George French Angas and the Creation of Colonial Knowledge in New Zealand

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

George French Angas and the Creation of Colonial Knowledge in New Zealand

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

Mermaids, Mere-Maids and No Maids: Mermaid place names and folklore in Britain

Fifty mermaid place names relating to landscape features have been identified in Britain (including the Isle of Man). The names are attested from the 16th to the 21st Century: some are extremely well documented, while others have only passing written references. Taken together these names allow us to distinguish different folklore traditions in different parts of the island. For instance, there is a freshwater ‘mere-maid’ in eastern England; and a more familiar marine mermaid attested in the southwest of England. There are also – just as interestingly – large areas of Britain for which no mermaid place names are recorded. The article concludes with a reflection on the ‘Archetypal Modern Mermaid’ (AMM) that dominated in British culture by the 1800s.

ASSERTIVE ILLOCUTIONARY ACTS STUDY OF BRITISH AND KOREAN IN KOREAN ENGLISHMAN YOUTUBE CHANNEL

This study discusses the use of assertive illocutionary acts uttered by Beckham and Heung-Min in the videos of Korean Englishman YouTube Channel. The study aims to discover the types and differences of assertive illocutionary acts used by the British, represented by Beckham, and Korean, represented by Heung-Min. This research is descriptive qualitative research as it is designed to get in-depth understanding and analysis to describe the pattern of assertive illocutionary acts in British Culture and Korean Culture. British and Korean use assertive acts in their communication, but they use it differently. The differences occur because of the cultural background differences. British tend to use assertive acts more directive. Korean mostly use assertive acts in the manner of thinking about other people's pride.

Envisioning a Dystopian, Post-Christian Society in P. Anderson Graham’s The Collapse of Homo Sapiens

As one of many contemporary British dystopian novels, P. Anderson Graham’s 1923 The Collapse of Homo Sapiens envisaged Britain in the twenty-second century as a devastated society that has largely reverted to a primitive, non-Christian state. However, a remnant of the surviving population has memories of the religious dimensions of national life, helping them to cope with the exigencies of their meagre existence. A modest revival of the faith of their forebears ensues, which in turn triggers a reaction against the re-assertion of Christianity by nationalistic elements that regard it as too charitable a social force to fortify their efforts to revitalise British culture in a hostile geopolitical setting. The narrative perspective of the novel is critical of the truncated state of that religion in Britain in the 1920s and how this was failing to guide and inspire peoples’ lives at that time.

Conclusion

The conclusion first summarises the book’s argument about the rise and fall of the ‘history of everyday life’ in British culture between 1918 and 1979. It then considers some educational connections between ‘history from below’ and the ‘history of everyday life’, suggesting that as universities became sites of mass education in the late twentieth-century, academic social history could more easily adopt the language of everyday life. Finally, the conclusion explores synergies between the ‘history of everyday life’ and feminist women’s histories of the 1970s and 1980s, re-asserting the centrality of women to the production and consumption of popular social history in twentieth-century Britain. An important legacy of the mid-century ‘history of everyday life’ is found in campaigns to bring women’s history into schools in London during the 1980s.