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Special Collections at the University Of
SPECIAL COLLECTIONS UNIVERSITY of OTAGO LIBRARY University of Otago Central Library After all, human beings come and go, while books remain forever. Amos Oz, Chechov [Chekhov] in Hebrew, in New Yorker 25 December 1995. From the University Librarian he University of Otago Library We are proud to be able to house and Tholds significant special collections display these collections in appropriate as national taonga that enrich New physical environments with climate Zealand’s heritage and research holdings. control and conservation lighting, All the collections are available for in spaces that complement the value consultation in person at the various of the works: the Central Library’s libraries in Dunedin, Christchurch “gallery” in the contemporary iconic and Wellington, with details of many Information Services Building, and the items available on the University of Hocken Library in an art deco building Otago Library’s website. The de Beer on Anzac Avenue. We are privileged Gallery in the Central Library and the to provide quality guardianship, to Hocken Library offer regular exhibitions be the kaitiaki. Library staff (be they throughout the year. To enhance world- cataloguers, curators or binders) pool wide outreach, Special Collections their skills willingly in partnership with exhibitions are hosted on-line. The the academic community to preserve and diversity of these collections reflect the interpret these items, and the University diversity of their generous donors. is delighted to support such work. These collections have come to the Welcome to the very special collections University of Otago’s Library through of the University of Otago libraries. bequests, public donations, and as gifts from families, public bodies and Sue Pharo individuals. -
Collection Development Policies November 2007
HOCKEN COLLECTIONS COLLECTION DEVELOPMENT POLICIES NOVEMBER 2007 GENERAL FRAMEWORK......................................................................................4 Purpose...................................................................................................................4 Ownership and Preservation ..................................................................................5 General scope.........................................................................................................5 Digital materials.....................................................................................................7 Exclusions..............................................................................................................8 Process ...................................................................................................................8 Deaccessioning ......................................................................................................9 Changes to the Policy...........................................................................................10 ARCHIVES AND MANUSCRIPTS.......................................................................11 Scope....................................................................................................................11 Formats ................................................................................................................11 Priorities...............................................................................................................11 -
A Survey of Recent New Zealand Writing TREVOR REEVES
A Survey of Recent New Zealand Writing TREVOR REEVES O achieve any depth or spread in an article attempt• ing to cover the whole gamut of New Zealand writing * must be deemed to be a New Zealand madman's dream, but I wonder if it would be so difficult for people overseas, particularly in other parts of the Commonwealth. It would appear to them, perhaps, that two or three rather good poets have emerged from these islands. So good, in fact, that their appearance in any anthology of Common• wealth poetry would make for a matter of rather pleasurable comment and would certainly not lower the general stand• ard of the book. I'll come back to these two or three poets presently, but let us first consider the question of New Zealand's prose writers. Ah yes, we have, or had, Kath• erine Mansfield, who died exactly fifty years ago. Her work is legendary — her Collected Stories (Constable) goes from reprint to reprint, and indeed, pirate printings are being shovelled off to the priting mills now that her fifty year copyright protection has run out. But Katherine Mansfield never was a "New Zealand writer" as such. She left early in the piece. But how did later writers fare, internationally speaking? It was Janet Frame who first wrote the long awaited "New Zealand Novel." Owls Do Cry was published in 1957. A rather cruel but incisive novel, about herself (everyone has one good novel in them), it centred on her own childhood experiences in Oamaru, a small town eighty miles north of Dunedin -— a town in which rough farmers drove sheep-shit-smelling American V-8 jalopies inexpertly down the main drag — where the local "bikies" as they are now called, grouped in vociferous RECENT NEW ZEALAND WRITING 17 bunches outside the corner milk bar. -
