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Picturesque New Guinea is a historical work by J. W. Lindt. It describes the inhabitants of Papua New Guinea, their customs and traditions along with illustrations and portraits from different groups of local indigenous people.
‘I know no place where firm and paternal government would sooner produce beneficial results then in the Solomons … Here is an object worthy indeed the devotion of one’s life’. Charles Morris Woodford devoted his working life to pursuing this dream, becoming the first British Resident Commissioner in 1897 and remaining in office until 1915, establishing the colonial state almost singlehandedly. His career in the Pacific extended beyond the Solomon Islands. He worked briefly for the Western Pacific High Commission in Fiji, was a temporary consul in Samoa, and travelled as a Government Agent on a small labour vessel returning indentured workers to the Gilbert Islands. As an independent naturalist he made three successful expeditions to the islands, and even climbed Mt Popomanaseu, the highest mountain in Guadalcanal. However, his natural history collection of over 20,000 specimens, held by the British Museum of Natural History, has not been comprehensively examined. The British Solomon Islands Protectorate was established in order to control the Pacific Labour Trade and to counter possible expansion by French and German colonialists. It remaining an impoverished, largely neglected protectorate in the Western Pacific whose economic importance was large-scale copra production, with its copra considered the second-worst in the world. This book is a study of Woodford, the man, and what drove his desire to establish a colonial protectorate in the Solomon Islands. In doing so, it also addresses ongoing issues: not so much why the independent state broke down, but how imperfectly it was put together in the first place.
The Fifth International Symposium of the Pacific Arts Association, titled "Art, Performance, and Society," called for papers in sessions dealing with "Production and Performance," "Social and Cultural Context," "The Record and the Remainder," and "The Mission of Museums." In all, some sixty papers were presented, twenty-four of which have been included in this book. The first two topics elicited several papers that explored the creative process, including the description and analysis of performance, and the taxonomy of objects used, the transmission of cultural knowledge, and the identity and work of individual artists. The second two topics provided the opportunity for papers on some significant early museum collectors and collections, various methods of documenting cultural material (such as photography), how cultural material has been and can be exhibited, and the role of museums and cultural centers in Pacific Island countries.
Photographing Papua is a study of photography in the public domain in the late nineteenth and early twentieth centuries. It argues that southeastern New Guinea, known as British New Guinea and then as Papua when it became an Australian colony, was created as a geographical place through visual representation in illustrated magazines and newspapers, lavishly illustrated travelogues and mission hagiography, serial encyclopedia, lantern slides and postcards. Readers :knew" Papua because many thousands of black and white photographs of Papuans, villages and material culture rapidly swamped the reading public once the process of halftone, newsprint reproduction became possible. In an innovative and breakthrough fashion Photographing Papua switches attention from a few well known prints in museums and archives, in some cases repeatedly reproduced, but mostly rarely seen outside of scientific and scholarly circles. It deals instead with thousands of photographs, often used in ways not intended when the photograph was taken, but which editors and publishers (and subsequent photographers) gradually made conform to an iconographic imperative, a sort of abbreviated visual gallery of "natives" and a quick-access pathway to the actual and imagined lives of Papuans in the "last Unknown" as New Guinea was titled. It is a study of representation, colonialism, cross-cultural encounters and the early world of illustrated media and photo-journalism.