This article discusses the impact of the local context on the implementation of a teaching practice observation protocol. It explores the methodological adaptations made within the framework of a collaborative research in professional didactics in French Polynesia. This research, aimed at involving teachers in the shared analysis of their own teaching activity of “Polynesian languages and culture”, required taking into account their context of engagement in order to reinvent a research approach meeting the needs of the researcher as well as (...) those of the teachers. Taking into account their respective cultural backgrounds, it allowed a conceptual widening of the theoretical field founding the approach. (shrink)

If Tahiti suggested to theorists comfortably at home in Europe thoughts of noble savages without clothes, those who paid for and went on voyages there were in pursuit of a quite opposite human ideal. Cook's voyage to observe the transit of Venus in 1769 symbolises the eighteenth century's commitment to numbers and accuracy, and its willingness to spend a lot of public money on acquiring them. The state supported the organisation of quantitative researches, employing surveyors and collecting statistics to..

As feminist scholars, we hope that our own work is exempt from structural problems such as racism, sexism, and Eurocentricism, that is, the kind of problems that are exemplified and enacted by Kant’s works. In other words, we hope that we do not re-enact, implicitly or explicitly, Kant’s problematic claims, which range from the unnaturalness of a female philosopher, “who might as well have a beard,” the stupid things that a black carpenter said “because he was black from head to (...) foot,” the poor women “living in the greatest slavery in the Orient,” to the “sheep-like existence of the inhabitants of Tahiti.” In this piece, I argue that we cannot simply hope to avoid these problems unless we are vigilant about incorporating the full picture of Kant’s and Kantian philosophy into our feminist appropriations. I will show that one way to minimize if not altogether avoid this risk is to follow the model of a new methodology that establishes the continued relevance of all of Kant’s claims for our present. Inspired by Spivak’s A Critique of Postcolonial Reason, I will call this alternative methodology the “constructive complicity” approach. (shrink)

Diderot's Supplement to the Voyage of Bougainville has often been read as a Rousseauian condemnation of modern civilization judged against the standard of pure Nature. A cursory reading of the Supplement does appear to present Tahiti as a natural utopia and Europe as a civilized prison. This essay rejects such a reading by demonstrating that the Supplement actually undermines any clear opposition between virtuous nature, represented by Tahiti, and corrupt civilization, represented by Europe. Although Diderot truly does offer (...) a stinging critique of modern Europe, he refuses to offer "nature" as a redemptive alternative. Instead, the Supplement offers an implicit critique of the politics of moralism. (shrink)

L'imitation est-elle l'apanage de l'espèce humaine? Dans quelle mesure l'imitation, abondamment mentionnée dans le discours colonial, est-elle révélatrice des ambiguïtés de la situation coloniale? Comment rendre intelligible l'adoption délibérée par des individus tant de comportements que de gestes imitatifs? Qu'il s'agisse des rapports entre les colons français et les "indigènes" , de la constitution de Tahiti en paradis touristique , des différences entre hip-hop français et américain , ou encore des liens entre les dimensions biologique, psychologique et culturelle de (...) l'imitation , tous les textes réunis ici révèlent l'importance du rôle joué par l'imitation dans le phénomène de la culture. (shrink)

By all accounts, James Cook’s HMS Endeavour sojourn in Tahiti was a pivotal moment in Enlightenment engagements between Indigenous and European cultures. Among the voyage records that survive, the Endeavour draftsman Sydney Parkinson’s Journal of a Voyage to the South Seas is widely viewed as anomalous for the depth and breadth of its interests in Indigenous Tahitian culture and plant knowledge. This essay complicates that view, with emphasis on the contingencies peculiar to the Journal’s publication and to Parkinson’s own (...) authorial biography. Drawing on Gilles Deleuze and Félix Guattari’s concept of the rhizome, I analyze Parkinson’s account alongside the botanist Daniel Solander’s historiographically underutilized “Plantae Otaheitenses” manuscript. In so doing, I offer an alternative reading of the Journal as archetypal rather than exceptional in its attention to Indigenous cultures and knowledges. At stake, I suggest, is an enhanced appreciation for Indigenous–European botanical engagements and for Enlightenment print culture more broadly, as well as for the nebulously adisciplinary and collaborative nature of Enlightenment natural history field practices. (shrink)

This work, an initiative of the University of French Polynesia, Tahiti, showcases research collaboration between small island universities in the Pacific. It addresses a number of 'big issues' for Oceania which are also big issues for the world, concerning the biosphere and human society, sustainable development and well-being. The authors seek to create an ecosystem of knowledge through a dialogue, in English and French, between the natural sciences, the social sciences and the humanities. The work also brings into perspective (...) academic and traditional knowledge, with a view to enhancing cultural and agricultural practices and the development of public policy. Climate change, environmental degradation and food security are key questions for survival. How can the preservation of cultural heritage, the transmission of native languages and the integration of traditional knowledge into formal education contribute to a harmonious future? How is the phenomenon of violence relevant to an understanding of history, interpersonal relations and social inclusiveness, including for women in the political sphere? The Tongan-Fijian writer Epeli Hau'ofa described Oceania imaginatively as a 'Sea of Islands'. This volume sees Pacific islands as being interconnected in ways beyond imagining, in which nowhere is remote, where the peripheral has become a decentred centre. (shrink)

À l’origine du présent ouvrage se trouve un cours consacré aux voyages lointains dans l’imaginaire grec : l’A. nous emmène, à l’image de ses anciens étudiants, sur les traces de l’âge d’or à partir de ses évocations dans la culture occidentale, depuis Hésiode jusqu’à aujourd’hui, en passant par la découverte du Nouveau Monde et de Tahiti. Cette recherche est articulée autour des dimensions temporelle et spatiale du mythe (terme dont la pertinence est abordée p. 15), deux composantes dont la (...) p... (shrink)