Newsletter – 20 April 2012 ISSN: 1178-9441
INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯utahi Tuhi Auaha o te Ao Newsletter – 20 April 2012 ISSN: 1178-9441 This is the 180th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email modernletters. 1. Victoria goes to the Olympics ................................................................................. 1 2. Victoria goes to Leipzig ........................................................................................... 2 3. Write poetry! No, write short stories! No, write for children! ............................ 2 4. Resonance ................................................................................................................. 2 5. We’re probably the last to tell you, but . ........................................................... 3 6. However, we'd like to be the first to tell you about . ............................................ 3 7. The expanding bookshelf......................................................................................... 3 8. Hue & Cry and crowdfunding ................................................................................ 4 9. Congratulations ........................................................................................................ 4 10. Fiction editing mentor programme - call for applications ................................. 4 11. Poems of spirituality: call for submissions ......................................................... -
Auckland Open Day the Strand Railway Station, Ngaoho Place, Parnell 10Am – 4Pm, Sunday 29 September 2013
Auckland Open Day The Strand Railway Station, Ngaoho Place, Parnell 10am – 4pm, Sunday 29 September 2013 Media contact: Kimberley Brady (021) 942 519 COME AND SEE: • The Exhibition Express - Jump into the drivers seat of a KiwiRail locomotive and talk with the locomotive engineer (train driver) - Get on board our new KiwiRail Scenic passenger carriages - Discover the amazing achievements of our early rail builders in our Moving through the Times display - Enjoy an experiential journey in our Moving Experience display - Learn more about the way rail Moves the Economy - Find out about the importance of Moving Safely and Responsibly when near rail • Career Opportunities - Talk with our Human Resources team about the many job opportunities that exist in KiwiRail, KiwiRail Scenic, Interislander, and KiwiRail Freight • Safety Awareness - Talk with our Safety Team about keeping safe near the track • Heritage trains on show - Take a look back in time by viewing Mainline Steam’s Ja1275, which will be on display. OTHER ACTIVITIES: Calling all Aucklanders to do ‘The Loco...motion!’ We want to rock Auckland with the largest locomotion dance ever seen! We loved it when Kylie did it – now it’s your turn. Bust out your 80s party moves, put on your dancing shoes and join in the fun! Join the ZM Black Thunders at KiwiRail “Keeping NZ on the Move” Exhibition Express open day at 11:30am and do the Locomotion. Don’t be a-freight! The Exhibition Express Prize Draw The prize of a return journey aboard KiwiRail Scenic’s Northern Explorer service for a family (2 adults and 3 children) will be drawn at the Open Day. -
Christchurch Writers' Trail
The Christch~rch Writers' Trail I The Christchurch c 3 mitersy&ai1 Page 1 Introduction 2 Writers Biographies Lady Barker e Canterbury Settlement, right from 1850, was notable for its exalted ideals. The @settlement's early colonists lugged ashore libraries, musical instruments, paints, Samuel Butler William Pember Reeves easels and plans for a grammar school and university. Within the first decade they Edith Grossmann started a newspaper, founded choral and orchestral societies, staged plays and Jessie Mackay started a public library. A surprising number of these pioneers were competent Arnold Wall writers. The published memoirs, letters, journals and poetry left by Charlotte Godley, Blanche Bau han Edward and Crosbie Ward, James FitzGerald, Henry Sewell, Sarah Courage, Laurence Johannes An 8ersen Kennaway, Lady Barker, Samuel Butler and other "pilgrims" established a robust Mary Ursula Bethell literary tradition in Canterbury, particularly in non-fiction and poetry. From the Alan Mulgan 1930s to the early 1950s, during Denis Glover's association with The Caxton Press, Esther Glen Oliver Duff Christchurch was indisputably the focal point of New Zealand's artistic life. The N~aioMarsh town's cultural and literary importance - about 280 writers are listed in this booklet D Arcy Cresswell in a record which is by no means definitive - continues to this day. Monte Holcroft James Courage The Canterbury Branch of the New Zealand Society of Authors has, with generous Allen Curnow assistance from The Community Trust, now laid 32 writers' plaques in various parts Essie Summers of Christchurch. It is hoped that the process begun in 1997 of thus honouring the Denis Glover literary talent of our town and province, will long continue. -
