Captain James Cook 1728–1779

The resilience of Hawaiian culture amidst the pressures of Western imperialism is a profound narrative of survival, adaptation, and reclamation. This study examines the cultural endurance of the Hawaiian people from the arrival of Captain James Cook in 1778 to contemporary efforts of heritage preservation. The research highlights pivotal moments, such as King Kamehameha III's defense of traditional practices, the revitalization of the Hawaiian language, and the transformation of hula to navigate socio-religious changes. It also explores the misrepresentations of Hawaiian identity by Western narratives, including the commodification of culture and the erosion of sovereignty through missionary and colonial influences. Grounded in historical texts, oral histories, and indigenous perspectives, this essay illuminates the Hawaiian commitment to preserving sacred traditions and reclaiming cultural narratives. By showcasing these enduring efforts, the study honors the legacy of Hawaiian strength, spirituality, and cultural sovereignty in the face of historical challenges.

The Wide Wide Sea delivers a thoughtful, even-handed portrayal of Captain Cook. By presenting diverse viewpoints, it invites readers to reflect deeply on the explorer’s complex legacy. With vivid details and Side’s hallmark storytelling, the book transports readers to the age of sail, immersing them in a haunting tale of exploration, colonial ambition, and cultural clash—one that lingers long after the final page is turned.

The article examines the relationships between Adam Johann von Krusenstern, August von Kotzebue, and Georg Forster, focusing on their intertwined legacies within the context of 18th-century exploration and literary production. Drawing from the accounts of the Russian circumnavigation led by Krusenstern and the literary works of Kotzebue, the study illuminates how Forster's writings and ideals influenced their narratives. The paper highlights the aspirations of Krusenstern’s crew members to emulate Forster's accomplishments in ethnography and travel literature, reflecting on the broader cultural and scientific impacts of Forster's work. It delves into the ambitions, literary endeavours, and the competitive spirit among the expedition’s participants, revealing the complex dynamics of admiration and emulation. This exploration not only sheds light on Forster’s influence on his contemporaries but also enriches our understanding of the interplay between exploration, science, and literature during the Enlightenment.

Dissertationer, disputationer och dissertationsöversättningar under 1800-talet * av Johanna Akujärvi Få översättningar som har mer än hundra år på nacken torde läsas av andra än den specialintresserade idag. De flesta översättningar faller snabbt i glömska, i bästa fall ersatta av en nyöversättning. Så har exempelvis översättningar av de homeriska eposen avlöst varandra i snabb takt (snabb -för att vara översättningar av antika epos) under 1800-talet, 1 tills Erland Lagerlöfs översättningar publicerades 1908 (Odysséen) och 1912 (Iliaden). 2 Lagerlöfs tolkningar blev klassiker, som fick många omtryck men som också har genomgått bearbetningar och revisioner. 3 Till hundraårsjubileet har nu de lagerlöfska översättningarna getts ut i oförvanskat skick i Svenska Akademiens serie svenska klassiker. 4 Denna artikel skall inte behandla detta slags stora översättningar av antik litteratur som nådde generationer av läsare. En framgångsrik kategori av översättningar av antik litteratur under 1800-talet utgörs av de som gjordes för skolan, till "den studerande ungdomens tjenst" som det ofta står på titelbladet, av både grekisk och latinsk prosa (t.ex. Xenofon och Livius) och 1.

This essay tells a new story about a key technology of long-distance plant transfer in the 19th century—rather than a Eurocentric story of how the “Wardian case” allowed Kew Gardens to move plants around the world, it begins a different story about plant transfer and the “wardian case” that does not situate Europe as origin or center, and empire as periphery. By considering early Polynesian oceanic plant transfer together with Victorian British plant movement, the essay suggests that we can “decolonize” stories of 19th century plant movements in new ways, looking beyond the certainties of center/periphery models, and to the agency of Indigenous peoples.

In der Sammlung des Bernischen Historischen Muse- ums (BHM) befindet sich ein Federband (Inv. Nr. E/1791.536.0043), das mit der Herkunft »Tahiti« dem Sammler Johann Wäber zugeschrieben ist. Dieser war als Maler und Zeichner Teilnehmer der dritten Reise von James Cook in die Südsee. Gegen diese Zuordnung spricht jedoch, dass die verwendeten Federn von im süd- amerikanischen Tiefland lebenden Vögeln stammen; auch die Verbindungstechnik der Federn verweist dorthin. Während die erste und die zweite Reise von James Cook auch nach Südamerika führten, war dies bei der dritten Reise nicht der Fall. Einer der Autoren, Martin Schultz, konnte bereits bei anderen Stücken der Wäber-Sammlung zeigen, dass es im Verlauf ihrer Museumsgeschichte zu Unklarheiten und Fehlern hinsichtlich der regionalen Zuordnung und auch zu Veränderungen an den Objekten kam. Teilweise wurden Stücke anderer Sammlungen als von Wäber stammend in die heutigen Inventare eingetragen. (Lyko und Schultz 2017, Schultz 2019) Das ist auch bei dem im Folgenden behandelten Federband der Fall.