Williams’s attack on the ‘morality system’ in Ethics and the Limits of Philosophy was preceded by his famous but misunderstood essay ‘Moral Luck’. This essay pursues two principal aims. First and foremost, I take a fresh look at Williams’s argument in ‘Moral Luck’, to assess its defensibility. Second, I investigate how Williams’s treatment of moral luck shapes and informs the wider assault on the ‘morality system’ which reached its fullest expression in the later work. We can learn something about both (...) of Williams’s projects—his defence of moral luck, and his attack on the morality system—by seeing how each of these projects contributes to the other. Drawing on Williams’s discussion of Gauguin’s desertion of his family for a life of artistic endeavour in Tahiti, six interpretations of Williams’s argument are suggested. While some of these are better than others, none is completely satisfying or convincing. It is suggested, in conclusion, that the attack on anti-luckism does not make an indispensable contribution to Williams’s attack on the morality system. (shrink)

Drawing insights from queer theory, this essay argues for making sex a more central category in political theorists’ interpretations of Diderot’s Supplement, and also of his contributions to History of the Two Indies. The Supplement has sometimes been considered a “libertine” text for depicting Tahiti as a society where sex is open, and indeed where foreign guests are treated to sexual hospitality. This essay reconstructs how and why Diderot’s Tahitians make promiscuity public policy and why Diderot makes miscegenation central (...) to his views on how to improve colonialism morally and politically. In the end, though, the Supplement is beset by asymmetric sexual logics that erode its apparent affirmation of egalitarianism, consent, hospitality, and non-egocentric interest. Although the presentation of sexual hospitality serves to critique French imperialism, its heterosexuality is compulsory and patriarchal. Nevertheless the text unwittingly offers a glimpse of a more radical, queer model of sociability. (shrink)

A poetic for histories -- Sharks that walk on the land -- The face of battle : Valparaiso, 1814 -- The theatricality of history making and the paradoxes of acting -- Possessing Tahiti -- Hollywood makes history -- Inventing others -- Songlines and seaways -- Anzac day -- School at war -- Soliloquy in San Giacomo.

In lieu of an abstract, here is a brief excerpt of the content:Education and Feminist AestheticsGauguin and the ExoticJane Duran (bio)IntroductionMuch has been made of the way in which Gauguin came to characterize the differences that he saw between the French and Tahitian populations once he had embarked on the series of voyages for which he is now celebrated.1 Although there is evidence to support a number of interpretations with respect to his portrayals of women, one theme has been paramount (...) in a great deal of the commentary: Gauguin came to see the women of Tahiti as not only emblematic of the island itself, and the island's culture, but as the embodiments of a certain sort of feminine grace. The contrasts that Gauguin himself invoked between the "naturalness" of the Polynesian women and what he took to be the falsity of women of his own class in Europe, especially France, has been the subject of much writing. In our attempts to educate undergraduates with respect to categories of oppression, we can appeal to the work of Gauguin as a valuable source of understanding concerning these issues.Given the Eurocentrism of the time, and given that it is roughly this same time period that Said will later go on to associate with the rise of Orientalism, it is probably not possible that Tahiti, its women, and its various flora and fauna could have been seen as anything other than vestiges of the natural in a world already too tamed. Words such as "savage" are used frequently in the criticism of the day to explain Gauguin's subjects, and some of the themes of his work seem to have been chosen specifically because they lent themselves to such an interpretation, at least in European eyes.2 But Gauguin goes a bit further than this crude caricature indicates, at least insofar as his portraits of female figures are concerned. It is clear that, for the [End Page 88] artist, they represent all that is to him unknown about Tahiti, and that at the same time they are coded as the natural, the innocent, and even the holy. An examination of some of his works will bear out the extent to which this is the case.IRegarding Gauguin's attitudes toward Tahiti and its women, Britt Salvesen has noted in recent commentary thatGauguin infused his art with mystery, often by depicting enigmatic female figures, traditional symbols of nature and its secrets. In Tahiti he expected to encounter exotic and sensual women. Given Gauguin's complicated position as both observer and participant in Tahitian society, his ambition to represent the "country's female type" bears close examination. He owned illustrated travel books in which, as he noted scornfully, "all the [natives] … look like Minerva or Pallas Athena." He aimed to disrupt this conventional projection of European ideals and fantasies onto Tahitian women.3As Salvesen indicates, Gauguin expected to find, and did find—by his lights—"exotic" and "sensual" women. Feminist analysis has provided us with an overwhelming amount of material about the extent to which such projections onto women as a group become a near universal human cultural trope, but few individuals allow us to make such strong comparisons with respect to projections on differing female figures as Gauguin does. That he is able to discern the ridiculousness of Academy art with its emphasis on "Pallas Athena" is obvious; what he chooses to do himself is something else again.Inaugurating a variety of personal relationships with women and girls as young as thirteen years of age,4 Gauguin developed a view of the Tahitian woman as emblematic simultaneously of the culture, of a certain sort of innocence, and of a virtually transcendental sacredness. That these images might be thought, naively, to have little to do with sensuality reflects the degree to which we fail to understand that for Gauguin, as for others after him, the sensual itself was sacred. Salvesen notes that one of the early relationships was with the "thirteen-year-old Tehamana. … [o]f Polynesian origin, [in]experienced, and of a seemingly 'impenetrable' character, Tehamana offered Gauguin the mysterious experience he sought in life and art."5If Tehamana represents one take on woman-as-elementally... (shrink)