January 2013 Ate Hungafine Tito Ruri O Aotearoa Line
The MagazIne OF The New ZealanD POETry SOCIETY ISBN 1178-3931 JANUARY 2013 aTe Hungafine Tito Ruri o Aotearoa line Contents 1 207 pieces of Licorice, or how to publish your first e book Charmaine Thomson NEW ZEALAND POETRY SOCIETY 2 From the National Coordinator Laurice Gilbert Te Hunga Tito Ruri o Aotearoa 3 About our contributors 3 A Warm Welcome To: New ZealanD POETry SOCIETY 3 Congratulations PO BOX 5283 LAMBTON Quay 4 Noticeboard WellIngTON 6145 5 Competitions and Submissions 7 Regional Report PATROns 8 haikai café Kirsten Cliff Dame Fiona Kidman 8 Reviews: JAAM #29 Vaughan Rapatahana Vincent O’Sullivan 10 Selected poems Bill Manhire Mary Cresswell PRESIDENT / NATIONAL COORDINATOR 11 Working in the Cracks Between Jenny Argante Vaughan Rapatahana Laurice Gilbert 12 Flaubert’s Drum Sugu Pillay Rangi Faith 13 Night’s Glass Table Karen Zelas Rangi Faith EMAIL: [email protected] 14 The Cheese and Onion Sandwich and other New Zealand Icons Vivienne www.poetrysociety.org.nz Plumb Jenny Clay 15 The Bengal Engine’s Mango Afterglow Geoff Cochrane Natasha Dennerstein 16 American Life in Poetry Ted Kooser, US Poet Laureate 2004-2006 16 Notes from the Net WELLINGTON MEETINGS 18 Members’ Poems: David Clarke, Susan Howard, Robin Fry Poetry @ The Thistle Inn 3 Mulgrave St, Wellington Central Starts at 7.30pm with open mic. Monday 18th February: 207 pieces of Licorice, or how to publish your Guest Poet: Colin Patterson first e book Monday 18th March: Charmaine Thomson Guest Poet: TBA Having sat and listened to other poets at NZPS talk about their publications, I thought it was time to have the experience of self publishing an e-book. -
MARCH 2018 First Floor Dunedin Railway Station 22 Anzac Avenue DUNEDIN Open Daily 10Am to 4Pm P.O
Newsletter of the OTAGO ART SOCIETY Inc. MARCH 2018 First Floor Dunedin Railway Station 22 Anzac Avenue DUNEDIN Open daily 10am to 4pm P.O. Box 5174, Moray Place, kindly sponsored by Prize winners in the Dunedin 9058, New Zealand Summer Exhibition Phone: 03 477 9465 Administrator: Jen Long At an Opening Night on 2nd February prizes were presented by Tony Eyre, director of sponsoring company JW Smeaton. The selection had been made by exhibition judge, Assistant Administrator: Patricia Payne, OAS Patron, from 164 entries. Cynthia Haakman [email protected] Members’ Meeting Thursday 15th March 7.30pm Illustrated presentation OAS, moving with the times: challenges and opportunities Many new members have joined OAS in the past several years and will be unaware of the major commitment involved in moving 1st: Francis Nicholls, Aoraki Morning from our previous premises in the old Light Effect, oil on board. Dunedin North Post Office (now the 2nd: Jo Loughnan, Reading, HD Skinner Annex, Otago Museum) mixed media. to the society’s present location in 3rd: Andrew Cook, Dunedin in the the Dunedin Railway Station. Mist, oil. This presentation has been compiled by several past Presidents Special Mentions: and Council members who helped Kylie Matheson, Pint sized Hare, facilitate the move by explaining the ceramic. transition to members, overseeing Annie Pepers, Harbour Cone, acrylic. the relocation and establishing procedures. Moving from a cramped building to extensive premises, and from a limited exhibition schedule to Pictured at the Opening Night, from left to right, one of dizzying complexity required Ness Kerr and Patricia serious consideration. -
The One Story and the Four Ways of Telling
The One Story and the Four Ways of Telling: The relationship between New Zealand literary autobiography and spiritual autobiography. A thesis submitted in partial fulfilment of the requirements for the Degree of Masters of Arts in English in the University of Canterbury DEPARTMENT OF ENGLISH UN!VEf,SITY OF c,wrrnmnw By CHRISTCHURCH, N.Z. Emily Jane Faith University of Canterbury 2001 ACKNOWLEDGEMENTS I would like to thank everyone who has given various forms of support during this two year production. Thanks especially to my Mum and Dad and my brother Nick, Dylan, my friends, and my office-mates in Room 320. Somewhere between lunch, afternoon tea, and the gym, it finally got done! A special mention is due to my supervisor Patrick Evans for his faith in me throughout. The first part of my title is based on Lawrence Jones' a1iicle 'The One Story, the Two Ways of Telling, and the Three Perspectives', in Ariel 16:4 (October 1985): 127-50. CONTENTS Abst1·act ................................................................................................................... 1 Introduction ........................................................................................................... 2 I. A brief history of a brief history: New Zealand literary autobiography (and biography) ................................................................................ 2 II. The aims and procedures of this thesis ................................................... 9 III. Spiritual autobiography: the epiphany ................................................. -
Iwriting in ASIA SERIES