European artists of the eighteenth century framed an exotic textual and visual narrative of the Pacific, drawing largely on knowledge gained from exploratory journeys of the 1760s and 1770s. Visual representations of the Pacific became socially fashionable and commercially successful. The French wallpaper manufacturer, Dufour, captured this commercial potential in a dramatic, panoramic wallpaper that told stories of European encounters with Pacific peoples: Les Sauvages de la Mer Pacifique (1804). Yet it was selective, defining the Pacific by moments of contact with Cook and other explorers. Lisa Reihana's In Pursuit of Venus [Infected] (2015-17) dramatically interrogates the eighteenth-century narrative of the Pacific, responding to Dufour's wallpaper in a complex, panoramic work. By attending to ways in which the factual and speculative are brought together in Enlightenment artefacts and Reihana's restaging of them, we explore how art might be put to use in the service of historical interpretation.

In 1770 Lieutenant James Cook, Captain of HMB Endeavour, became the first European to sail along the east coast of Australia. 1 On his return to England Cook and eminent botanist Joseph Banks were national heroes but the small bark Endeavour, which had taken her crew around the world through uncharted waters, was largely ignored. This article traces the subsequent history of Endeavour after Cook.

Dentro de los estudios sobre la divulgación de las obras de los exploradores científicos del siglo XVIII (cf. Torres Santo Domingo 2003, Pablo Núñez 2019), se ha destacado la nula, escasa o tardía presencia de traducciones al español de los diarios de Cook, Anson, Bougainville, etc., que tanto éxito tuvieron, sin embargo, en otras partes de Europa. Por ejemplo, de los viajes de Cook solo se cuenta con una traducción muy tardía impresa por Santiago de Alvarado en el año 1832 (la cual estamos estudiando). La recepción de estas obras en España se ha buscado por ello de forma indirecta, a través del rastreo de ejemplares de esas ediciones inglesas o francesas en España y de las menciones a ellas en documentos privados de los ilustrados.
Este artículo aporta una nueva perspectiva al analizar la que sería sin duda la primera traducción al español de los viajes de Cook, la que realizó el capitán de navío Pedro de Leiva (†1793) de la versión oficial del segundo viaje de Cook (1777). Esta traducción quedó de forma manuscrita y no llegó a imprimirse, pero, aunque se conocía su mención en bibliografías, no tenemos constancia de que se hubiera localizado ni estudiado. Este, sería, pues, su primer análisis. El estudio se acompaña de forma comparativa con el estudio de las traducciones de los diarios de los viajes de Cook a las distintas lenguas europeas.

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Studies on the dissemination of the diaries of 18th-century scientific explorers - such as Torres Santo Domingo 2003, Pablo Núñez 2019 - have shown the null, scarce or late presence of translations of the diaries of Cook, Anson, Bougainville... into Spanish. For instance, of Cook's travels there is only a very late translation into Spanish printed  in 1832. However, in other parts of Europe, they were really successful with lots of editions published. The reception of these works in Spain has therefore been sought indirectly, tracking the copies of English or French editions in Spain and searching mentions of them in private libraries.
This article provides a new perspective by analyzing what would undoubtedly be the first translation into Spanish of Cook's voyages, the one made by captain Pedro de Leiva (†1793) of Cook's second voyage (1777). This handwritten translation remained lost, so it was never printed. Although it was mentioned in bibliographies, there was no evidence of its location, so this is its first study. To this research is added a review of Cook's travel diaries translations into different European languages.

