemological construction in the administrative knowledge,turning to the conciliatory philosophy of the complexity theory. The methodology used to carry out the paper was the documentary review, and it concludes that the potentiality of administration as a social practice and a set of management and leadership tools could be thought as a flexible epistemological field, open to the relations of transdisciplinarity which are presupposed to be necessary for anintegral and dynamic comprehension of reality.KEYWORDSManagement thinking, epistemology, organizational theory, human action. 

scholarly journals The Urewera Notebook: Scholarly edition

2021 ◽  
Author(s):  
◽  
Rose Anna O'Rorke Plumridge
Keyword(s):  
New Zealand ◽  
Short Story ◽  
Historical Context ◽  
Social Background ◽  
Sentence Structure ◽  
Native Flora ◽  
Scholarly Edition ◽  
Photograph Albums ◽  
The Social ◽  
John Middleton Murry

<p>This thesis is a scholarly edition of Katherine Mansfield’s Urewera Notebook. The General Introduction summarises the purpose to which the notebook has been put by previous editors and biographers, as evidence for Mansfield’s happiness or unhappiness in New Zealand throughout 1906-8. It then offers an overview of the historical context in which the notebook was written, in order to demonstrate the social complexity and geographical diversity of the terrain that Mansfield covered during her 1907 camping holiday. This is followed by an analysis of Mansfield’s attitudes towards colonials, Maori and the New Zealand landscape. Mansfield’s notebook is permeated by a sense of disdain for colonials, especially when encountered as tourists, but also a fascination with ‘back-block ’settlers and a sense of camaraderie with her travelling companions. Mansfield repeatedly romanticised Maori as a noble ‘dying race’ with a mythic past, but was also insightfully observant of the predicament of Maori incontemporary colonial society. Her persistent references to European flora, fauna and ‘high culture’, and her delight in conventionally picturesque English gardens, reveal a certain disconnect from the New Zealand landscape, yet occasional vivid depictionsof the country hint at a developing facility for evokingNew Zealand through literature.In the Textual Introduction I discuss the approaches of the three prior editors of the notebook: John Middleton Murry polished, and selectively reproduced, the Urewera Notebook, to depict Mansfield as an eloquent diarist; Ian A. Gordon rearranged his transcription and couched it within an historical commentary which was interspersed with subjective observation, to argue that Mansfield was an innate short story writer invigorated by her homeland. Margaret Scott was a technically faithful transcriber who providedaccuracy at the level of sentence structure but whoseminimal scholarly apparatus has madeher edition of the notebook difficult to navigate,and has obscured what Mansfield wrote. I have re-transcribed the notebook, deciphering many words and phrases differently from prior editors. The Editorial Procedures are intended as an improvement on the editorial methods of prior editors.The transcription itself is supported by a collation of all significant variant readings of prior editions. Arunning commentary describesthe notebook’s physical composition, identifies colonial and Maori people mentioned in the text, and explains ambiguous historical and literary allusions, native flora and fauna,and expressions in Te Reo Maori. The Itinerary uses historical documents to provide a factually accurate description of the route that Mansfield followed, and revises the itinerary suggested by Gordon in 1978. A biographical register explains the social background of the camping party. This thesis is based on fresh archival research of primary history material in the Alexander Turnbull Library, legal land ownership documents at Archives New Zealand, historical newspapersand information from discussions with Warbrick and Bird family descendants.A map sourced from the Turnbull Cartography Collection shows contemporary features and settlements, with the route of the camping party superimposed. Facsimiles of pages from the notebook are included to illustrate Mansfield’s handwriting and idiosyncratic entries. Photographs have been selected from Beauchamp family photograph albums at the Turnbull, from the Ebbett Papers at the Hawke’s Bay MuseumTheatre Gallery, and from private records.</p>

Framing The Fosters: jokes, racism and Black and Asian voices in British comedy television

2017 ◽  
Author(s):  
Gavin Schaffer
Keyword(s):  
Social History ◽  
Cultural Production ◽  
Racial Politics ◽  
Black British ◽  
Stand Up Comedy ◽  
The Social ◽  
History Of ◽  
Post War ◽  
Cultural Leaders ◽  
The Relationship

This chapter interrogates the relationship between television comedy, power and racial politics in post-war Britain. In a period where Black and Asian Britons were forced to negotiate racism as a day-to-day reality, the essay questions the role played by television comedy in reflecting and shaping British multicultural society. Specifically, this chapter probes Black and Asian agency in comedy production, questioning who the joke makers were and what impact this had on the development of comedy and its reception. The work of scholars of Black and Asian comedy television such as Sarita Malik, and of Black stand-up comedy such as Stephen Small, has helped us to understand that Black- and Asian-led British comedy emerged belatedly in the 1980s and 1990s, hindered by the historical underrepresentation of these communities in British cultural production and the disinclination of British cultural leaders to address this problem. This chapter uses these scholarly frames of reference, alongside research that addresses the social and political functions of comedy, to re-open the social history of Black British communities in post-war Britain through the story of sitcom.

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