CHARLES BRASCH AND THE BETRAYAL OF ROMANTICISM by Joost Daalder A number of years ago, in "Disputed Ground" in the WRITING IN ASIA SERIES Poetry of Charles Brasch' (Landfall 103) I argued that Vincent O'Sullivan had been wrong to suggest that Brasch's allegiance was to the physical world, and not to spiritual powers. I would still maintain that Brasch wrote a good many poems which bear out my contention that his loyalties were about equally divided. What I failed to do, however, was to make plain that the spiritualizing influence of Wordsworth and Shelley was a more marked feature of Brasch's early i poems than his later ones. It would obviously be a simplif- ication to suggest that this development went in a straight the Importance of LIVING line (my Landfall essay showed that this was not so), but some of the poems which support O'Sullivan's contention demonstrate that the movement was well under way before it culminated in Brasch's last volume, Home Ground (ed. Alan Roddick, Caxton, Christchurch, 1974), which for a proper view of his overall achievement is so important that it The Mutes in the S warrants a fairly detailed separate discussion. THE SECOND First, however, we need to see that achievement in the Heinemann Educational Books is actively engaged in publishing creative writing for Asia larger perspective in which our earlier discussion together in its Writing in Asia series. Forthcoming titles Include the following: with the present one will enable us to place it. Novels • Srengenge Shahnon Ahmad, trans. Harry Aveling Despite what appears to be Allen Curnow's view of New • Drought Iwan Simatupang, trans. -
Clyde Railway Station, Recreation Reserve, Clyde
Review of existing conservation plans for the Clyde Museums Feasibility Study Project Clyde Railway Station, Recreation Reserve, Clyde. Date Plan Published: December 2011 Commissioned by Central Otago District Council Prepared by Robin Miller MNZIBS MRICS Origin Consultants Ltd August 2018 Architecture Heritage Archaeology Origin Consultants Ltd Rear of 38 Buckingham Street, Arrowtown & Level 4, Security Buildings, 115 Stuart Street, Dunedin Review of existing conservation plans for Clyde Museums Project Building: Clyde Railway Station Date of conservation plan: December 2011 Brief history: • Opened on 2nd April 1907 as a Troup Type B station. • Construction of the railway began on 7th June 1878 with an estimated construction duration of 6 years to reach Wanaka – the line actually reached Cromwell in 1921 where it stopped. • The station serviced the fruit industry and the demand for excursion trains, but suffered from competition from road transport, particularly from 1960 onwards. The 1980 station on the outskirts of the town was built to serve the construction of the Clyde dam; the engineering works to which closed the line to Cromwell and the 1907 station. After that, the line between Middlemarch to Clyde was abandoned completely in 1990. • Apart from the station and a short section of line, a few former railway houses remain nearby, together with the goods shed that was relocated to the adjacent Briar Herb Factory Museum site. • In 1997, the station was registered as a Category II Historic Place (Heritage New Zealand Pouhere Taonga) and it is also a protected building in the CODC District Plan. Summary of findings: • The station building has high heritage significance on both a local & regional basis. -
September 2005 Lambton Quay WELLINGTON New Zealand Poetry Society Patrons Dame Fiona Kidman Te Hunga Tito Ruri O Aotearoa Vincent O’Sullivan
Newsletter New Zealand Poetry Society PO Box 5283 September 2005 Lambton Quay WELLINGTON New Zealand Poetry Society Patrons Dame Fiona Kidman Te Hunga Tito Ruri o Aotearoa Vincent O’Sullivan President James Norcliffe With the Assistance of Creative NZ Arts Council of New Zealand Toi Aotearoa Email [email protected] and Lion Foundation Website ISSN 1176-6409 www.poetrysociety.org.nz NZPS Competition – an insider view at them over Queen’s Birthday Weekend. Then I went to the Post Office. I should have been suspicious when the Our International Poetry Competition has recently door opened too easily. The box was empty, except for concluded for another year. How did you do? Were you a small yellow card. The yellow card is what appears in amongst The Chosen Ones? I wasn’t and, as usual, I your box when there is too much mail. There was a flood. consoled myself with the thought that maybe I’d be in the I received from the Post Shop counter a sack containing 81 anthology again this year. envelopes, about half of them from schools and containing I’ve been entering the NZPS competition for a long multiple entries. For the rest of the week I worked until time, and this year I got to see how it works, after agreeing midnight every night, processing envelopes. Several took to take on the role of competition secretary. The first thing more than 1½ hours each. A few were requests for entry I discovered was that the work starts in November, when forms – too late.The slowest part was twinking out names the anthology is launched and the new competition opens.