This article sets out to globalize M aori museology through mana taonga, a concept that is historically grounded and articulated in contemporary museum practice. Mana taonga can be used to reconceptualize issues of engagement, knowledge, and virtuality by exploring ways in which the mutual, asymmetrical relations underpinning global, scientific entanglements of the past can be transformed into reciprocal, symmetrical forms of cross-cultural curatorship and anthropology in the present. In doing so, the Cook/Forster Collection held at the Georg-August-Universit€ at G€ ottingen, Germany, is being (re)approached from a M aori perspective. This collection embodies the first material evidence of the remarkable encounter between Pacific and European people in the 1700s and materializes the moment when two worlds of meaning became entangled and mutually constitutive with continuing significance for Pacific people and European understandings. Reconnecting both sides of the encounter through research on the history of the collection, its contemporary legacy, and M aori engagements with Western anthropology and museology allows us to correct lopsided (re)interpretations of indigenous cultures in exhibitionary projects and one-sided accounts of museums and indigenous people that dominate the literature. [Cook/Forster Collection G€ ottingen, cross-cultural anthropology and curatorship, indigenous agency and globalization, mana taonga, virtual repatriation] Toward Reciprocal and Symmetrical Relations among People, Things, and Knowledge In 2006, after more than 200 years, the largest collection of artifacts gathered during the three voyages of Captain Cook (1768-71, 1772-75, 1776-79/80) travelled back from the Georg-August-Universit€ at G€ ottingen, Germany, to the Pacific to be exhibited at the Honolulu Academy of Arts, Hawai'i, and later at the National Museum of Australia, Canberra (Little and Ruthenberg 2006). 1 Through the exhibition, Life in the Pacific in the 1700s, these objects were reconnected with the descendants of the communities from which they originated, thus writing another chapter of their globalized social and cross-cultural life. Befitting this special occasion, a delegation of representatives of a Hawaiian community travelled to G€ ottingen to meet, for the first time, the treasures produced by their ancestors, such as the iconic feather image ki'i hulu manu representing the Hawaiian male deity K u (Kuka'ilimoku) (Figure 1), most famously and reductively known as "the god of war" (Tengan 2014), and escort these back to Hawai'i (Hauser-Sch€ aublin 2012). The emotional intensity caused by this reconnection between objects and people took the scholarly community in G€ ottingen by surprise because "we were," as Brigitta Hauser-Sch€ aublin remembers, "unaware of what K u and warriorship symbolized for many Hawaiian men today, namely the remaking. .. [of] male Hawaiian identities" (2012:169). Hauser-Sch€ aublin concludes that "K u's ritual value seemed to have been lost over two centuries. However, as the encounter of the Hawaiian delegation with K u in G€ ottingen had shown, the ritual value had only been hidden and could be revitalized once again" (2012:183). Prior to this act of cultural revitalization and reaffirmation of Hawaiian identity, the "feather image became," Hauser-Sch€ aublin further asserts, "the longer the distance from its place of origin, transformed by curators.. .. It gradually turned into an object of scientific inquiry" (2012:182, 183). Museum objects, then, are not "ethnographic" a priori but become "ethnographic" through anthropological interventions (Kirshenblatt-Gimblett 1992). It follows that with changing historical, sociopolitical, and disciplinary contexts, "objects continuously change as well" (Hauser-Sch€ aublin 1998:11) and are awarded Western categories such as curiosity, specimen, artifact, or art, among others, but rarely indigenous categories (McCarthy 2007; Schorch and Kahanu 2015a). At its destination in Honolulu, the travelling Cook/Forster Collection was reconfigured and museu m anthropolog y

Denna rapport innehåller en pilotstudie över en del av den forskning jag bedrivit inom min s.k. "repatrieringstid" under hösten 2018, efter mitt avslutade prefektuppdrag. Rapporten handlar om Kungliga Vetenskapsakademiens Handlingar, särskilt rön om insekter. Orsaken till valet av ämne framgår i rapporten. Under hösten 2018 hade jag förmånen att bli inbjuden som "key-note speaker" till en workshop, anordnad av Nina Tahmasebi, Yvonne Adesam och Susanne Vejdemo. Workshoppen hette: Workshop on Automatic Detection of Language Change (https://spraakbanken.gu.se/swe/forskning/workshop-automaticdetection-language-change) och den gavs i anslutning till konferensen Seventh Swedish Language Technology Conference (SLTC) som hölls i Stockholm 7-9 November, 2018. Den presentation jag höll på workshoppen hette: "Two small, brown, elevated warts that undoubtedly are the breathing holes". A historical study of entomologic vocabulary in the Transactions of the Royal Swedish Academy of Sciences. Den rapport som föreligger här är en något omarbetad version av min presentation. Jag har bl.a. valt att skriva rapporten på svenska. Min tanke är att den framöver ska publiceras som en artikel. Men innan det händer är vem som helst välkommen att komma med synpunkter, och dessa kan lättast lämnas på epost:

Stemmed obsidian tools (mata'a) are a ubiquitous component of the archaeological record of Rapa Nui (Easter Island), and have long figured prominently within archaeological debates on the island's prehistory. Although they are one of the most common artifacts found on the island, much uncertainty exists regarding the uses and function of these tools. Most ethnohistoric and contemporary accounts have presented mata'a as spear-heads, and modern researchers have included this as evidence for a violent history of widespread warfare on the island. Recent studies, however, have shown that mata'a are unlikely to have been designed as weapons but possibly were more general purpose cutting tools or agricultural implements.

