Tiwissue01.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Tiwissue01.Pdf CONTENTS Issue 1 Winter 2006 EDITORIAL Edward Smith Introducing Te Iarere Wavelength Page 5 POINTS OF VIEW Christine Fenton Pathogen paranoia 9 Edward Smith Where to publish 15 CREATIVE WORKS Lesley Pitt Patriarchs, paddocks and the personal 7, 14, 61 Donna Willard-Moore Image details of Dragon 8, 22, 48 ACADEMIC FORUM Rod Bentham Holistic influences on teaching 23 Ian M Clothier Hybrid cultures: what, where and how about us? 33 Megan Dixon 21st century plagiarism 49 TE IARERE WAVELENGTH Issue 1 WINTER 2006 IN THIS ISSUE P 4 Pathogen paranoia by Christine Fenton This is a light-hearted yet factual look at personal health, how we perceive it and what we do, rightly or wrongly, to keep ourselves healthy. Some aspects are traced to the Middle Ages while others relate to developments in modern medicine. Chris- tine was formerly Head of Science at WITT. She is Convenor of the NZ Microbiological Society Education Group and is particularly interested in scientific journalism. Where to publish by Edward Smith As a historical prologue, some of the publishing characteristics and habits of the great early atomic physicists are recounted. This is followed by a consideration of the pub- lishing options for academics. Edward is Director of Research, ICIARE at WITT. He is a mechanical engineer interested in industrial and applied research. Patriarchs, paddocks and the personal - poems by Lesley Pitt These poems were written as part of Lesley’s Masters thesis entitled – “Patriarchs, paddocks and the personal”. She is a Tutor for the Diploma in Social Work and her academic interests include women’s issues, storytelling/life stories and post struc- tural ideology as a way of making meaning. Image details of a Dragon by Donna Willard-Moore The Dragon project began as a technical exploration of new chemistry in sculptural concrete. The work now sits at the New Plymouth MacDonalds Toy Museum. Donna has both an MA and an MFA and her research interests include exhibiting painting, sculpture and installations; plus an academic interest in integral theory. She exhibits in New Zealand and regularly in the United States. Holistic influences on teaching by Rod Bentham This article examines a number of external and internal factors that influence teach- ing and learning within a modern tertiary education institution. Rod leads the broad- casting division at WITT and has a particular interest in the philosophy of education. He is currently enrolled in a Graduate Diploma in Adult Learning and Teaching at Massey University. Hybrid cultures: what, where and how about us? by Ian Clothier This paper asks the question whether New Zealand should be considered a hybrid culture, which is a contrast to the dominant cultural context of New Zealand as bi- cultural. Ian is an artist-writer and has an MA (First Class Honours) from AUT. His re- search foci are on cultural hybridity and nolinearity, and he has had nine international research credits in the past three years. 21st century plagiarism by Megan Dixon Plagiarism is not new and information technology makes it a temptation for today’s students. Plagiarism is described here by a model made up of five critical dimensions. Megan is a Learning Skills Tutor and has a special interest in helping international students. She also likes teaching mathematics. She has worked in China for two years, at a new academic institute near Beijing. TE IARERE WAVELENGTH Issue 1 WINTER 2006 EDITORIAL P 5 Edward Smith Recently, I was attended to by a young assistant in a baker’s shop. She spoke good English, but with a marked East European accent that signaled she was probably a visit- ing overseas student. Whilst waiting for my bread to cool, it having just come out of the oven, I asked her where she came from and why she was in New Zealand. She was from Hungary and wanted to study accountancy at university. In Hungary, at 21 she was past it. Hungary’s rigorous university system called on entry to university straight after leaving school, i.e. when you were 17 or 18 years old. If you missed out at that stage then there was little hope for reassessment. Thus, she saw a second chance here in New Zealand. With my walnut and wholemeal loaf under my arm I walked back home reflecting on the changes that had gone on in the New Zealand education system – some good, some bad. Certainly many restrictions have been removed so that anyone, of any age, from any country can study. In a sense, the only restriction that remains - other than money - is that the necessary academic pre-requisites are met, which is fair to both the student and the staff who will be teaching them. Driven by the New Zealand Government, the tertiary education system in New Zealand has changed markedly over the past two decades. Students have much more choice and flexibility in terms of what, where, when and how they will study. Arguably students are better off because of this; yet more choice means more com- petition – both whilst studying and after the qualifications have been gained. It also means more competition between institutes to attract