Literary and Theatre Sources at the Hocken Collections
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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. -
Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, Five Playwrights
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. METAMORPHOSIS AT 'THE MARGIN': BRUCE MASON, JAMES K. BAXTER, MERVYN THOMPSON, RENtE AND ROBERT LORD, FIVE PLAYWRIGHTS WHO HAVE HELPED TO CHANGE THE FACE OF NEW ZEALAND DRAMA. A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy III English at Massey University [Palmerston North], New Zealand Susan Lillian Williams 2006 11 DEDICATION I dedicate this thesis to my grandfather and my mother, neither of whom had the privilege of gaining the education that they both so much deserved. I stand on their shoulders, just as my son, David, will stand on mine. The writing of this thesis, however, would not have been possible without the unstinting assistance of Ainslie Hewton. Finally, to my irreplaceable friend,Zeb, the puppy I wanted and never had as a child. Zeb nurtured me throughout this long project and then, in the last week of completion, was called by the black rabbit. Thank you for everything you taught me Zebedee. You and I will always be playing alongside your beloved riverbank. III ABSTRACT Drama has been the slowest of the arts to develop an authentic New Zealand 'voice.' This thesis focuses on the work of five playwrights: Bruce Mason, James K. Baxter, Mervyn Thompson, Renee and Robert Lord, all of whom have set out to identify such a 'voice' and in so doing have brought about a metamorphosis in the nature of New Zealand drama. -
Get to Know: New Zealand New Zealand Is an Island Country in the Southwest Pacific Ocean Whose History Has Been Shaped by Two Distinct Groups of People
World Book Advanced Database* World Book® Online: The trusted, student-friendly online reference tool. Name: ____________________________________________________ Date:_________________ Get to Know: New Zealand New Zealand is an island country in the southwest Pacific Ocean whose history has been shaped by two distinct groups of people. How much do you know about this nation’s culture and history? Set off on a webquest to explore New Zealand and find out! First, go to www.worldbookonline.com Then, click on “Advanced.” If prompted, log on with your ID and Password. Find It! Find the answers to the questions below by using the “Search” tool to search key words. Since this activity is about New Zealand, you can start by searching the key words “New Zealand.” Write the answers on the lines provided or below the question. 1. New Zealand consists of two main islands, called the _______________________ and the _______________________, plus a number of smaller islands. 2. Examine the map “New Zealand.” Identify the location of the city as the North Island or South Island. _____________________ a. Auckland _____________________ b. Christchurch _____________________ c. Dunedin _____________________ d. Hamilton _____________________ e. Wellington _____________________ f. Which island has both the country’s capital and largest city? *Users of the Advanced database can find extension activities at the end of this webquest. © 2017 World Book, Inc. Chicago, Illinois, U.S.A. All rights reserved. World Book and the globe device are trademarks or registered trademarks of World Book, Inc. This webquest may be reproduced without World Book’s permission provided that it is reproduced exactly as published by World Book and is reproduced for entirely non-commercial educational purposes. -
Staff Publications List
Staff Publications 1998 Published by the Research Policy Office Victoria University of Wellington PO Box 600 Wellington, New Zealand ISSN 1174-121X CONTENTS FACULTY OF COMMERCE AND ADMINISTRATION 3 Accounting and Commercial Law, School of 3 Business and Public Management, School of 5 Communications and Information Systems Management, School of 11 Economics and Finance, School of 13 FACULTY OF HUMANITIES AND SOCIAL SCIENCES 16 Anthropology 16 Art History 17 Asian Languages 18 Classics 19 Criminology, Institute of 20 Education, School of 22 Institute for Early Childhood Studies 24 English, Film and Theatre, School of 25 European Languages 32 History 33 Linguistics and Applied Language Studies, School of 36 Maori Studies: Te Kawa a Maui, School of 41 Music, School of 41 Nursing and Midwifery 43 Philosophy 45 Political Science and International