Landfall and Landmark: Captain James Cook and the Crew of<i>Resolution</i>at Dusky Bay, New Zealand, in or about April 1773

Bonehill, John

doi:10.1179/lan.2006.7.1.37

Cited by 2 publications

(3 citation statements)

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“…11 Hodges' work illustrated Cook's Journal, the first publication to bring New Zealand to the attention of the outside world, revealing a strong contemporary sense that such images conveyed what words could not express and were, in some respects, more reliable than verbal descriptions. 12 Decades later, the young draughtsman and trained artist Charles Heaphy arrived in New Zealand, employed by the New Zealand Company to help identify resources and secure land for settlement. Heaphy's topographical watercolour Mt Egmont from the Southward (1840), while likely intended as an accurate rendering of the physical landscape, deployed a 'strict and unnatural symmetry' marking it as an iconsomething sacred and intended to be contemplated as a symbol of eternity -as was the vogue in European landscape painting of the time.…”

Section: Mountain Images In the Promotion Of Exploration Science And ...mentioning

confidence: 99%

Seeing differently

Davidson

2022

Public History Review

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Mountains are central to how New Zealanders see themselves as a nation and the image that they project to the world. At the same time, Māori have been engaged in a long-running campaign seeking acknowledgement of the mana of their maunga, the return of their tūpuna names and new partnership models for conservation management. This article explores elements of the past that have made this struggle necessary, in particular the role of mountain imagery created by Pākehā during the nineteenth century, when Aotearoa’s mountains were used to construct a vision of a ‘new’ country in the minds of those ‘at home’. Colonists represented the mountains as untrodden and uninhabited, and set about renaming and mapping them. By the 1870s, the appropriation of mountains as a cultural landscape for tourism saw a proliferation of images that promoted European ways of seeing mountains, while Māori relationships to their maunga were often framed as quaint or romantic myths and legends. Tracing this history helps to better understand the present need for cultural resress and highlights the need for public history that better acknowledges and communicates colonial constructions of mountains and their legacy.

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Section: Mountain Images In the Promotion Of Exploration Science And ...mentioning

confidence: 99%

Seeing differently

Davidson

2022

Public History Review

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“…The objectification of Māori through this kind of tourism by staging these local performers as culturally static (they wore traditional dress) and sexualised (their bodies were there to be gazed at), was an intense Othering that was driven by the romantic desire for the erotic and exotic (Evans, 2007;Schama, 1995). Importantly, Rotorua is still core to the tourism sector in New Zealand 55 and is an uncomfortable 53 This scene of Dusky Bay by Hodges reveals the lack of any discernible native flora and presents a male figure that shows no perceptible features of being Māori: It is an arcadia (Bonehill, 2006) of the European mind rather than any material sense of what Hodges was purportedly recording. 54 Seeing its profitability the government tried to take ownership of the giant waterfalls.…”

Section: Romantic Visions In New Zealandmentioning

confidence: 99%

“…There were also landscapes where Māori were usually absent altogether like in the South Island that was quickly declared by William Hobson as terra nullius 56 (Evans, 2007;Walker, 2004, p. 97). To illustrate, Fiordland, in the south western corner of the country has been a site of much romantic inspiration since the late eighteenth century and the botanical renditions of Dusky Sound by Hodges during his voyage with James Cook 57 (1728 -1779) (Bonehill, 2006;Evans, 2007). Tramping through Fiordland forests has become a popular Pākehā pursuit as well and by 1888 the Milford Track was cut and huts were established for overnight stays (Evans, 2007).…”

Section: Romantic Visions In New Zealandmentioning

confidence: 99%

Composting arcadia: Stories from Pākehā women “of the land” in Wairarapa, Aotearoa New Zealand

Ream¹

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<p>I suggest that this thesis is a compost pile from Wairarapa that slowly turns over harmful but potentially fertile tales of arcadia. I narrate this thesis drawing on the fleshly stories of ten Pākehā (colonial settler) women “of the land’ and the ethico-onto-epistemology of Donna Haraway’s compost making. Composting is Haraway’s (2016) latest feminist call to trouble and queer the self-contained secular humanism of Western modernity. Uprooting the Western separation of ‘nature’ from culture, Haraway’s philosophy provides an earthly foundation in which to compost arcadia. Arcadia is an antique ‘nature’ myth that has been enmeshed in the process of Western world making from Classical Greece to the European ‘Age of Discovery’. Arcadia was used by the British to colonise Aotearoa New Zealand in the nineteenth century. As a Pākehā, I have been compelled to explore this myth because of the way it has seeped into transcendent understandings of land for descendants of colonial settlers like myself. Commonly known as a rural paradise, arcadia was a strategy for ‘normalising’ and ‘naturalising’ European occupancy in New Zealand (Evans, 2007; Fairburn, 1989). British arcadianism arrived on the shores of New Zealand, Victorian and romantic. Therefore, in this thesis I posit that through both settler and romantic ideals, Pākehā continue to use arcadianism to relate to land. For example, presently in Aotearoa there is a populist national debate that has, broadly speaking, pitted farmers and environmentalists against each other. Sparked by recent situations such as the ‘dairy boom’ and the decline in New Zealand’s water quality, tensions have mounted between those wanting to increase agricultural production and those who believe more environmental preservation is needed. After pondering such issues I realised these positions both express contrasting sides to the New Zealand arcadian narrative: A settler arcadia that promulgates the establishment of a small family farm and a romantic arcadia that envisions a pristine ‘natural’ paradise. I worked through these issues on, in, and with, the ground of Wairarapa with Pākehā women who were engaged in various kinds of rural land practice. Using a critical autoethnographic voice and the idea of geography as ‘earth writing’ I draw on creative qualitative modes, visual approaches and ethnographic adventures to form fulsome stories that compost arcadia. The figure of Pan, the deity of the actual place of Arcadia, helps me with this composting project. Pan is a human-goat hybrid, queer trouble maker, and, as a trickster, has invoked in me my critical autoethnographic, fictional voice. My encounters with women and Pan showed me fertile ways in which Pākehā have inherited the histories of arcadia and how these histories are corporeally significant and fruitfully challenge the separation of ‘nature’ and culture. Such meaningful matter or matters have, in turn, provided verdant ways to discuss Pākehā becoming and response-ability. Through the material stories of trees, pasture, hills, mountains, waterways, animals and family, compostable arcadias emerged, yielding, what I call in this thesis, landhome making. Landhome making queers the essentialising qualities of ‘homeland’ and ‘homemaker’ but most importantly relates the significance of land in the making of home for the women of this thesis. Landhome making is about exploring, through everyday practice, what it means to be Pākehā for participants and myself that — resultantly — contributes to wider national discussions on how Pākehā might ‘become with’ land (Haraway, 2008; 2016; Newton, 2009).</p>

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Landfall and Landmark: Captain James Cook and the Crew ofResolutionat Dusky Bay, New Zealand, in or about April 1773

Cited by 2 publications

References 6 publications

Seeing differently

Seeing differently

Composting arcadia: Stories from Pākehā women “of the land” in Wairarapa, Aotearoa New Zealand

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