Ambiguous heritage and the place of tourism: Bangkok’s Rattanakosin

ABSTRACT

Bangkok’s ancient city, Rattanakosin, is a major tourism focus displaying palaces, temples, exotic street life and frenetic waterfront. However, this ‘first-level’ heritage landscape makes little sense dissociated from that of an underlying ‘second level,’ comprising surviving remnants and lost memories of a vast array of other palaces whose occupants sustained the ancient Siamese state and accounted for a present culture of royal-elite-military hegemony. The first five Chakri kings had an immense multiplicity of sons who could serve as defenders of both realm and dynasty, later as royal ministers and administrators and as commercial collaborators. Multiple daughters were useful in buying loyalty of an often restive nobility. Royal fecundity, however, posed a real-estate challenge as sons had to be housed appropriately, calling for an extraordinary profusion of both large and small palaces. While most have now been swept away for other development, the remnants constitute a suppressed and uninterpreted cultural landscape that also intersects with multiple sites of both dark and hedonistic tourism. These intersections of first and second levels of heritage, then with both dark and hedonistic levels of heritage-identity, yield ambiguity, demanding interpretation.     

The National Gallery of Victoria’s Colony and Difficult History

A recent exhibition staged by the National Gallery of Victoria Australia can be regarded as an expression of the international difficult histories boom. In large part, its representation in Colony of Australia’s black history is in keeping with the Manichean accounts that have come to dominate in the realm of popular culture and is a function of its decision to represent the past in forms that are primarily memorial and performative rather than historical and pedagogical. I argue that any serious attempt to come to grips with this nation’s difficult Aboriginal history requires its settler peoples to rethink rather than merely reject previous settler accounts of the past, and I contend that this task demands the practice of both scholarly history and local Aboriginal community history, which provide more complex accounts of the past.     

Gombrich’s critique of Hauser’s Social History of Art

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological interpretation of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook.     

The ‘Little Palaces’ of St James's: Ladies,Lords, and Political Association under the later Stuarts

Clubs, coffee houses, and taverns, the most widely studied sites of political gathering in later Stuart London, largely excluded women. This essay argues that places of ‘intermixed conversation’ which existed alongside them should also be taken into account, and considers several examples of regular, semi-private assemblies, chiefly hosted by elite women (including duchesse de Mazarin, Lady Pulteney, and Barbara Villiers, Lady Fitzhardinge) and frequented by both sexes for the overt purpose of card playing, which were also significant places of political association at this period.     

Preaching and History: The Audience of Ranulf Higden’s Ars componendi sermones and Polychronicon

In his Ars praedicandi sermones, in traditional yet rich metaphoric language, Ranulf Higden compares Christ to a fountain, a shepherd, a rock, a lily, a rose, a violet, an elephant, a unicorn, and a youthful bridegroom wooing his beloved spouse. Ranulf encourages preachers to use such metaphors while using them himself, rendering his text a performed example of what he encourages. This text is clearly linked to two others: Ranulf’s Latin universal history, the Polychronicon, and John Trevisa’s English translation of it. In the Polychronicon, Ranulf relates the life of Christ, utilizing some of his own rhetorical suggestions from his preaching manual. He also depicts a cross-section of good and bad preachers, including Gregory, Wulfstan, Eustas, St Edmund, and one William Long-Beard and his kinsman, who exemplify (in different ways) the wisdom conveyed in Ranulf’s instruction in the Ars praedicandi. This essay suggests that the literary relationship between the preaching manual and the Polychronicon supplies additional support for the idea that the audience of the latter was not noblemen exclusively, but also clergymen who preached and had responsibility for the care of souls (cura animae).