tag:blogger.com,1999:blog-4922639800925489148.post5371842694136839680..comments2022-10-17T07:51:34.923+13:00Comments on Nae Hauf-Way Hoose: The Rent Due for a SkullDougalhttp://www.blogger.com/profile/16935605945901196637noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-4922639800925489148.post-23868385231290043572011-01-20T21:37:03.724+13:002011-01-20T21:37:03.724+13:00Thanks for the comment, Harvestbird, and I'm p...Thanks for the comment, Harvestbird, and I'm pleased the piece was of some use. <br /><br />I learnt something looking up TL;DR. I've half been hoping for a comment somewhere on colonial history ending up as ROTFW (Rolling on the floor weeping) but no luck yet.Dougalhttps://www.blogger.com/profile/16935605945901196637noreply@blogger.comtag:blogger.com,1999:blog-4922639800925489148.post-33256050615829406662011-01-15T11:00:52.777+13:002011-01-15T11:00:52.777+13:00Thank you for this, on which I have been musing fo...Thank you for this, on which I have been musing for much of the week. I'm currently winding up a final unit in a general introduction to the humanities for bridging-level students, in which we do some cultural studies and go to the museum. We've been talking about history as narrative and the museum as the theatre of national identity, and I've been thinking about the way in which migration is foregrounded as the common element of all ethnic histories here. When I suggested to the students that some Māori might not want to see it that way, or participate in that particular national narrative (itself to my mind a younger cousin of Sinclair's apotheosis-of-the-Pākehā-welfare-state version), there was some confusion. This post better articulates at what I was getting. (Or, in the TL;DR version: Slavery OMG!)Megan Claytonhttps://www.blogger.com/profile/03584562106579704547noreply@blogger.comtag:blogger.com,1999:blog-4922639800925489148.post-29124868037327383792011-01-09T21:51:26.061+13:002011-01-09T21:51:26.061+13:00Thanks, Dougal, for another deliciously thought-pr...Thanks, Dougal, for another deliciously thought-provoking piece and for all those fascinating footnotes/links to chew. And throughout, the raspberry ripple of that beautiful McCahon. Yum yum-happy summer!Charlotte Chadwicknoreply@blogger.comtag:blogger.com,1999:blog-4922639800925489148.post-19692370593927523372011-01-09T12:44:50.780+13:002011-01-09T12:44:50.780+13:00Thank you too, cuz! Glad you liked it.
@Giovanni:...Thank you too, cuz! Glad you liked it.<br /><br />@Giovanni: interesting points, reminding me also of how the tourism slogan "100% Pure" has taken on a life of its own and pops up in strange places doing some pretty heavy ideological spade-work.<br /><br />The point about English pastorals is central to the current moment with The Hobbit etc, but there's something else at work in the older South Island tradition, yes? The anti-pastoral nature of those myths is what makes them so powerful: that we're face-to-face with Timeless Land (as the Graeme Sydney book glosses it), terrifyingly adrift from history and social markers. <br /><br />Thanks for the typo-spotting too!Dougalhttps://www.blogger.com/profile/16935605945901196637noreply@blogger.comtag:blogger.com,1999:blog-4922639800925489148.post-83140694323107364502011-01-09T11:53:57.410+13:002011-01-09T11:53:57.410+13:00Yes, thank you for that. It's also a reminder ...Yes, thank you for that. It's also a reminder that claims such as Maurice Shadbolt's in the Shell Guide to New Zealand - that the country was unique in that its infrastructure hadn't been built with recourse to slave labour - need to be heavily qualified. <br /><br />I was just commenting elsewhere about the New Zealand entry in The Onion's altas, which is all about the nation being a film location for Hollywood based studios, and includes the following caption: "The beautiful landscape of New Zealand, digitally enhanced by the removal of the aboriginal Maori". That we are so keen to exploit the ways in which our landscape can be made to resemble a vacuous English pastoral is depressing, of course, and the processes of elision here are so much more crass than in the McCahon, where the cultural dimension was certainly not lost, the absence of people or man-made structures notwithstanding. But you could analyse our landscape painting tradition within that continuum, with its attendant historical amnesia.Giovanni Tisohttps://www.blogger.com/profile/10618534731338616708noreply@blogger.comtag:blogger.com,1999:blog-4922639800925489148.post-65945894637309912772011-01-08T23:38:54.399+13:002011-01-08T23:38:54.399+13:00I too remember that painting very well. A timely r...I too remember that painting very well. A timely reminder Dougal thank you.Keith McNeillnoreply@blogger.com