students to their courses. In particular, institutes have been forced to become financially accountable and to better meet the needs of today’s society, industry and business. Universities are traditionally places of innovation and new ideas, but surprisingly they responded slowly to the government’s ef- forts to instill a new approach. Only now, some 20 years after it was first muted that change had to come have the universities adopted a more corporate approach. The reality is that tertiary education in New Zealand is a business and each sector must be run as such. It is now the turn of the polytechnics to adapt and because of their regional and vocational training emphasis, and closeness to the marketplace, changes ought to proceed faster and more smoothly than was the case with the universities. Will they? TE IARERE WAVELENGTH Issue 1 WINTER 2006 ISSN 1177 3197 P 6 This journal, Te Iarere Wavelength is part of the change going on at the Western Institute of Technology at Taranaki (WITT). WITT is the polytechnic serving the Taranaki region. The region’s com- mercial centre is New Plymouth and geographically from there it extends to the South as far as Waverley, to the East as far as Tau- marunui and to the North East as far as Te Kuiti. To the North and West there is sea, the source for much of the region’s prosperity – it is a paradise for the surfer and yachtsman, and where most of New Zealand’s oil and gas reserves have been found and exploit- ed. On land, the abundant rainfall and volcanic soils make the region a rich agriculture revenue earner, with the milk processing plant at Hawera being the biggest in the Southern hemisphere. So the region is rich and diverse, and WITT, in serving it for the past 30 years has had to pass on this richness and diversity. The purpose of Te Iarere Wavelength is to give staff the opportunity to publish and market themselves, their academic interests and their institute, and contribute to the richness and diversity in the region’s vocational, academic and scholarly community. Just before Christmas we put out a call for contributions from staff and received more than enough to fill this first edition. In choosing what to include we have tried to offer diversity – for- mal research articles, scholarly articles, points of view articles, poems, artwork and photographs. In particular we have tried to seek a range of seriousness in the articles; especially we did not want everything to be staid, formal and heavy reading. At the same time we didn’t see any call for chatty frivolous contributions and we did not receive any. We hope that this diversity in pres- entation and subject area will set the tone for future editions. Originally we perceived that articles would be around 2500 words but soon saw this as too restrictive. In this edition the longest article runs to almost 4800 words; the shortest is one of Lesley Pitt’s poems at 31 words. At the risk of being misquoted, we’ve decided that size doesn’t matter. What we’ve tried to do is put forward a selection of articles, works and images which we hope everyone will enjoy. We seek to market WITT as a thriving di- verse tertiary institute of education where vocational training, artistic and scholarly work, degree level teaching, research, and innovative and original work progress in harmony. TE IARERE WAVELENGTH Vol 1 JUNE 2006 P 7 Foucault says we circulate between the threads of power. I visualize a loom with a woman weaving our social fabric in – out, up – down, in – out again and again and around again sometimes powerful sometimes not, actors and acted upon dominant and submissive oppressor and victim within us the contradiction and confusion mixed in to the colors of our cloth. Lesley Pitt TE IARERE WAVELENGTH Issue 1 WINTER 2006 P 8 Dragon detail, Donna Willard-Moore 2005 TE IARERE WAVELENGTH Issue 1 WINTER 2006 PATHOGEN PARANOIA P 9 Christine Fenton I suppose you brushed your teeth this morning. I even suppose that you had a shower – put on clean clothes, may have used deodorant. I suspect that before you left the house you put the milk back in the fridge – maybe even did some dishes, wiped down the bench. Then, when you got to work, did you put your yoghurt in the fridge? Seventy years ago, we may have brushed our teeth but it would not have been with “tartar control, breath freshener, pearly white toothpaste”, we probably didn’t have a daily shower, nor put on clean clothes everyday and no one used deodorant.
Recommended publications
  • Our Finest Illustrated Non-Fiction Award
    Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each.
    [Show full text]
  • (Te Papa) in the Rejuvenation of Taonga Puoro
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The role of a museum (Te Papa) in the rejuvenation of taonga puoro A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies At Massey University, Manawatū, New Zealand Awhina Tamarapa 2015 Abstract This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Māori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Māori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Māori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future.
