This study heeds the call for a ‘truth-telling’ of injustices carried out on Aboriginal communities during the colonial acquisition of Australia as stated in the Uluru Statement from the Heart 2017. Here, we discuss the lives of eight Indigenous people buried in Normanton in north-west Queensland (QLD) who died and had their remains collected in the late 1890s as scientific specimens. The remains were later repatriated to the community before being further exposed by erosion in 2015. With the consent and participation of local traditional owners—the Gkuthaarn and Kukatj people—this assessment utilised bioarchaeological, historical and anthropological methodologies to gain a better understanding of Indigenous life and health on the Australian colonial frontier. Gkuthaarn and Kukatj people were engaged throughout the investigation, and statements throughout this piece made by them illustrate how bioarchaeology can inform on past injustices in Australia’s history, bringing them into the public consciousness and aiding the transition to reconciliation through ‘truth-telling’. 相似文献
In Germany a common narrative of the First World War could never be established. In the post-1918 period, explanations of Germany's defeat were highly contested between the political factions of the Weimar Republic. The subsequent Nazi tyranny, the Second World War and the Holocaust came – and continue – to overshadow any other event in German history. During the Cold War, the First World War was largely a forgotten conflict. In recent years, the federal government has remained hesitant about embracing the centenary, but countless exhibitions, seminars, books and other media productions have brought this aspect of history back to public attention from late 2013, and with it has come a renewed public debate on war guilt.
Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.
Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’ 相似文献
The assault at Amiens was ‘the black day of the German Army’. British accounts treat the Germans as passive, of no more importance than the terrain, and victory as inevitable. Using German sources, and drawing on statistical ‘historical analysis’ of behaviour in battle, the article argues the frontline defenders panicked when thick fog left them defenceless against the British tanks. By contrast, when the fog lifted, the defence recovered. Although senior German commanders on the spot reacted well, Ludendorff fell into a state of shock, such that he convinced the Kaiser the war must be ended. 相似文献