This article rehearses the critical theory of Craig Calhoun’s book on nationalism and applies his threefold typology of ‘project, discourse, evaluation’ to the peculiar case of modern Philippine nationalism. The Republic of the Philippines is a marine archipelago of over 7100 islands and 85 million people of various ethnic, linguistic and cultural identities. Because of its history of colonizations (Spanish, American, Japanese), the predominance of Christianity, and the lack of a unified or prestigious pre-modern religious, political or economic order, the (...) Philippines is frequently positioned as ‘in but not of Asia’. Because Filipinos are made acutely aware of their peculiar trajectory as a modern nation-state and precarious position within the region, the dominant discourses of ‘the Philippines’ have been too anxious to construct a genealogy of the modern nation-state as telos and to assert some form of ‘Filipino’ identity and spirit. Now that the nationalist moment of contemporary nation-states has passed with the fading of the post-Second World War ‘developmentalist state’ project and its usurpation since the 1980s by ‘the globalization’ project, an opportunity is afforded for a changing of our critical lens from searches for revolutionary projects of founding myths and ends, of romantic nationalisms, or of nostalgic returns to pre-modern idylls (whether ethnic or colonial). Accordingly, this article has three parts. Part One provides a brief synopsis of Calhoun’s arguments about nationalism. Part Two applies these critical insights to the case of Philippine nationalism, especially as it is expressed in the historical and social sciences. Part Three then introduces alternative ways of thinking about the Philippines as sites of cultural hybridity and traffic. (shrink)

In response to the wonderful work of the editors and contributors to this special issue, we offer some combined reflections on the importance of place to the Thesis Eleven project, broadly defined, and including the textbooks that grew out of this field. We return to the impact and influence of two major intellectual resources in the work and thinking of Bernard Smith and George Seddon. These mavericks helped us to think our own sense of place, and to engage with the (...) other places that we encountered and also sometimes think of as home. Place here nestles with movement as central conceptual coordinates. (shrink)

Feminine beauty was implicated in colonial ways of seeing Indigenous peoples. The Australian ‘Native Belle’, as the feminine type of the noble savage, caught the European imagination at the time that European women such as Mary Wollstonecraft inaugurated a critique of feminine beauty as enslaving. Representations of the native belle were disseminated through new forms of communication and were implicated in prevailing discourses of Indigenous peoples such as ethnology. The native belle demonstrates a European longing for feminine beauty that was (...) natural and unaffected. This type also demonstrates that ideas of visual identity as manifest in feminine beauty were important descriptors of racial difference. (shrink)

For over two centuries, the platypus (Ornithorhynchus anatinus) has been constructed and categorized in multiple ways. An unprecedented mélange of anatomical features and physiological functions, it long remained a systematic quandary. Nevertheless, since 1797, naturalists and biologists have pursued two recurring obsessions. Investigations into platypus reproduction and lactation have focused attention largely upon females of the species. Despite its apparent admixture of avian, reptilian and mammalian characters, the platypus was soon placed as a rudimentary mammal – primitive, naïve and harmless. (...) This article pursues a different taxonomic trajectory, concentrating on a specifically male anatomical development: the crural spur and venom gland on the hind legs. Once the defining characteristic of both the platypus and echidna (Tachyglossus aculeatus), by 1830 this sexed spur had been largely dismissed as inactive and irrelevant. For a creature regularly depicted as a biological outlier, the systematic and evolutionary implications of platypus poison have remained largely overlooked. In Australia, however, sporadic cases of ‘spiking’ led to consistent homologies being remarked between the platypus crural system and the venom glands of snakes. As with its reproductive reliance upon eggs, possession of an endogenous poison suggested significant reptilian affinities, yet the platypus has rarely been classed as an advanced reptile. Indeed, ongoing uncertainty regarding the biological purpose of the male’s spur has ostensibly posed a directional puzzle. As with so many of its traits, however, platypus poison has been consistently described as a redundant remnant, rather than an emergent feature indicating evolutionary advance. (shrink)

The concept of the Formalesque preoccupied Bernard Smith during the last decades of his life. First propounded in Modernism's History (1998), the Formalesque is a proposed period style describing the art of the 20th century. Yet, despite his ambitions for the Formalesque as a new classification for modern art, the idea failed to appeal to academic art history. This paper does not attempt to salvage the Formalesque from art-historical obscurity. But it does argue Smith's work on this topic is relevant (...) by virtue of the contribution it makes to debates about modernism and art history. Although Smith's thesis emphasizes the necessity of period styles and the perennial development of art history, paradoxically, the Formalesque also highlights the limitations of art history. If the Formalesque has a place in art historiography, it belongs to a speculative discourse describing the end of the history of art. (shrink)