    [Show full text]
  • Te Aho Tapu Uru Tapurua O E Te Muka E Tui Nei a Muri, a Mua the Sacred Strand That Joins the Past and Present Muka Strands Together
    Te Aho Tapu uru tapurua o e te muka e tui nei a muri, a mua The sacred strand that joins the past and present muka strands together Gloria Taituha A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy 2021 Te Ipukarea Research Institute 1 Abstract This is an exegesis with a shared collaborative creative component with two other weaving exponents, Jacqueline McRae-Tarei and Rose Te Ratana which is reflective of a community of shared practice. This shared practice and subsequent collaborative creative component will be based on the overarching theme of the written component, a synthesis of philosophy, tikanga rangahau (rules, methods), transfer of knowledge and commitment to the survival of ngā mahi a te whare pora (ancient house of weaving) in a contemporary context. The sole authored component and original contribution to knowledge for this project is the focus on the period of 1860 – 1970, which will be referred to as Te Huringa. The design of this exegesis will be informed by Kaupapa Māori Ideology and Indigenous Methodologies. Te Huringa, described as the period from first contact with Pākehā settlers up until the Māori Renaissance in the 1970s. After the signing of the Treaty, the settler population grew to outnumber Māori. British traditions and culture became dominant, and there was an expectation that Māori adopt Pākehā culture (Hayward, 2012, p.1). This period, also defined, as the period of mass colonisation, saw the erosion of traditional Māori society including the status of raranga as a revered art form.
    [Show full text]
  • A Comparative Analysis of Content in Maori
    MATTERS OF LIFE AND DEATH: A COMPARATIVE ANALYSIS OF CONTENT IN MAORI TRADITIONAL AND CONTEMPORARY ART AND DANCE AS A REFLECTION OF FUNDAMENTAL MAORI CULTURAL ISSUES AND THE FORMATION AND PERPETUATION OF MAORI AND NON-MAORI CULTURAL IDENTITY IN NEW ZEALAND by Cynthia Louise Zaitz A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida August 2009 Copyright by Cynthia Louise Zaitz 2009 ii CURRICULUM VITA In 1992 Cynthia Louise Zaitz graduated magna cum laude with a Bachelor of Arts in Drama from the University of California, where she wrote and directed one original play and two musicals. In 1999 she graduated with a Masters in Consciousness Studies from John F. Kennedy University. Since 2003 she has been teaching Music, Theatre and Dance in both elementary schools and, for the last two years, at Florida Atlantic University. She continues to work as a composer, poet and writer, painter, and professional musician. Her original painting, Alcheme 1 was chosen for the cover of Volume 10 of the Florida Atlantic Comparative Studies Journal listed as FACS in Amazon.com. Last year she composed the original music and created the choreography for Of Moon and Madness, a spoken word canon for nine dancers, three drummers, an upright bass and a Native American flute. Of Moon and Madness was performed in December of 2008 at Florida Atlantic University (FAU) and was selected to represent FAU on iTunesU. In April 2009 she presented her original music composition and choreography at FAU in a piece entitled, Six Butts on a Two-Butt Bench, a tongue-in- cheek look at overpopulation for ten actors and seventy dancers.
    [Show full text]
  • New Zealand Waitangi Day Joining Together for a Harmonious Celebration of Nationhood
    New Zealand Waitangi Day Joining together for a harmonious celebration of nationhood On Feb. 6, 1840, the British gov- tarnished by angry protests as sings only in Maori, pointed out ment to settle their historical ernment signed the Treaty of Maori fought to have rights that in an interview with Maori mag- grievances. Waitangi with a number of had been promised to them azine Mana: “In Europe they’ve T oday, although many Maori Maori chiefs at a Bay of Islands under the treaty, honored by the already done the Latin and Celt- live in urban areas, away from settlement called Waitangi. government. However, in recent ic thing — and they’re ready for their tribal regions, their marae The treaty was written in both years, many iwi (tribes) have the Pacific. I’m quite staunch (meeting place) remains an in- Maori and English and handed had their grievances settled by about te reo [language] in my tegral part of their lives. Any visit over governorship of New Zea- the government and Waitangi music. People ask me to trans- to New Zealand is bound to pro- land to the British. It enabled the D ay has become a peaceful cel- late the lyrics and I shrug and vide an encounter with this peaceful purchase of land for ebration of nationhood. say, ‘Why?’” country’s unique Maori culture. settlement and gave the British With nearly one-half of Maori A n encounter that will allow vis- the authority to establish rule in Maori culture language speakers less than 25 itors to experience rich tradi- the country.