For some decades, museums have had to reflect upon and re-imagine what they do and for whom. Since the 1970s, museums that hold ethnographic collections have become sites of acute re-appraisal as these collections carry an historical freight. This paper will show how externally funded research projects, such as the Pacific Presences project, can support the work of ethnographic museums in addressing this historical legacy. This legacy means that collections can be a rich source and creative spur to present-day indigenous researchers and cultural practitioners. A core component of the Pacific Presences project has been to support a programme of indigenous visitors. Reaching out to the descendants of collected peoples is a decolonizing strategy that fosters relationships, with individuals and communities, which can be developed over time and shows that ethnographic collections can be used to energize cultural and intellectual endeavours today. This paper will offer this strategy as one way in which ethnographic museums can adopt decolonizing practices. In doing this we acknowledge that ethnographic museums are products of a colonial past, it is in their DNA, but it is possible to offer up strategies for making museums into fruitful and creative sites of decolonizing activity.

The history of the reception of James Cook’s Voyages in the Kingdom of Hungary constitutes an exciting chapter in the history of the transmission of significant scientific texts from Western to Eastern Europe. Not well researched so far, it could throw light on the cultural and political circumstances of the making of science in a local, non-western context in the turn of the 18th and 19th centuries. This context seems to have shaped both the examples to borrow from foreign sciences and the patterns and methods of cultivating sciences in situ. It also had a considerable impact on what counted as „tradition” and what as „innovation” in local scientific discourses.
According to the findings of the author, at least four different, individual (and partial) Hungarian translations of the Voyages of James Cook (1728-1779) came into existence in the end of the 18th and the beginning of the 19th century. The first translation was born in a Jesuit context in North Hungary around 1783. The  second translation emerged in a Protestant context in Transylvania around 1796. The third one appeared in another Protestant (Lutheran) context in West Hungary around 1810 and 1816. And, there was most probably a fourth one, a Calvinist translation appearing as an initiative around the early 1800s in South Hungary. The Protestant translations concerned the first voyage of James Cook accomplished in the company of Joseph Banks (1743-1820) and Daniel Solander (1733-1782) between 1768-1771. The Jesuit compilation related to the third voyage made between 1776-1780, the one from which Cook has not returned. As for the fourth translation, it is not known so far which parts of the Voyages it concerned. Knowing seemingly nothing about one another, the three (or four) different circles of translators represented three (or four) individual scientific micro-contexts from which the Enlightenment science of global ethnography and anthropology started emerging in the turn of the 18th and the 19th century.
The aim of the paper is to introduce those translations in their respective cultural, religious and political contexts with special regards of the translators themselves. Each of the three/four cases is well-documented; a rich archival material provides data about the editions of the Voyages that were used by the Hungarian translators. The fourth case is somewhat different. It is known only from a rather abundant footnote to another work of the translator, formerly a student of the university of Göttingen. However, the author of the paper attempts to throw as much light upon the fourth case as she can, regarding that this case seems to have been the most embedded in the specific transfer of ideas that took place between Hungary and the university of Göttingen in the field of early ethnography and anthropology.
The appearance of the Voyages of James Cook in vernacular contributed enormously to the birth of a discourse - a language and a visual imagery - which seems to have founded the science of cultural anthropology in Hungary. The paper discusses why and how it was so innovative, and how the existing knowledge about the non-European world/the western hemisphere may have looked like in the end of the 18th century.

Considering, on the one hand, that the development of printing and the spread of the printed word across the Western world contributed to shaping representations of the known and unknown world, and secondly, that geographical metaphors structure discursive thought (Baron), this conference open to all the research fields represented in SEAA XVII-XVIII (Société d’Études Anglo-Américaines des XVIIe et XVIIIe siècles) aims to reflect on the interactions between discourses in various book forms (treatises, travelogues, drawings, literary works, works of art...) and the territories and landscapes they evoke. In full expansion at that time, the English-speaking world was also being reinvented. In many respects, the 17th and 18th centuries were a pivotal period; whether we see it as a change of episteme at the archaeological level (Foucault), or as the passage from one ontology to another at the anthropological level (Descola), it could well be seen as the time of a 'great divide' when an operation of fundamental redistribution between subject and object (Latour), and between culture and nature, is taking place--embodied for instance in the unprecedented development of landscape painting. But it is the book that will be the focus of investigation here.

