Morocco in Colonial Photography

This article represents an attempt to approach the notion of colonial discourse and photography more closely with the exigencies that put Morocco under the zoom of the colonial lens. This photographic documentation shows that nations, Morocco, in this case, were annexed to imperial powers through the utilization of various means of representation. This annexation was carried out not only by military officers, missionaries and spies but also by cartographers, travel writers and photographers who never ceased to polish the lens of their cameras so as to be able to represent indigenous identities, as well as their social lifestyles, and cultures. Therefore, the purpose of the present work is to sketch the colonial experience that links the imperializers with the imperialized through chronological documentation of colonial power and domination. Therefore, the main interest centres around the question of rereading this colonial history by analyzing and questioning colonial photography and its role in colonial expansion over Morocco. Besides, it is to unmask the alleged objective embedded in this country's 'civilizing mission'.

The State Collections of Colonial New Zealand Art: Intertwined Histories of Collecting and Display

<p>This thesis explores the collecting and exhibiting of colonial art (before 1908) by New Zealand's state institutions: the Colonial (later Dominion) Museum; the Alexander Turnbull Library; and the National Art Gallery. It recovers evidence of the provenance of works of art within the state collections and accounts for acquisitions in terms of the ideological interests they serve, interests which reflect the intellectual concerns of the key individuals and the historical and political circumstances within which they worked. It examines how works of art were displayed in the institutions themselves, and in other exhibitions, including international exhibitions, both locally and abroad, from 1865 to 1940. This allows for analysis of the 'use' to which colonial art was put by the state, while investigation of the related contemporary discourse provides evidence of its reception and interpretation by critics and audience. This study employs a variety of analytical strategies, including: the place of class in relation to the colonial art world; the aesthetics of 'space' and the practicalities of exhibition in the colonial period; the shifting ground of what constitutes 'art', in particular 'New Zealand art', in the period under study; and the fluctuating, often problematic, status of much colonial art as both 'information' and as 'art'. Consequently, while informed by international scholarship, this thesis needed to adapt models formed for the explanation of metropolitan museology to accommodate the unique nature of the colonial experience in New Zealand. It concludes that, in contrast to many European institutions, the state was largely content to use New Zealand's art as information - as illustration of the colony's natural wonders and resources - and that no real attempt to define a national art history was initiated until the centennial celebrations of 1940. Significantly, this thesis does not just consider the evolution of one state institution. Rather, it recognises that the histories of New Zealand's cultural institutions - Museum, Gallery and Library - require a consideration of their development in relation to one another. This reveals a history of interconnectedness that reflects the complexity of colonial culture, and which ironically prefigures the challenge posed by colonial art to the postmodern descendent of the Museum andGallery - the Museum of New Zealand Te Papa Tongarewa.</p>

The Wairarapa Wealthy in Public and Private, 1876–1913

<p>Social histories of New Zealand’s colonial wealthy usually focus on those who left personal papers, ignoring those who left no major records. What is more, histories of the wealthy have tended to focus on the South Island—there is no reason to assume that the North Island rich were the same. This thesis attempts to address both these imbalances by approaching wealthy individuals in colonial Wairarapa systematically—locating all testators who died between 1876 and 1913, leaving estates worth £10,000 or more. This process produces a cohort of sixty-five, mainly farmers and mostly of middle-class origins. Testamentary records demonstrate that in private, the rich stayed true to their origins by splitting their wealth evenly. Other forms of biographical information, most notably newspaper obituaries and Cyclopedia entries, show that public life was different. Here, the rich departed from their origins; whereas community involvement and charitable works had been an important aspect of middle-class identity in Britain, the colonial experience forced wealthy capitalists to redefine public status. Throughout, this thesis demonstrates the importance of regional social histories in New Zealand by thinking ‘under as well as across the nation’—extending South Island scholarship of the wealthy into the North Island and examining the manifestation of large historical forces close-up in communities of individuals.</p>

The Wairarapa Wealthy in Public and Private, 1876–1913

<p>Social histories of New Zealand’s colonial wealthy usually focus on those who left personal papers, ignoring those who left no major records. What is more, histories of the wealthy have tended to focus on the South Island—there is no reason to assume that the North Island rich were the same. This thesis attempts to address both these imbalances by approaching wealthy individuals in colonial Wairarapa systematically—locating all testators who died between 1876 and 1913, leaving estates worth £10,000 or more. This process produces a cohort of sixty-five, mainly farmers and mostly of middle-class origins. Testamentary records demonstrate that in private, the rich stayed true to their origins by splitting their wealth evenly. Other forms of biographical information, most notably newspaper obituaries and Cyclopedia entries, show that public life was different. Here, the rich departed from their origins; whereas community involvement and charitable works had been an important aspect of middle-class identity in Britain, the colonial experience forced wealthy capitalists to redefine public status. Throughout, this thesis demonstrates the importance of regional social histories in New Zealand by thinking ‘under as well as across the nation’—extending South Island scholarship of the wealthy into the North Island and examining the manifestation of large historical forces close-up in communities of individuals.</p>

The State Collections of Colonial New Zealand Art: Intertwined Histories of Collecting and Display

