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Indigenous New Zealand Literature in European Translation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Journal Systems at the Victoria University of Wellington Library A History of Indigenous New Zealand Books in European Translation OLIVER HAAG Abstract This article is concerned with the European translations of Indigenous New Zealand literature. It presents a statistical evaluation of a bibliography of translated books and provides an overview of publishing this literature in Europe. The bibliography highlights some of the trends in publishing, including the distribution of languages and genres. This study offers an analysis of publishers involved in the dissemination of the translations and retraces the reasons for the proliferation of translated Indigenous books since the mid-1980s. It identifies Indigenous films, literary prizes and festivals as well as broader international events as central causes for the increase in translations. The popular appeal of Indigenous literature of Aotearoa/New Zealand has increased significantly over the last three decades. The translation of Indigenous books and their subsequent emergence in continental European markets are evidence of a perceptible change from a once predominantly local market to a now increasingly globally read and published body of literature. Despite the increase in the number of translations, however, little scholarship has been devoted to the history of translated Indigenous New Zealand literature.1 This study addresses that lack of scholarship by retracing the history of European translations of this body of literature and presenting extensive reference data to facilitate follow-up research. Its objective is to present a bibliography of translated books and book chapters and a statistical evaluation based on that bibliography. -
Keynote Speakers
KEYNOTE SPEAKERS 1 Keynote 1 From Maoritanga to Matauranga: Indigenous Knowledge Discourses Linda Tuhiwai Smith (NMM, Cinema) _______________________________________________________________________________ My talk examines the current fascination with matauranga Maori in policy and curriculum. I am interested in the way academic discourses have shifted dramatically to encompass Maori interests and ways of understanding knowledge. I explore some aspects of the development of different approaches to Maori in the curriculum and track the rising interest in matauranga (traditional Maori knowledge) through a period of neoliberal approaches to curriculum in our education system and measurement of research excellence. The Performance Based Research Fund recognises matauranga Maori as a field of research, Government research funds ascribe to a Vision Matauranga policy which must be addressed in all contestable research funds and there are qualifications, majors and subject papers which teach matauranga Maori at tertiary level. New Zealand leads the world in terms of incorporating indigenous knowledge, language and culture into curriculum. Most of the named qualifications are accredited through the New Zealand Qualifications Authority, which then owns the intellectual property of the curriculum. Maori individuals clearly play a significant role in developing the curriculum and resources. They are mostly motivated by wanting to provide a Maori-friendly and relevant curriculum. However, Maori people are also concerned more widely about cultural -
New Zealand and Pacific Literatures in Spanish Translation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Journal Systems at the Victoria University of Wellington Library Reading (in) the Antipodes: New Zealand and Pacific Literatures in Spanish Translation PALOMA FRESNO-CALLEJA Abstract This article considers the Spanish translations of New Zealand and Pacific authors and explores the circumstances that have determined their arrival into the Spanish market as well as the different editorial and marketing choices employed to present these works to a Spanish readership. It considers the scarcity of canonical authors, the branding of Maori and other “ethnic” voices, the influence of film adaptations and literary prizes in the translation market, and the construction of the “New Zealand exotic” in works written by non-New Zealand authors which, in the absence of more translations from Spain’s literary Antipodes, have dominated the Spanish market in recent years. Introduction In October 2012, New Zealand was chosen as guest of honour at the Frankfurt Book Fair, the world’s largest and most prominent event of this type. The motto of the New Zealand delegation was: “He moemoea he ohorere / While you were sleeping,” an ingenious allusion to the geographical distance between Europe and its Antipodes, but also a reminder of the country’s literary potential, which Europeans were invited to wake up to. The choice of New Zealand as a guest of honour reflected the enormous interest of German readers for its literature and culture, summarized in Norman Franke’s remark that “Germans are crazy about all things Kiwi.”1 As Franke points out, more New Zealand books have been translated into German than into any other European language, and the impact of the fair resulted in an immediate increase of sales and a thirst for new titles.2 Spanish newspapers reported the event with curiosity but on a slightly skeptical note. -
The 'Marae on Paper': the Meeting House in the Anglophone Fiction Of