The following topics may be studied:

    • the narration and historiography of the discovery of new regions and cultures of the world (cf. Claval 1992) by Anglo-Saxon travellers and explorers (the 'legenda', cf. Foucault, or the work of Alain Corbin and his use of literary texts); narratives of contact between cultures, in the fantastical manner of John Donne ('O my America! my new-found land', ['To his Mistress Going to Bed']) or in the more reasoned manner of St Jean de Crèvecœur or Gilbert Imlay (The Emigrants, 1793), and the way of giving voice to the Other (subaltern studies); the delineation of future 'places of memory' (Nora); in short, the different forms of territorialization, as well as deterritorialization which they sometimes entail, among others, from the point of view of exile or the exiled.

    • the interactions between landscape and literature, for example from an ecocritical perspective (cf. the influence of Wordsworth on the creation of the Lake District); the ways in which a country or a landscape can be read: through walking (Gros, Le Breton), topographical / loco-descriptive poetry, and thus descriptions of countryside, townscapes or skyscapes, in literature (London in Moll Flanders, Bath in Humphry Clinker...) and in aesthetic treatises (in the manner of Gilpin's writing on the picturesque); the poetics of toponyms, ekphrasis, literary stylisation as the metaphorical equivalent of the work done by the anamorphic map of a territory; treatises on art, the art of landscape gardening, and in general geopoetics and the artialisation of the world (Roger), insofar as poetising a landscape and putting it into discourse means interpreting it.

- the space of the book itself, open to typographic and illustrative experiments (Herbert, Sterne, Blake...); the genetics of texts, which offer a topographical metaphor for the palimpsest of a text; anchoring, inking or even 'æncrage' (to use Bernard Magné's neologism for Pérec’s Espèces d'espaces); the places where books are produced (Raven), in short, the different forms of 'literary spaces' (Blanchot);

- the circulation of books, in all its forms, which contributes to the shaping of space, whether it be their use as pieces of furniture (Jeffrey Todd Knight), their economic inscription in urban spaces (James Raven), or the impact of their content on the ways in which the world is conceived and travelled.

Orgainising committee: Jean-Jacques Chardin, Hélène Ibata and Yann Tholoniat.

The Cook collection of the Museum of Anthropology and Ethnology in Florence includes
objects belonging to the cultures of Polynesia, Melanesia and the North-West Coast of North America. The importance of these artifacts is increasingly recognized not only by curators, ethnologists and artists, but also by historians. In this contribution we retrace the history of its rediscovery in the 19th century, and the studies of the 20th century which confirmed its attribution and expanded knowledge. Finally, we reflect on the contents, methods of communication and the future potential of this collection.

Music in film, diegetic and non-diegetic, creates and defines spaces and places in the mise en scene and in the relations it creates between the text and the audience, degrees of intimacy or distance, identification or alienation. This paper will examine the use of music in the films of New Zealand director Taika Waititi, focusing on Boy (2010), What We Do in The Shadows (2104) and Hunt for the Wilderpeople (2016). All of Waititi's films are set in New Zealand, and music provides a symbolic resource to think about various kinds of spatio-temporal relationships-global and local, Pakeha and Maori, colonisation and indigeneity, urban and rural, queer and straight. These relationships have grown and been articulated in different and arguably developing ways throughout Waititi's growing oeuvre, which is being increasingly recognised as one of international significance. For example, whereas in Boy, music is initially used to establish a nostalgic childhood, partially autobiographical, time and place, it is also used to created shared fantasy spaces where the conflicting desires of the central characters can be to some degree mediated and resolved. In the more recent Hunt for the Wilderpeople, music is used rather to impose a kind of fantasy upon the audience, forcing them to re-evaluate the "classic Kiwi" blokes in the bush tropes of the source material (Barry Crump's Wild Pork and Watercress). Notable alongside Waititi's clever use of existing popular music, is his ongoing soundtrack collaboration with Wellington band the Phoenix Foundation, a group that Waititi describes as "gay". I want to consider the possibility that these films use music as part of an overall strategy of "campness" that locates a unique Kiwi queerness in the heart of the bush-like the impossible song of the huia, a supposedly extinct bird that the protagonists stumble across on their journey.