    [Show full text]
  • “It's Hard to Keep Track”
    ―It‘s Hard to Keep Track‖: Mapping a Shifting Nation in Dylan Horrocks‘s Hicksville Hamish Clayton A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature School of English, Film, Theatre & Media Studies Victoria University of Wellington 2009 Contents Acknowledgements 3 Note 4 Abstract 5 Introduction: Local and Special 6 Chapter One: Local Heroes 14 Chapter Two: Going Global 36 Chapter Three: Local Knowledge 58 Chapter Four: Art as Comics as Taonga 84 Chapter Five: Mapping Hicksville 105 Conclusion: Standing Upright Here 123 Works Cited 128 2 Acknowledgements I would like to offer special thanks to my primary supervisor, Mark Williams, whose enthusiasm for this project has been boundless. Without his friendship and guidance I would not have been able to write the thesis I wanted to write. Thanks also to Tina Barton, my Art History supervisor, for her support throughout. I would like to thank the staff of both English and Art History programmes at Victoria University for their extended support and friendship over the last five years, as well as that of my former colleagues at Victoria University‘s Student Learning Support Service. I gratefully acknowledge the financial support of the University, and the provision of a Scholarship for Masters study 2008-09. I am indebted to Dylan Horrocks, who very generously sent me copies of his comics no longer available for purchase in shops or online. Thanks also to the many friends and family who have supported me immeasurably. In particular, Stephen McDowall, whose professionalism and achievements have been an inspiration; Kirsten Reid, whose unconditional support and enthusiasm have been truly invaluable; and Rosie Howell, for her unwavering faith in me.
    [Show full text]
  • Urban Maori Art : the Third Generation of Contemporary Maori Artists
    Urban Maori Art: The Third Generation of Contemporary Maori Artists: Identity and Identification A thesis submitted in partial fulfilment Of the requirements for the Degree of Master of Arts in Art History In the University of Canterbury By Kirsten Rennie University of Canterbury 2001 THESIS II Photo Ted Scott Design. Observe the young and tender.frond of this punga:shaped and curved like a scroll of a .fiddle: .fit instrument to play archaic tunes. A.R.D. Fairburn ABANDON AU HOPE YE WHO ENTER HERE! Peter Robinson Divine Comedy ( Detail) (2001) 111 Contents Page Title i Frontispiece ii Contents iii Acknowledgments v Abstract vi Kaupapa 1 Introduction 2 Section !:Continuity and Change 6 1.1 The Space Between: DefiningA Voice 6 1.2 Contemporary Maori Art: An Evolving Definition: 1950- 2000 in Context 10 1.3 The Third Generation/Regeneration 24 Section 2: Mana Wahine 30 2.1 Reveal the Tendrils of the Gourd so that You May Know Your Ancestors 30 2.2 Patupaiarehe: The Construction of an Exotic Self 39 2.3 Pacifika 44 Section 3: 'Essentially' Auckland 49 3.1 Essentialism 50 3.2 The Space Between 57 3.3 There Are Words Attached To It 60 3.4 Biculturalism and the Arts 63 Section 4: 'Constructing' Canterbury 68 4.1 Reconnection 1964 - 1992 71 IV 4.2 Identity in Focus: Shifting and Strategic 1993 - 1995___ __________79 4.3 Careerism: The InternationalArtist 1995 andBeyond____ __________�85 Conclusion: Journey Without End___________ 89 Appendix ____________________97 References�---------- ---------102 Illustrations v Acknowledgments I would like to thank the artists who gave so generously of their time, in particular for the hours spent with Brett Graham, Eugene Hansen, Chris Heaphy, Lonnie Hutchinson, Kirsty Gregg, Michael Parekowhai, and Peter Robinson.