The ‘Marae on Paper’: The Meeting House in the Anglophone Fiction of the Maori Renaissance By Sarah Byrne Thesis Submission in Fulfilment of the degree of Doctor of Philosophy Maynooth University, Department of English February 2017 Head of Department: Professor Colin Graham Supervisor: Dr Íde Corley Abstract The Maori literary renaissance was period of intense literary and cultural activity that coincided with a protest movement surrounding Maori rights in New Zealand during the 1970s and 80s. The Anglophone Maori fiction that flourished during this period raised important social questions about contemporary Maori identity, the historical and continuing decline of Maori ownership of their ancestral lands, and the social, cultural and political relationship between the Maori and Pakeha [New Zealanders of European descent] communities. This dissertation considers the work of four Maori writers who address these themes: Witi Ihimaera, Patricia Grace, Keri Hulme and Alan Duff. More specifically, it explores the role of the Maori meeting house – and the material arts it houses – as both a formal and thematic influence in their fiction. The meeting house is a wooden apex structure that traditionally symbolises the collective body of a Maori community and narrates their history through the imagery that is carved into its internal walls and supporting structures. It is strongly associated with storytelling and historical record keeping, while also acting as a meeting place for both formal and informal gatherings within the community. For each of these four writers it is subject to numerous and varying interpretations and although it features as a physical structure and site of the action in their fiction, it also shapes each author’s approach to narrative strategy. -
1 About Fulbright New Zealand
Pre-Departure Handbook for US grantees Part A – Information for US Fulbright Scholars and Axford Fellows 2014 Congratulations on having been selected for a US Fulbright Scholar Award or Axford Fellowship to New Zealand. We hope that your experience of living and working in New Zealand will be an exciting and fulfilling one. This handbook aims to provide US Fulbright Scholars and Axford Fellows with vital information to prepare you for your time in New Zealand. This handbook is Part A and covers general pre- departure information. Part B provides specific information on either US Fulbright Scholar awards or Axford Fellowships, and is provided separately. Nomenclature In this handbook, and in other material provided by Fulbright New Zealand, Scholars and Fellows are often referred to collectively as ‘grantees’. US Fulbright Scholar awards and Axford Fellowships are sometimes referred to collectively as ‘awards’. 1 1 About Fulbright New Zealand Fulbright New Zealand (‘FBNZ’) is the trading name of the New Zealand United States Educational Foundation (NZUSEF). Fulbright New Zealand was established in 1948 under a Treaty between the governments of the US and New Zealand to facilitate international educational exchange and to promote international understanding. In Fulbright parlance, FBNZ is known as a ‘commission’, i.e. a separate, independent entity that receives funding from both the US and New Zealand governments to administer the Fulbright programme. FBNZ administers the Fulbright programmes offered in New Zealand, namely: Fulbright Awards -
The Representation of Trauma and the Therapeutic Effect of Spirituality and Narrative in Patricia Grace's Cusins (1992), Baby No-Eyes (1998) an Tu (2004)
2020 96 David Sánchez Aparicio The Representation of Trauma and the Therapeutic Effect of Spirituality and Narrative in Patricia Grace's Cusins (1992), Baby No-Eyes (1998) an Tu (2004) Departamento Filología Inglesa y Alemana Director/es Herrero Granado, María Dolores Reconocimiento – NoComercial – © Universidad de Zaragoza SinObraDerivada (by-nc-nd): No se Servicio de Publicaciones permite un uso comercial de la obra original ni la generación de obras derivadas. ISSN 2254-7606 Tesis Doctoral THE REPRESENTATION OF TRAUMA AND THE THERAPEUTIC EFFECT OF SPIRITUALITY AND NARRATIVE IN PATRICIA GRACE'S CUSINS (1992), BABY NO-EYES (1998) AN TU (2004) Autor David Sánchez Aparicio Director/es Herrero Granado, María Dolores UNIVERSIDAD DE ZARAGOZA Filología Inglesa y Alemana 2018 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es THE REPRESENTATION OF TRAUMA AND THE THERAPEUTIC EFFECT OF SPIRITUALITY AND NARRATIVE IN PATRICIA GRACE’S COUSINS (1992), BABY NO-EYES (1998) AND TU (2004) David Sánchez Aparicio PhD Thesis Supervisor: Dr. María Dolores Herrero Granado Department of English and German Philology University of Zaragoza 2018 The Representation of Trauma and the Therapeutic Effect of Spirituality and Narrative in Patricia Grace's Cousins (1992), Baby No-Eyes (1998) and Tu (2004) David Sánchez Aparicio A thesis submitted for the degree of Doctor of Philosophy PhD Thesis Supervisor: Dr María Dolores Herrero Granado Department of English and German Philology University of Zaragoza 2018 ACKNOWLEDGEMENTS Writing this Thesis has required a lot of time and effort, but my work has been made easier by many people. To begin with, I would like to express my most sincere gratitude to my supervisor and mentor, Dr. -
St Ves I SE Sho Stor Ies 20 1
of Ou ies rse r lv to e S s I G 1 2 C 0 S 2 E - 9 S 1 h 0 o 2 r t s S e i t r o Edited to help students in their preparation for IGCSE English Literature Exams in May 2019, 2020, and 2021 by Alexander G. Z. Myers, PhD. TABLE OF CONTENTS* no. 2 The Fall of the House of Usher Edgar Allan Poe 4 no. 7 The Open Boat Stephen Crane 25 no. 8 The Moving Finger Edith Wharton 49 no. 18 There Will Come Soft Rains Ray Bradbury 66 no. 23 The Lemon Orchard Alex La Guma 75 no. 32 Secrets Bernard MacLaverty 83 no. 33 The Stoat John McGahern 93 no. 36 Journey Patricia Grace 104 no. 37 The Bath Janet Frame 118 no. 48 On Her Knees Tim Winton 127 *This selection of 10 short stories may be found in Stories of Ourselves: The University of Cambridge International Examinations Anthology of Short Stories in English (Cambridge University Press). All rights reserved. IGCSE Short Stories "The Fall of the House of Usher" by Edgar Allan Poe (1813) A About the Author — Edgar Allan Poe (1808 - 1848) n January 19, 1809, Edgar Allan Poe was born in Boston, OMassachusetts. Poe’s father and mother, both professional actors, died before the poet was three years old, and John and Frances Allan raised him as a foster child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding schools and later to the University of Virginia, where Poe excelled academically. -