This issue of Australian Historical Studies is the final one in our editorial tenure of the journal from 2015 to 2018. During this time, it has been a privilege to publish a range of fascinating articles in Australian history, and to support new historical work that examines Australia's place in the world, and the international, transnational and localised connections that have shaped national historical experiences. This includes special issues and focused forums on topics such as The Pacific, Oral History and Australian Generations, Big Data and Australian History, Economic History and History and Heritage. We are delighted then that this issue features a forum on New Histories of Sexuality. It also includes a Commentary on the calls for 'truth-telling' about the history of Indigenous Australians under colonisation that underpins the Uluru Statement from the Heart, issued by the First Nations Constitutional Convention on 26 May 2017. The fortieth anniversary of the Sydney Gay and Lesbian Mardi Gras, and its impact on Australian society, is acknowledged through our forum, fully titled 'Beyond Liberation: New Histories of Sexuality in Late Modern Australia' and convened by Leigh Boucher and Robert Reynolds. These articles demonstrate the relevance of Australian history to the current moment, with their publication in the wake of debates during 2017 in Australia that accompanied the controversial voluntary postal vote survey on same-sex marriage and, with a majority vote in favour, led to legislative change. Frank Bongiorno's introduction offers an engaging discussion of the historical contingencies of sexual citizenship. He argues that the sexual revolution of the twentieth century was always 'fractured and variegated', and reminds us that taking a progressive historical view on the move towards sexual equality can also mask critical debates around the law, social change and the visibility and politics of the representations and emotional experiences of sexual pleasure and desire. Sophie Robinson's contribution on what she terms 'the new lesbian sexual revolution' considers the ways that lesbians in Sydney in the 1980s and 1990s created spaces to explore their sexual subjectivity and to expand possibilities for living a lesbian life alongsideand yet distinct fromgay male culture. As Robinson shows, these aspirations were considered by some to be antithetical to feminism, yet such movements marked a revolution in which lesbianism could be both political and sexual. In their article 'Decriminalisation, Apology and Expungement', Boucher and Reynolds consider two instances where the relationship between homosexuality and the state was 'contested and redrawn' in Victoria. They explore how the 'spectre of sex in public' confounded neat liberal solutions, revealing the ways in which claims for sexual citizenship would retain an unruly edge. Barbara Baird's article examines the history of

This paper is an attempt to examine aspects of the consequences of the transfer of individual culturally charged material items (principally artefacts) between societies that have different cultural values. This is an especially urgent matter, epistemologically, aesthetically, and ethically, when the societies concerned are likely to develop or are already in an unequal power relationship. One pressing set of circumstances in which individual material items changed hands was the expansion of European (in the extended sense) interests in the sixteenth through twentieth centuries. Many of the things acquired by Europeans entered collections initially or eventually devoted to the emerging field of ethnography. In this paper I claim that when an object moves from one society to another, one or more of three attitudes is in play, each of which involves aesthetic judgment: (1) supersession: the new users employ and interpret it solely on their own terms without regard to the uses and interpretations of its earlier users, either oblivious to those earlier uses, or purposefully to expunge them; (2) assumption: the new users discern familiar characteristics that they value, including aesthetic characteristics, and that they assume earlier users also discerned and valued; (3) translation: the new users attempt to learn the terms of use, interpretation and value of the earlier users by means of cultural acquisition and translation, acknowledging that these may differ from their own wholly or in part, but in the belief that their acquisition will bring them advantages. In this paper I examine the character and some of the epistemological, aesthetic, and ethical ramifications of each of these three attitudes for both European communities and for communities that encountered Europeans.

Latinet har under en stor del av sin historia haft den fördelen att det varit ett internationellt språk, ingens modersmål och därmed befriat från nationell prestige. Det har fungerat som vetenskapernas och i synnerhet naturvetenskapernas språk, och det har inneslutit alla dem som befunnit sig på en viss bildningsnivå i en större gränsöverskridande gemenskap-dessa har alla tillhört en samfällig res publica litterarum, en internationell de lärdes republik, inom vilken man nyttjat ett övernationellt språk, latinet.  Det är ju uppenbart att det är på latinska stammar som själva ordet internationell är bildat; det är sammansatt av inter, mellan, och nationalis, nationell, som i sin tur är härlett ur natio, nation. Men sammanställningen internationalis är en sen konstruktion. Den finns inte belagd i det klassiska latinet och förekommer inte heller i medeltidslatinet eller nylatinet, åtminstone inte så långt dessa perioders latin kan studeras med hjälp av ordböcker och liknande verktyg.  Första belägget på denna ordbildning påträffas i engelskan år 1780, i ett rättsteoretiskt sammanhang, hos den engelske filosofen, ekonomen och juristen Jeremy Bentham, där det har betydelsen mellanfolklig, inte övernationell.  I svenskan finns det belagt sedan 1857.  Ordet utgör ett exempel på hur latinet ständigt har producerat nybildningar inom de moderna språken: det gör det alltjämt, inte minst inom naturvetenskaperna. Ofta sker det i sällskap med grekiska ordstammar. 1600-och 1700-talens vetenskapliga latin har varit av utomordentligt stor betydelse för denna utveckling. Latinet som lärdomsspråk under 1700-talet I början av 1700-talet var latinet fortfarande det dominerande språket inom högre utbildning och vetenskapsutövning i stora delar av Europa, närmare bestämt i Centraleuropa, Nederländerna och i Östersjörummet. Nationalspråken var inte så långt utvecklade i vetenskapliga sammanhang, och det var dessutom i de flesta fall omöjligt för de lärde att kommunicera med kolleger i andra länder på modersmålet.  För en skri