What are the peculiarities of Australian modernity? How can we make sense of Australia? This programmatic article opens up questions of how to think about Australia through thinking about thinking about Australia. National and imperial fallacies abound - that Australia is derivative of origin or environment, and is allegedly obsessed with identity crises. Much analysis of Australia is either celebratory or dismissive. Too often the question is `who are we?' rather than `what has been the nature of our collective and (...) split experience?' The argument presented here is that the idea of Australian civilization can be used to hold these two dimensions together within the framework of an accelerating globalization process which divides rather than unites. Three negative and three positive theses are advanced to this end, anticipating a further article which follows Tocqueville into the antipodes. (shrink)

The idea of the South has a long history. In the recent past it has been revived as a possible frame for representing the cultural context of not just regions that are geographically located in the South, but also those that share a common post-colonial heritage. In this essay I explore the affinities and tensions between the South and parallel terms such as Third World and Antipodes. I argue that the South can extend the existing debates on cross-cultural exchange, and (...) provide a useful perspective for representing what I call a ‘spherical consciousness’ in contemporary art. (shrink)

European Vision and the South Pacific, first published in 1960, is the most acclaimed of all Bernard Smith’s many texts on art history and cultural theory. In conjunction with its 1992 companion-piece, Imagining the Pacific, and supported by collations of art and cartography from Cook’s and other voyages, this work also established his reputation as a major presence in Pacific-centred research. Likewise, the ongoing influence of European Vision and the South Pacific has seen Smith claimed as a foundational figure in (...) post-colonial scholarship, as one who ‘anticipated’ aspects of Edward Said’s late-1970s analysis of orientalism. But while there are important parallels and overlaps in the thinking of this pair, their differences and divergences are at least as significant. Above all, Smith’s Pacific-centred writings need to be understood as the unique intellectual achievements they undeniably are. (shrink)

Tracing the relationship between Marxism and Darwinism in Bernard Smith’s writing, the article unpacks the meaning of Smith’s claim that ‘it is the business of the art historian to reveal tendencies’. While Smith tended towards Marxism his writing is not about Marxist tendencies in art. Smith was practising a type of genealogy rather than teleology, something, that is, more Darwinian than metaphysical, philosophical or ideological. I argue that Smith’s claim is more than methodological: it also shaped the content of his (...) historiography and particularly his interpretation of Australian art. (shrink)

This article argues that the implications of the recent eclipse of the construct of the `primitive' for the practice of the human sciences have not been adequately pondered. It asks, therefore, why and how the myth of primitiveness has been sustained by the human sciences, and what purposes it has served for the modern West's self-understanding. To attempt to answer such a query, the article pursues two principal lines of inquiry. In order to appreciate what is potentially being lost, the (...) space that may be closing up as a result of the death of the `primitive', the first part of the article strives to demonstrate the latter's significance for the self-critique of modern ways of thinking and acting by historiographically reconstructing its changing roles within and representations by the human sciences. In the second section, it is contended that the eclipse of primitiveness has created a potentially problematic situation for the human sciences, since the cross-cultural mode of critique cultivated through this myth risks being neglected in a post-`primitive' age. All in all, then, the article claims that continued engagement with cultural alterity is essential for the human sciences after primitiveness, and that such an engagement can be sustained by an understanding of the different ways in which the `primitive' has been defined and has functioned over the course of the modern era. (shrink)

What is the nature of modernity in Australia, or in the Antipodes? This article presents the view that Australia is an unhappy country because its modernity is caught between at least two different images of pasts and futures possible. There are at least two Australias, one closer to the image of modern tradition or settler capitalism, the other heading in the direction of globalism via its world cities. On contemplation, the image of doubling or pluralization spreads. For there are also (...) at least two distinct little narratives of national foundation, one dystopic, as the halfway modern society begot by penal origins in 1788, the other utopian, as the field of the transtasman social laboratory mooted into the 20th century. These divisions resonate with the theme of the two nations, from Disraeli through to Bauman, but the logical implication of the argument for the discourse about multiple modernities suggests the pluralization rather than dualization of lifeworlds and social forms. (shrink)

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration of the (...) Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

Nature and society are dichotomized in much discussion in critical theory or science, largely because of the want of a satisfactory way to connect or combine the problems and prospects involved. Yet the interconnection is nowhere more apparent than in the idea of the social or cultural, or capitalism as second nature. This article, developed from the opening lecture for the Thesis Eleven Conference `Landprints Over Boundaries: in Honour of George Seddon', compares Marx and Seddon on nature and second nature, (...) in order to suggest points of contact and traffic between Seddon's project and that of critical theory, not least with reference to problems of place and the peculiarities of the antipodes. How to connect the two? Marx shifts from the anthropological and historical to the more abstract concerns with capital as second nature; Seddon remains more inquisi-tive, empirical, though comparative and cosmopolitan in nature. Reading the two projects together is an interesting exercise in orientation for critical theory today. (shrink)