The Darcy effect: Regional tourism and costume drama

Abstract

In the last two decades there has been largely critical discussion of the role which costume films play in the construction of the idea of national hertiage. Much of this writing has assumed that such films generally holster partial and conservative interests and represent a chronic nostalgia for a make‐believe past. Adaptations from historic classic novels are claimed to foist predominantly middle‐class tastes and standards upon the broader viewing public. The extraordinary success of the BBC's 1995 Pride and Prejudice gives one the opportunity to examine in some detail the inter‐connectedness of a number of cultural industries including heritage, museums, tourism, publishing and television, in audience perception and reception.     

On the Architecture of the Abbey Church of Dorchester

During 1984 and 1985 an area of over 1500 sq. m was excavated on Hartlepool Headland (NZ 528 336) by Cleveland County Archaeology Section. The results of this work will be presented in two parts, the Anglo-Saxon first, followed by the Medieval in a later volume of the Journal.

The excavations revealed two periods of Anglo-Saxon occupation, defined by a change from earthfast to free-standing structures. The earlier period, of earthfast construction, has been divided into four phases ranging in date from the mid seventh century to the first quarter of the eighth Century. Associated with the earlier period was a boundary complex of two phases of construction. This has been interpreted as a ‘vallum monasterii’. The backfill of the boundary was radiocarbon dated to c. ad 690 and contained metalworking moulds and crucibles. The latter included three decorated pieces which have added materially to the knowledge of early Northumbrian art and metalworking.

The later period of occupation saw the construction of free-standing, stone-footed structures. In some cases the footings had been inserted into earthfast structures of the earlier period. This site is interpreted as part of the Anglo-Saxon double monastery of ‘Heruteu’, comprising an area of workshops and living quarters. Occupation ceased in the last quarter of the eighth century.     

Honorary Secretary’s Report for 1964

Abstract

The glazing scheme of the chapter-house at York Minster contains the best preserved ensemble of narrative glass of its period in England, and is the only one to survive in any of the great polygonal chapter-houses. Although it is frequently mentioned in general works on the Minster and its glass, there has been no sustained attempt to reconstruct the sequence of the panels or to consider the iconography of the scheme in relation to its setting. This study aims to highlight the significance of the scheme as a whole by focusing on just one of its seven windows: that in the north-west corner, which features a life of St Katherine of Alexandria. Using unpublished antiquarian sources alongside textual versions of Katherine's vita, it outlines a possible sequence for the window's disordered panels. It then goes on to analyse the window and its iconography within the context of the chapter-house, considering how it constructs its own particular version of this highly popular narrative. The results suggest that the scheme as a whole is a high-status product which employs complex narrative strategies. It is an important testament to the sophistication of glazed narratives in the period as well as to the ambitions of York's chapter.     

Locating the Cannibals: Conquest,North American Ethnohistory,and the Threat of Objectivity

This essay critiques the claims to political neutrality and academic authority in an approach to ethnohistory that is defined by historian James Axtell as “balanced” and “objective.” Seeking to shed light on the political genealogy of Axtell’s assertion of objectivity, particularly as it is articulated through an evocation of cannibalism, I trace the ways in which power is implicated in Axtell’s theorizing and argue that objective ethnohistory is linked to conquest as an ongoing ideological and material process. I conclude that objective ethnohistory works to both mask and affirm an imperial grounding, most egregiously through a deceptive rhetoric of democratization in the context of which a posited “we” becomes the supreme cannibalizing trope. Finally, I suggest possibilities for a decolonized, politically engaged ethnohistory.     

Rebel with a cause? From traitor prince to exemplary martyr: Sor Juana Inés de la Cruz's representation of San Hermenegildo

El mártir del sacramento, San Hermenegildo is an auto sacramental or Eucharistic play, written in the 1680s by the Mexican nun and literary superstar, Sor Juana Inés de la Cruz. The play centres on the story of a (purportedly Catholic) Visigothic prince who died in Seville in 586 by order of his Arian father, Leovigild. Contempary sources vary in their portrayal of Hermenegild, with most painting him as a traitor who rebelled against his father for political gain. Gregory the Great, however, championed Hermenegild as an exemplary martyr who died in defence of the Faith. One thousand years on, Spain saw a revival of its Visigothic ‘Golden Age’, and Hermenegild was among those to be venerated; he was canonised in 1585 and his memory was brought to life in various artistic forms; in poetry, paintings and even on the stage. This paper will examine the part that Sor Juana's auto played within this tradition, exploring the purpose of the play and the various historical and biblical sources used to create it.