<p>This thesis explores the collecting and exhibiting of colonial art (before 1908) by New Zealand's state institutions: the Colonial (later Dominion) Museum; the Alexander Turnbull Library; and the National Art Gallery. It recovers evidence of the provenance of works of art within the state collections and accounts for acquisitions in terms of the ideological interests they serve, interests which reflect the intellectual concerns of the key individuals and the historical and political circumstances within which they worked. It examines how works of art were displayed in the institutions themselves, and in other exhibitions, including international exhibitions, both locally and abroad, from 1865 to 1940. This allows for analysis of the 'use' to which colonial art was put by the state, while investigation of the related contemporary discourse provides evidence of its reception and interpretation by critics and audience. This study employs a variety of analytical strategies, including: the place of class in relation to the colonial art world; the aesthetics of 'space' and the practicalities of exhibition in the colonial period; the shifting ground of what constitutes 'art', in particular 'New Zealand art', in the period under study; and the fluctuating, often problematic, status of much colonial art as both 'information' and as 'art'. Consequently, while informed by international scholarship, this thesis needed to adapt models formed for the explanation of metropolitan museology to accommodate the unique nature of the colonial experience in New Zealand. It concludes that, in contrast to many European institutions, the state was largely content to use New Zealand's art as information - as illustration of the colony's natural wonders and resources - and that no real attempt to define a national art history was initiated until the centennial celebrations of 1940. Significantly, this thesis does not just consider the evolution of one state institution. Rather, it recognises that the histories of New Zealand's cultural institutions - Museum, Gallery and Library - require a consideration of their development in relation to one another. This reveals a history of interconnectedness that reflects the complexity of colonial culture, and which ironically prefigures the challenge posed by colonial art to the postmodern descendent of the Museum andGallery - the Museum of New Zealand Te Papa Tongarewa.</p>

Representative Democracy and Colonial Inspirations: The Case of John Stuart Mill

Focusing on John Stuart Mill, a particularly illuminating contributor to modern democratic theory, this article examines the connections between modern democracy and the European colonial experience. It argues that Mill drew on the exclusionary logic and discourse available through the colonial experience to present significant portions of the English working classes as domestic barbarians, whose potential rise to power posed a danger to civilization itself: a line of argument that helped him legitimate representative government as a democratic, rather than an antidemocratic form of government, as it had been traditionally perceived. The article contributes to our understanding of the development of modern democratic theory and practice by drawing attention to the ways the colonial experience shaped core Western institutions and ways of thinking, and it makes the case that this experience remains an essential, if often unacknowledged, part of our collective “self.”

Writing the Colony: Walter Edward Gudgeon in the Cook Islands, 1898-1909

<p>Recent decades have witnessed a number of challenges from a variety of perspectives to long-standing depictions of the processes and relationships of colonisation. In particular, questions have been raised about its supposedly binary nature, the internal coherence of the elements of coloniser and colonised, and the stability of both its institutions and its ideology. Framed as an exercise in an interdisciplinary Pacific Studies, this thesis draws on those perspectives to provide insights into one particular colonial experience and to examine the extent to which they are borne out by the representations appearing in the writings of a New Zealand colonial administrator, Walter Edward Gudgeon, in the Cook Islands. To that end I have assembled a text comprising his major personal and official documents; provided some background on Gudgeon himself, the intellectual currents of the time, and the Cook Islands; represented as accurately as I could the representations appearing in his writing; read that writing as far as possible in terms of the text itself; and arrived at a number of conclusions from that reading. I have also considered the contribution such a text-based approach may offer to a Pacific Studies which aspires to be interdisciplinary. I conclude that my reading of the text supports the more recent perspectives on the colonial project by revealing in Gudgeon a number of contradictions, ambiguities, anxieties, uncertainties, and fears that do not appear in existing accounts of the Cook Islands colonial experience and justify a re-examination of that whole experience. Finally, I suggest that the validity of my approach is supported by those results and that such approaches provide one vehicle for the pursuit of an interdisciplinary Pacific Studies.</p>

Writing the Colony: Walter Edward Gudgeon in the Cook Islands, 1898-1909

<p>Recent decades have witnessed a number of challenges from a variety of perspectives to long-standing depictions of the processes and relationships of colonisation. In particular, questions have been raised about its supposedly binary nature, the internal coherence of the elements of coloniser and colonised, and the stability of both its institutions and its ideology. Framed as an exercise in an interdisciplinary Pacific Studies, this thesis draws on those perspectives to provide insights into one particular colonial experience and to examine the extent to which they are borne out by the representations appearing in the writings of a New Zealand colonial administrator, Walter Edward Gudgeon, in the Cook Islands. To that end I have assembled a text comprising his major personal and official documents; provided some background on Gudgeon himself, the intellectual currents of the time, and the Cook Islands; represented as accurately as I could the representations appearing in his writing; read that writing as far as possible in terms of the text itself; and arrived at a number of conclusions from that reading. I have also considered the contribution such a text-based approach may offer to a Pacific Studies which aspires to be interdisciplinary. I conclude that my reading of the text supports the more recent perspectives on the colonial project by revealing in Gudgeon a number of contradictions, ambiguities, anxieties, uncertainties, and fears that do not appear in existing accounts of the Cook Islands colonial experience and justify a re-examination of that whole experience. Finally, I suggest that the validity of my approach is supported by those results and that such approaches provide one vehicle for the pursuit of an interdisciplinary Pacific Studies.</p>