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. -
Bodies and Voices Ross Readings in the Post / Colonial C Ultures Literatures in English 94
Bodies and Voices ross Readings in the Post / Colonial C ultures Literatures in English 94 Series Editors Gordon Collier Hena Maes–Jelinek Geoffrey Davis (Giessen) (Liège) (Aachen) Bodies and Voices The Force-Field of Representation and Discourse in Colonial and Postcolonial Studies Edited by Merete Falck Borch, Eva Rask Knudsen, Martin Leer and Bruce Clunies Ross Amsterdam - New York, NY 2008 Cover design: Gordon Collier and Pier Post Cover painting: Albert Eckhout, “Tapuya War Dance” (c.1641–43), oil on canvas Ethnographic Department, ©Nationalmuseet, Copenhagen, inv. no. N.38B. (wall painting for Vrijburg, the palace of Johan Maurits outside Recife, Brazil.) The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 978-90-420-2334-5 ©Editions Rodopi B.V., Amsterdam – New York, NY 2008 Printed in The Netherlands Table of Contents P REFACE: R EMEMBERING A NNA R UTHERFORD xi I NTRODUCTION: B ODIES AND V OICES T HE F ORCE-FIELD OF R EPRESENTATION AND D ISCOURSE xvii AFRICA Martyred Bodies and Silenced Voices in South African Literature Under Apartheid A NDRÉ V IOLA 3 Postcolonial Disgrace: (White) Women and (White) Guilt in the “New” South Africa G EORGINA H ORRELL 17 Identity: Bodies and Voices in Coetzee’s Disgrace and Bouraoui’s Garçon manqué B ENAOUDA L EBDAI 33 From “Cutting Without Ritual” to “Ritual Without Cutting”: Voicing and Remembering the Excised Body in African Texts and Contexts C HANTAL Z ABUS 45 A Woman’s Body on Fire: Yvonne Vera’s Butterfly Burning M AYA G. -
Spiralling Progression in the Short Stories and Novels of Patricia Grace Barbara Joyce Kinnane University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2014 Spiralling progression in the short stories and novels of Patricia Grace Barbara Joyce Kinnane University of Wollongong Recommended Citation Kinnane, Barbara Joyce, Spiralling progression in the short stories and novels of Patricia Grace, Doctor of Philosophy in English Literature thesis, School of the Arts, English and Media, University of Wollongong, 2014. http://ro.uow.edu.au/theses/4177 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] SPIRALLING PROGRESSION IN THE SHORT STORIES AND NOVELS OF PATRICIA GRACE A thesis submitted in fulfilment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY IN ENGLISH LITERATURE from UNIVERSITY OF WOLLONGONG by Barbara Joyce Kinnane Bachelor of Arts (Hons) School of the Arts, English & Media 2014 i THESIS CERTIFICATION I, Barbara J. Kinnane, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the School of Arts, English & Media, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Barbara J. Kinnane 30 June 2014 ii ABSTRACT This thesis examines the nature of successive changes across the fictional output of Patricia Grace. Transformations are explored from three perspectives. One perspective is the relationship between Grace’s novels and collections of short stories. Each of Grace’s first four novels (Mutuwhenua, Potiki, Cousins, Baby No-Eyes) is preceded by a collection of short stories (Waiariki, The Dream Sleepers and other stories, Electric City and other stories, The Sky People). -
Newsletter – 20 July 2011 ISSN: 1178-9441
INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯utahi Tuhi Auaha o te Ao Newsletter – 20 July 2011 ISSN: 1178-9441 This is the 171st 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. National Poetry Day ................................................................................................. 1 2. Liberate Your Words! ............................................................................................ 2 3. The Iconic Anderson ................................................................................................ 2 4. Situations Vacant ..................................................................................................... 3 5. Late night listening .................................................................................................. 3 6. Knocking up against great ...................................................................................... 3 7. Acuter and cuter ...................................................................................................... 4 8. Science writing ......................................................................................................... 4 9. Writers on line .......................................................................................................... 4 10. The expanding bookshelf....................................................................................... 4 11. -
Proquest Dissertations
Blood as narrative/narrative as blood: Constructing indigenous identity in contemporary American Indian and New Zealand Maori literatures and politics Item Type text; Dissertation-Reproduction (electronic) Authors Allen, Chadwick, 1964- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 11/10/2021 11:21:26 Link to Item http://hdl.handle.net/10150/289022 INFORMATION TO USERS This manuscript has been reproduced from the microfihn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.