On 3 February 2022, Kevin Sumption PSM, the Director of the Australian National Maritime Museum in Sydney, Australia controversially announced  that HMB Endeavour had been found in Newport Harbor, Rhode Island, USA. This was the culmination of more than two decades of research by the museum and the Rhode Island Marine Archaeology Project. The museum's maritime archaeologists Kieran Hosty and Dr James Hunter set out the evidence.

On Thursday 3 February 2022, the museum's Director Kevin Sumption PSM hosted a press conference in which he stated that HMB Endeavour had been found in Newport Harbor, Rhode Island, USA. This was the culmination of more than two decades of research by the museum and the Rhode Island Marine Archaeology Project. The museum's maritime archaeologists Kieran Hosty and Dr James Hunter set out the evidence.

This article traces parallels between James Cook’s 1768 Endeavour voyage to measure the transit of Venus and current initiatives searching for extraterrestrial intelligence (SETI). While separated by vast time and space, both are united in their appeal to celestial frontier science in the service of all humanity, and contain discrepancies between their ethical protocols and probable outcomes. Past, present, and future colonial projects are interwoven by drawing on Dipesh Chakrabarty’s “time-knot,” Star Trek’s “prime directive,” and firsthand experience in SETI’s Indigenous studies working group. This analysis cautions against the current trend toward unabated interstellar imperialism and suggests alternative approaches for engaging outer spaces and beings through celestial wayfinding.

Jennifer Y. Chuong researches the eighteenth-century transatlantic world; Kailani Polzak researches European voyages in the Pacific; and we share an interest in print's materialization of racial ideologies. When we were invited by Emily Casey to coauthor a response to the question "Where and when does colonial America end?," it seemed like a perfect opportunity to consider an object that exceeds traditional field boundaries: a decorated powder horn, originating in New England but bearing traces of an image originating halfway around the globe. 1 Emblazoned with the owner's name (John Parker) on its convex side, the horn features in its inner curve a vignette of eight figures shown in profile in a distinctively articulated watercraft (figs. 1 and 2). 2 Clusters of feathers atop the figures' heads correspond to allegorical and descriptive images of Indigenous peoples in the Americas. Significantly, while the tableau bears signs of a direct encounter (note the unique hatching of each figure), it is also the product of visual mediation: the image is clearly based on a drawing of a Māori waka taua (war-party canoe) by Sydney Parkinson, artist on Captain Cook's first voyage, which was translated into several prints that circulated in the eighteenth-century transatlantic world (fig. 3).

El analisis de una obra literaria nos ha ofrecido en numerosos casos un cumulo de hechos y observaciones dificiles de vertebrar. Y no nos referimos solo al tipo de critica intuitiva o historica tradicio­ nal, sino tambien a cierta critica pretendidamente cientifica. La apli­ cacion de modelos de analisis preestablecidos conduce inevitablemente a una serie de apreciaciones inutiles que no sabemos como integrar y que no son productivas, desde el punto de vista de la interpretacion del texto. La pretension de un analisis «objetivo» de la obra literaria, donde el ejercicio del lector se identificaria con el de un automata, nos lleva hacia un producto donde queda por realizar la operacion fundamental sin la que ninguna interpretacion es posible. A esta operacion podemos darle un nombre rico en connotaciones. Acto interpretativo implica, como es sin duda facil admitir, «eleccion». Esto equivale a explotar lo que autores como Barthes consideran relacion en lo fundamental libre del lector c...