    [Show full text]
  • Teatinga Book.Pdf
    Edited by Nigel Borell CONTENTS 9 Foreword Cliff Whiting 11 Mihimihi Ngataiharuru Taepa 13 Te Ātinga 25 Years of Contemporary Māori Art Nigel Borell 33 Ngā Ngaru e toru, Robert Jahnke The three waves of tertiary intervention in Māori art 47 Ko Te Rā Pūhoro – Te Ātinga Gatherings Chris Bryant-Toi 59 Te Ahi Kaa: Anna-Marie White A Future for Te Ātinga and contemporary Māori art 66 Appendices 69 Acknowledgements 4 5 FOREWORD Te Ātinga is a mainstream Māori arts funding body that focuses on supporting individual Māori artists to explore, experiment, develop and share their creative interests. What makes it different from mainstream New Zealand art is that our Māori art forms can come together to create whānau, hapū, iwi and group events. These rely on individual artists who can help to establish style, identity and standards to give expression to the collective needs. Te Ātinga polices have helped artists to focus on their art forms and their needs. This encourages innovation and initiatives for cultural exploration that can lead into the use of new materials, technologies and inter-cultural exchanges that modernise and challenge the status quo. It also does simple support processes like helping an artist buy materials to do their mahi. That Te Ātinga still works for its clients, after 25 years, is a measure of its achievements. It is a credit to its leaders and committee members who have retained its purpose, credibility and integrity. Ka nui te mihi, Dr Cliff Whiting ONZ Previous page: Tawera Tahuri Ngā Ariki Kaiputahi, Te- Whakatōhea, Atihaunui-a-Pāpārangi
    [Show full text]
  • Catalogue Addenda Mailout***.Pages
    ! ON DISK! A MOVING IMAGE RESOURCE! FOR NEW ZEALAND CLASSROOMS! ! ! CURRICULUM & NCEA LINKED DVDS EDITED FOR ! THE ARTS / ENGLISH / MEDIA STUDIES /! HISTORY / GEOGRAPHY & SOCIAL STUDIES www.filmarchive.org.nz ! ! SECONDARY SCHOOLS DVD LIBRARY CATALOGUE 2009 + 2010 ADDENDA CONTENTS [ * New Titles Highlighted ] !! ! Page ! !!!!!!!!!!!!!! ! Introduction !! ! ! ! !! 3 ! !!!! ! !English / Media Studies Menu !! ! ! ! !! 5! ◇ * Māori Filmmakers (3 Disks) ◇ * Representations of Pasifika (2 Disks) ◇ * New Zealand Television: Television News ◇ * New Zealand Television: Public Service & Commercial Television ◇ * New Zealand Television: Media Issues ◇ Genre Studies: Documentary in New Zealand (2 Disks) ◇ New Zealand Writers (2 Disks) ◇ New Zealand Poets ◇ Director Studies: Niki Caro ◇ Director Studies: Peter Jackson ◇ Oratory - Words in the Frame ◇ Propaganda ◇ Selling New Zealand – The Language of Advertising ◇ New Zealand Feature Films - An Overview (2 Disks) ◇ Representation of Women ◇ Representations of Youth ! ◇ Representation of New Zealand Identity !History / Social Studies Menu ! !! ! ! ! ! !! ! 11! ◇ * The Treaty: Te Tiriti o Waitangi (3 Disks) ◇ * Patu! New Zealand Society and the 1981 Tour (redeveloped) ◇ New Zealand in the 19th Century (3 Disks) ◇ New Zealand's Search for Security 1945-1985 (2 Disks) ◇ Race Relations (4 Disks) ◇ Women in Health – Women's Impact on New Zealand Society 1915-1985 (2 Disks) ◇ New Zealand Identity (2 Disks) ◇ Anzac – New Zealanders at War 1899-2006 (3 Disks) ◇ Vietnam ◇ The Bomb - New Zealand & the Nuclear
    [Show full text]
  • Download PDF Catalogue
    ART + OBJECT Important Photographs and Contemporary Art August 10th “…people say Maori didn’t have a written language — it’s not that at all. They did. They did it with their arts.”1 Cliff Whiting, Te Wehenga o Rangi rāua ko Papa, 1975 Collection of the National Library of New Zealand. Welcome to A+O’s winter 2017 Important Photographs and Contemporary Art catalogue. This catalogue features the finest selection of photography we have offered for some years. Alongside our leading New Zealand practitioners we are pleased to be able to offer some seldom seen works by leading international photographers, not the least of which is a superb Ansel Adams image dating to the late 1950s. In mid-July we learnt of the very sad news of the passing of Cliff Whiting (1936 – 2017). Born in Te Kaha on the East Coast and affiliated to the Te Whanau a Apanui iwi, Cliff Whiting was the creator of some of the most spectacular large-scale, carved in-situ installations in New Zealand. Perhaps his greatest work is the carved house Te Hono ki Hawaiki which is the centrepiece of Rongomaraeroa, the Marae of Te Papa Tongarewa. It is without doubt one of the most viewed artworks in New Zealand. Whiting emerged in the 1950s as part of that extraordinary generation of Maori artists who came to prominence as part of the Tovey scheme under the auspices of the Department of Education. Other artist teachers in this group include Ralph Hotere, Para Matchitt, Muru Walters, John Bevan Ford and Sandy Adsett. These artists and their students went on to rewrite New Zealand art history and to bring the unique Maori visual ART + arts language to a much wider New Zealand and, via ground-breaking exhibitions such as Headlands, international audience.
