Beautiful Geography: The Pictorial Maps of Ruth Taylor White

This paper explores the career of Ruth Taylor White, an American cartographic illustrator who published a significant number of pictorial maps from the 1920s into the 1940s. Taylor White’s ‘cartographs’ (as she called them) were characterized by her signature bobble-headed cartoon characters who romped through colourful, attractive landscapes. These visually rich and highly narrative maps simultaneously strove for accuracy and engaged in profound stereotyping with regard to culture, race, gender and class. They reveal not only the aesthetic and conceptual preferences of their maker but also the cultural biases of their middle-class, white American audience.     

Where the violence happened matters. Geopolitical framing and assessments of collective responsibility for historical violence.

Mass violence always takes place in a particular geopolitical context, and how that context is understood influences perceptions of collective responsibility. As international borders shift, often in the wake of war, events that occurred within one geopolitical entity can be understood has having taken place in another. The influence of such geopolitical framing on judgments of collective responsibility remains understudied. Two studies examine how geopolitical frames lead to shifting assessments of collective responsibility for historical mass violence. By depicting historical violence within a particular geopolitical entity (e.g., a country), that entity was perceived as being more responsible for the violence. The studies are set within the contexts of German-occupied Poland and the British occupation of the Indian subcontinent. The ramifications of these findings are discussed for the teaching of history, the commemoration of historical victimhood, and for our understanding of assessments of collective responsibility and geopolitical framing more broadly.     

MORE THAN MEETS THE FACT: THE UNIVERSALITY OF HISTORY AND THE COLONIAL MEDIATION

This article examines how mediation is not just limited to the format that's selected to convey the findings of previously conducted research that supposedly followed the conventional protocols of the historical discipline. Rather, it considers mediation as a fundamental part of building historical knowledge, for it assumes that every part of the historiographical operation can be defined as “mediation.” Specifically, it deals with colonial historical mediation, a concept that refers to the combination of an overt or concealed agenda, intentional or unnoticed bias, commonsense assumptions, inherited academic and political traditions, conceptual constellations, and more or less informed theoretical beliefs that configure the subtext upon which historical explanation is built, particularly in Latin America.     

Wasting Coconuts? Consumption Versus Commerce in Colonial Wallis and Futuna

ABSTRACT

Early colonial officials and other newcomers frequently lamented the poor copra production in Wallis and Futuna, positioning the continued consumption of coconuts by Islanders as a waste. This article explores the contested uses of coconuts and the divergent visions of the islands’ landscape and future held by Islanders, officials, missionaries and traders during opening decades of French colony rule. In particular, a variety of incidents in the 1920s – from an indigenous co-operative to French expulsions – highlight the centrality of the emergent copra trade to the social and political status of these different groups. More broadly, however, the article demonstrates the failure of elites – both indigenous and newcomer – to substantially increase copra exports prior to the Depression in 1930, indicative of the limits of their ability to demand labour and transform the lifeways of the wider population.     

The mental maps of Italian entrepreneurs: a quali-quantitative approach

ABSTRACT

Geographers interested in how entrepreneurs perceive locational environments have studied their mental maps in several European countries, within the theoretical framework provided by behavioral approach. Such studies have typically employed quantitative techniques, but qualitative studies are relatively new to this line of research. In this article, I examine the mental maps of entrepreneurs in Italy by using a mixture of qualitative and quantitative methods. I present and discuss the qualitative outcomes of this research, focusing in particular on the explanatory location factors and the key influences on the mental maps of entrepreneurs. What emerges is the realization that entrepreneurs are far from being fully rational economic actors, who exploit optimally all information and who are driven only by objective considerations. Rather, their views are also affected by subjective factors, individual’s own insights, commonplaces, stereotypes, and prejudices, particularly with reference to the southern regions of Italy (Mezzogiorno), and of other peripheral areas.     

“Frequent Deaths”: The Colonial Development of Concentration Camps Reconsidered, 1868–1974

This article sheds new light on the development of concentration camps in colonial warfare in the longue durée from 1868 to 1974. Introducing different examples of forced removal and deportation in the Spanish and Portuguese empires, the analysis emphasizes their interrelation, highlighting possible transfers of knowledge that have been neglected in comparative discussions. Specifically, the article reassesses the Cuban experience of concentrating civilians in times of war (1868–98); it critically evaluates Spain’s forgotten concentration camps on the Canary Islands, which emerged during the Ifni-Sahara war of 1957–58; and it focuses on both the theory of revolutionary warfare and the practice of so-called strategic resettlement in the long and protracted Portuguese colonial wars in Africa (1961–74). In particular, the camps on the Canary Islands suggest the need for an analytical distinction between the function of forced removals in counter-guerrilla warfare and administrative internment; they are related but essentially different policies. Based on hitherto ignored archival material, this empirically supported analysis challenges common assumptions about the “origins” of camps, and questions traditional temporal boundaries in the development of (anti-)guerrilla warfare.     

A hyperreal first-place: Portugal dos Pequenitos theme park and the narrative of origins

Abstract

This article analyses a nation-theme park in Portugal. Located in Coimbra and built in the 1940s, when Portugal was a colonial empire and was under the rule of a right wing dictatorship, the park was designed as a pedagogical device for children to learn about the nation. In the park, the whole of the nation was represented by miniature replicas of buildings representing European Portugal and its overseas territories. Seventy-five years after its construction and with little changes to its material structures, this theme park is the most visited tourist attraction in Coimbra. This paper presents the result of ethnographic work carried out with Portuguese visitors to the park so as to understand the affect the place has over Portuguese visitors. The work undertaken with the latter has allowed to identify a narrative of ‘firstness’ that constructs the park as a hyper-real first-place by Portuguese visitors.     

Revisiting Bula Matari and the Congo Crisis: Successes and Anxieties in Belgium’s Late Colonial State

It is the era of decolonisation in central Africa: angry mobs in the streets; authorities struggling to contain agitation by communists and other subversives; reports of Africans strangled to death or dragged behind cars by European settlers; whites arming themselves. One might presume these scenes of disorder and abuse took place during the Congo crisis from 1960 to 1965, when events appeared to spin out of control in central Africa. In fact, they occurred during the years after the Second World War, when Belgians seemed to have affairs well in hand in their central African colony. The Congo crisis is almost always viewed in sharp contrast to the peaceful era that preceded it—as if the lifting of Belgian rule unleashed chaos—and the relative stability post-1965 that came with the Mobutu dictatorship. There is broad agreement that Congo’s independence was a fiasco, with the former colonial ruler, Belgium, largely to blame. This essay argues that the Belgian authorities were not as in control as has been believed. Historians have known for years now that things were not as rosy as they might have seemed at the time, in the years leading up to independence in 1960, but recently available archival documents reveal the situation was even more fluid than previously thought. Bula Matari was not as far-reaching as believed, and many controls signalled a nervousness inherent in the late colonial state more than they did its strength. Reports by administrators reveal a lack of domination in the 1950s and underlying tensions in the colony, even conflicts. The public impression that Belgians had affairs well in hand is due in part to post-Second World War propaganda depicting an idyllic Congo. Belgians wanted to build support for colonialism, bolster their authority, forestall foreign interference and combat their own anxieties. Images produced persuaded many that the Congo was more peaceful than it was. The shock at independence ought to be attributed less to events unfolding as of June 1960 and more to the impressions of tranquillity projected by the authorities beforehand.     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

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.’