Relations, School of 46 Sociology and Social policy 47 Women’s Studies 49 FACULTY OF LAW 51 FACULTY OF SCIENCE 54 Architecture, School of 54 Biological Sciences, School of 58 Chemical and Physical Sciences, School of 63 Earth Sciences, School of 65 Mathematical and Computing Sciences, School of 70 Psychology, School of 80 UNIVERSITY INSTITUTES AND CENTRES 82 Centre for Continuing Education/Te Whare Pukenga 82 Health Services Research Centre 83 Institute of Policy Studies 84 University Teaching Development Centre 85 Centre for Strategic Studies 85 Stout Research Centre 86 2 1998 Staff Publications FACULTY OF COMMERCE AND ADMINISTRATION ACCOUNTING AND COMMERCIAL LAW 3. Articles/Chapters/Conference Papers Articles Anderson, Gordon, ‘Interpreting the Employment Contracts Act: Are the Courts Undermining the Act?’, California Western International Law Journal, 28 (1997), pp. -
Allegory in the Fiction of Janet Frame
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. ALLEGORY IN THE FICTION OF JANET FRAME A thesis in partial fulfIlment of the requirements for the degree of Doctor of Philosophy in English at Massey University. Judith Dell Panny 1991. i ABSTRACT This investigation considers some aspects of Janet Frame's fiction that have hitherto remained obscure. The study includes the eleven novels and the extended story "Snowman, Snowman". Answers to questions raised by the texts have been found within the works themselves by examining the significance of reiterated and contrasting motifs, and by exploring the most literal as well as the figurative meanings of the language. The study will disclose the deliberate patterning of Frame's work. It will be found that nine of the innovative and cryptic fictions are allegories. They belong within a genre that has emerged with fresh vigour in the second half of this century. All twelve works include allegorical features. Allegory provides access to much of Frame's irony, to hidden pathos and humour, and to some of the most significant questions raised by her work. By exposing the inhumanity of our age, Frame prompts questioning and reassessment of the goals and values of a materialist culture. Like all writers of allegory, she focuses upon the magic of language as the bearer of truth as well as the vehicle of deception. -
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 ................................................. -
Tourism Sources at the Hocken Collections
Reference Guide Tourism Sources at the Hocken Collections The Height of Happiness, Railway Advertising Studios, c.1930, colour lithograph, Hocken Poster Collection [S16-632a]. Hocken Collections/Te Uare Taoka o Hākena, University of Otago Library Nau Mai Haere Mai ki Te Uare Taoka o Hākena: Welcome to the Hocken Collections He mihi nui tēnei ki a koutou kā uri o kā hau e whā arā, kā mātāwaka o te motu, o te ao whānui hoki. Nau mai, haere mai ki te taumata. As you arrive We seek to preserve all the taoka we hold for future generations. So that all taoka are properly protected, we ask that you: place your bags (including computer bags and sleeves) in the lockers provided leave all food and drink including water bottles in the lockers (we have a researcher lounge off the foyer which everyone is welcome to use) bring any materials you need for research and some ID in with you sign the Readers’ Register each day enquire at the reference desk first if you wish to take digital photographs Beginning your research This guide gives examples of material relating to tourism held in the Hocken. All items must be used within the library. As the collection is large and constantly growing not every item is listed here, but you can search for other material on our Online Public Access Catalogues: for books, theses, journals, magazines, newspapers, maps, and audiovisual material, use Library Search|Ketu. The advanced search ‐ https://goo.gl/HVNTqH gives you several search options, and you can refine your results to the Hocken Library on the left side of the screen. -
Katherine Mansfield Menton Fellowship Application Form 2019
