Making an Edgier Interpretation of the Gold Rushes: Contrasting Perspectives from Australia and New Zealand

This article examines the interaction between changing interpretations of history and visitor interpretation provided at heritage tourist sites. Generally, the literature distinguishes between history (which is seen as objective and fixed) and heritage interpretation (which is characterised as biased, selective and serving parochial interests). It is argued that history is actually far more dynamic and subjective and that this requires an ongoing revision of interpretation for visitors as historical interpretations change. To illustrate these processes, Goodman's concept of a new ‘edgier history of Gold’ is applied to interpretation at Sovereign Hill and the Mount Alexander Diggings in Australia and the Central Otago Heritage Trail in New Zealand.     

Class in a Glass: Capital,Neoliberalism and Social Space in the Global Wine Industry

Abstract: This paper explores the evolving relationship between class and capital in the neoliberalised global wine industry. Wine is a unique sector that is possessed of intricate and underexplored aspects of class formation. Having investigated the recent restructuring of the industry under neoliberalism the paper goes on to analyse class formations in the production and consumption spheres. In this discussion we note not only the concrete economic and social dynamics of change, in terms of the differing fortunes of consumers, investors, landowners and workers, but also the physical and symbolic expressions of class in and through the countryside, as manifested in changing landscapes, discourses and idylls. In conclusion we analyse relationship between capital, class formation and accumulation across and within different scales in the context of a rapidly globalising sector that is so rooted in place.     

“The Story of the Man Who Whitened His Face”: Bernini,Galileo, and the Science of Relief

This essay argues that Bernini orchestrated the relief surfaces of his sculptures through an exacting science of optical perception. It connects his understanding of the relief structure of his sculptural work to Galileo’s contemporaneous discovery of the cratered surface of the moon to contend that art and science shared similar concerns in the visual analysis of relief perceived as patterns of light and shadow. Through a full contextualisation of one of Bernini’s many workshop aphorisms, about a man who whitened his face, it demonstrates the scientific, art-theoretical, and practice-based considerations that informed Bernini’s understanding of optics in the sculptural rendering of facial likeness through the medium of white marble.