(1994). Boris Uspenskij, född 1937, är en berömd rysk filolog, doktor i filologi, professor vid Moskva Statliga Universitet, vid universetiten i Napoli (i ryska) och Lugano (i semiotik). Uspenskij är författare till mer än 300 vetenskapliga arbeten i språkvetenskap http://slav.su.se/slavinstforum/viewtopic.php?t=1404 och http://ru.wikipedia.org/wiki/%D0%A3%D1%81%D0%BF%D0%B5%D0%BD%D1%81%D0 %BA%D0%B8%D0%B9,_%D0%91%D0%BE%D1%80%D0%B8%D1%81_%D0%90%D0 %BD%D0%B4%D1%80%D0%B5%D0%B5%D0%B2%D0%B8%D1%87 Jag använder mig också av boken Vasilii Trediakovsky: The Fool of the "New" Russian Literature av Reyfman I. (1990) via http://books.google.se/books?id=kHZBf3-AWmIC&hl=sv&source=gbs_ViewAPI&printsec=frontcover&redir_esc=y#v=onepage&q&f =false; boken Три века русской орфографии (XVIII вв.), Tri veka russkoj orfografii (XVIII-XX vv.) av Grigorjeva T.M. (2004); boken A History of the Russian Language and its Speakers av Press I. (2007); boken An XVIIIth Century Russian Reader av Drage C. L. & Vickery W. N. (1969) Jag använder mig också av Internetkällor, bl.a. av artikeln av Slozjenikina Y.V. & Rastijagajev A.B. Jazykovaja i personalnaja modeli Trediakovskogo/ Trediakovskijs språkoch personliga program i http://www.zpu-journal.ru/e-zpu/2009/5/Slozhenikina&Rastiagaev/. Slozjenikina Yulia är doktor i filologi och professor vid Samara univerisitet i Ryssland och Rastiagajev Andrej är doktor i filologi och dosent vid Povolga Universitet i Ryssland. Jag bifogar scannade bilder, som utgör delar ur Razgovor (1748) och ur An XVIIIth Century Russian Reader av Drage C. L. & Vickery W. N. (1969) för att läsaren kan följa mitt resonemang genom att själv läsa de rader som jag diskuterar. Bilderna har jag numrerat och hänvisar till dem i löpande texten.

This issue of Australian Historical Studies is the final one in our editorial tenure of the journal from 2015 to 2018. During this time, it has been a privilege to publish a range of fascinating articles in Australian history, and to support new historical work that examines Australia's place in the world, and the international, transnational and localised connections that have shaped national historical experiences. This includes special issues and focused forums on topics such as The Pacific, Oral History and Australian Generations, Big Data and Australian History, Economic History and History and Heritage. We are delighted then that this issue features a forum on New Histories of Sexuality. It also includes a Commentary on the calls for 'truth-telling' about the history of Indigenous Australians under colonisation that underpins the Uluru Statement from the Heart, issued by the First Nations Constitutional Convention on 26 May 2017. The fortieth anniversary of the Sydney Gay and Lesbian Mardi Gras, and its impact on Australian society, is acknowledged through our forum, fully titled 'Beyond Liberation: New Histories of Sexuality in Late Modern Australia' and convened by Leigh Boucher and Robert Reynolds. These articles demonstrate the relevance of Australian history to the current moment, with their publication in the wake of debates during 2017 in Australia that accompanied the controversial voluntary postal vote survey on same-sex marriage and, with a majority vote in favour, led to legislative change. Frank Bongiorno's introduction offers an engaging discussion of the historical contingencies of sexual citizenship. He argues that the sexual revolution of the twentieth century was always 'fractured and variegated', and reminds us that taking a progressive historical view on the move towards sexual equality can also mask critical debates around the law, social change and the visibility and politics of the representations and emotional experiences of sexual pleasure and desire. Sophie Robinson's contribution on what she terms 'the new lesbian sexual revolution' considers the ways that lesbians in Sydney in the 1980s and 1990s created spaces to explore their sexual subjectivity and to expand possibilities for living a lesbian life alongsideand yet distinct fromgay male culture. As Robinson shows, these aspirations were considered by some to be antithetical to feminism, yet such movements marked a revolution in which lesbianism could be both political and sexual. In their article 'Decriminalisation, Apology and Expungement', Boucher and Reynolds consider two instances where the relationship between homosexuality and the state was 'contested and redrawn' in Victoria. They explore how the 'spectre of sex in public' confounded neat liberal solutions, revealing the ways in which claims for sexual citizenship would retain an unruly edge. Barbara Baird's article examines the history of

The Roman Catholic miSSIOns of New Spain were an essential component of the Spanish colonial enterprise, and the effects of the missionization process on the Native American populations of the Americas were profound. How did these native populations respond to the new imperatives of colonization and religious conversion? In what ways were they able to maintain their cultural identity under the mission system? This paper examines the ways in which archaeology can address these questions of cultural continuity, with particular emphasis on the eighteenth-century Spanish missions of San Antonio, Texas.