    [Show full text]
  • The Pacific Author(S): Matt K
    The Pacific Author(s): Matt K. Matsuda Reviewed work(s): Source: The American Historical Review, Vol. 111, No. 3 (June 2006), pp. 758-780 Published by: The University of Chicago Press on behalf of the American Historical Association Stable URL: http://www.jstor.org/stable/10.1086/ahr.111.3.758 . Accessed: 11/04/2012 00:32 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and American Historical Association are collaborating with JSTOR to digitize, preserve and extend access to The American Historical Review. http://www.jstor.org AHR Forum The Pacific MATT K. MATSUDA IN THINKING OF SEAS AND OCEANS, Fernand Braudel famously illuminated his Med- iterranean by imagining multiple civilizations joined by trade and cultural exchange; his Annales approach of a longue dure´e built upon archaeological and ecological evidence shaped a brilliant chronicle of kingdoms and powers. Yet as he noted of his subject itself, the Mediterranean was not even a single sea, but rather “a complex of seas, and the seas are broken up by islands, a tempest of peninsulas ringed by insistent coastlines.”1 To establish the project, he knew, “the question of boundaries is the first to be encountered.” Defining the “Pacific” is an equally daunting challenge.
    [Show full text]
  • Welcome to the 2014 Auckland Writers Festival
    Prize winning fiction ofAdam Johnson and the hot-off-the-press memoir of CONTENTS WELCOME inner circle defector Jang Jin-sung. 8 What’s On 9 Wednesday 14 May TO THE 2014 Following a year where stories of 9 Thursday 15 May surveillance and gender dominated 10 Friday 16 May the public discourse, writers will 14 Saturday 17 May AUCKLAND debate the merits of privacy and 21 Sunday 18 May deliver a powerhouse discussion 27 Family Day on the position of women. 29 Workshops WRITERS 45 Biographies 74 Index Music’s powers of narration will wow 75 Booking and Festival Information in three special performance events, 77 Booking Form FESTIVAL as well as at a session in memory 81 Timetable of Hello Sailor’s Dave McArtney, chaired by Karyn Hay. The brilliance of Jane Austen will be honoured in the CONTACT DETAILS one woman play Austen’s Women and 58 Surrey Crescent, Suite 3, Level 2, we’ll send 30 strangers out to create Grey Lynn, Auckland 1021, New Zealand tales of the night on a Midnight Run Phone +64 (0)9 376 8074 with performer, poet and playwright Fax +64 (0)9 376 8073 Inua Ellams. THE ONLY PLACE TO BE Email: [email protected] Website: writersfestival.co.nz A WORD FROM THE There are exclusive opportunities FESTIVAL DIRECTOR to be entertained by loved writers FESTIVAL TRUST BOARD Nicky Pellegrino and Sarah-Kate Lynch at Toto; take tea with novelists Carole Beu, Erika Congreve, Owen Marshall, Jenny Pattrick and Nicola Legat, Phillipa Muir, Fiona Kidman or go awol over lunch Mark Russell, Sarah Sandley (Chair), with explorer Huw Lewis-Jones at Delina Shields, Peter Wells, the Langham; and hang out at hot Josephine Green (Ex Officio) Auckland joint Ostro with Michelin- starred chef Josh Emett.
    [Show full text]