ABSTRACT

The University of Tasmania’s Ross Female Factory Project, a research initiative of its College of Arts, Law and Education, aims to “re-animate” a Tasmanian convict tourist site affected by multiple historical silencings, the Ross Female Factory. This article considers the second author’s script, “The Caorthann Amulet and the Turkey”, which was developed to address these silencings by telling the story of four female inmates. It also surveys the cultural and political context that informed the script’s development. It is concerned with what history is presented at Tasmanian convict sites, and also how that history is presented; furthermore, however, it addresses how former and existing forms of presentation reinforce conservative settler values within history. The first part of the article explores the “dark turn” in heritage performances at Tasmanian convict sites, and the relation of this phenomenon to an authorised heritage discourse that represents convicts as victims and heroes. The second part of the article explains how, considering past and present trends in heritage interpretation, the second author crafted the script.

摘要

塔斯马尼亚大学的罗斯女性工厂项目是其艺术、法律和教育学院的一项研究计划，旨在“重新激活”受多重历史沉寂影响的塔斯马尼亚囚犯旅游景点罗斯女性工厂。本文考虑了第二作者的剧本“ Caorthann护身符和土耳其”，该剧本旨在通过讲述四名女囚犯的故事来解决这些沉默问题。它还调查了影响剧本发展的文化和政治背景。它关注的是什么呈现在塔斯马尼亚罪犯网站的历史，还如何历史被呈现；然而，此外，它讨论了以前和现有的呈现形式如何强化历史中保守的定居者价值观。文章的第一部分探讨了塔斯马尼亚囚犯遗址遗产表演的“黑暗转向”，以及这种现象与将囚犯视为受害者和英雄的授权遗产话语之间的关系。文章的第二部分解释了第二作者如何在考虑遗产解释的过去和现在趋势的情况下制作剧本。