The Art Foundation Katherine Mansfield Menton Fellowship 2019 The Katherine Mansfield Menton Fellowship is for an established creative writer to spend three months or more in Menton in southern France to work on a project or projects. Tihe Mauriora, e nga iwi o te motu, anei he karahipi whakaharahara. Ko te Katherine Mansfield Menton Fellowship tenei karahipi. Kia kaha koutou ki te tonohia mo tenei putea tautoko. Mena he tangata angitu koe i tenei karahipi, ka taea e koe haere ki te Whenua Wiwi ki te whakamahi to kaupapa, kei te mohio koe, ko te manu i kai i te matauranga nona te ao. Ko koe tena? Amount $35,000 (includes travel and accommodation) Application closing date 5:00pm, Monday 1 July, 2019 The successful applicant will become an Arts Foundation Laureate. What can you write? The residency is open to creative writers across all genres including fiction, children's fiction, poetry, creative non-fiction and playwriting. What do we cover? The residency provides: • a grant of $35,000 to cover all costs including travel to Menton, insurance, living and accommodation costs. $15,000 is paid when your itinerary and insurance is confirmed, with $10,000 payments usually made in month two and three of the residency, assuming the Fellow remains in residency through this period. • a room beneath the terrace of Villa Isola Bella is available for use as a study. Accommodation is not available at the villa. Fellows make their own accommodation arrangements, often with advice from a previous Fellow. Katherine Mansfield spent long periods at Villa Isola Bella in 1919 and 1920 after she contracted tuberculosis. -
The Colonial Reinvention of the Hei Tiki: Pounamu, Knowledge and Empire, 1860S-1940S
The Colonial Reinvention of the Hei Tiki: Pounamu, Knowledge and Empire, 1860s-1940s Kathryn Street A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in History Victoria University of Wellington Te Whare Wānanga o te Ūpoko o te Ika a Māui 2017 Abstract This thesis examines the reinvention of pounamu hei tiki between the 1860s and 1940s. It asks how colonial culture was shaped by engagement with pounamu and its analogous forms greenstone, nephrite, bowenite and jade. The study begins with the exploitation of Ngāi Tahu’s pounamu resource during the West Coast gold rush and concludes with post-World War II measures to prohibit greenstone exports. It establishes that industrially mass-produced pounamu hei tiki were available in New Zealand by 1901 and in Britain by 1903. It sheds new light on the little-known German influence on the commercial greenstone industry. The research demonstrates how Māori leaders maintained a degree of authority in the new Pākehā-dominated industry through patron-client relationships where they exercised creative control. The history also tells a deeper story of the making of colonial culture. The transformation of the greenstone industry created a cultural legacy greater than just the tangible objects of trade. Intangible meanings are also part of the heritage. The acts of making, selling, wearing, admiring, gifting, describing and imagining pieces of greenstone pounamu were expressions of culture in practice. Everyday objects can tell some of these stories and provide accounts of relationships and ways of knowing the world. The pounamu hei tiki speaks to this history because more than merely stone, it is a cultural object and idea. -
Dissertation
DISSERTATION Titel der Dissertation „‘Kiwi’ Masculinities in New Zealand Short Stories“ Verfasserin MMag. phil. Maria Hinterkörner angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt : A 092 343 Dissertationsgebiet lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: Univ.-Prof. Mag. Dr. Astrid Fellner [i] ACKNOWLEDGEMENTS “‘[New Zealand] is not quite the moon, but after the moon it is the farthest place in the world,’” said Sir Karl Popper (as quoted in KING 2003: 415), Austrian-New Zea- land-British philosopher; and ‘off the edge of the world’ in unlikely Kawakawa is where Friedensreich Hundertwasser built a colourful public toilet after having abandoned Austria for the sheep-crowded archipelago in the South Pacific. Little did I know about New Zealand as a country, as a people, as a nation and – above all – about how to pen a doctoral dissertation when I set out on this scien- tific journey a little while ago. At a very early stage of my doctoral endeavours, I knew my inquisitiveness could not be satisfied with the holdings at the University of Vienna, Austria, a country on the opposite side of the earth of the country’s lit- erature that I had chosen as subject of investigation. I was lucky enough to call Aotearoa/New Zealand my home for six months in 2009 – a sojourn that proved most fecund to my work, provided me with an abundance of motivation, and left me awe-inspired by the country’s inhabitants – scholars, fishermen, tattooists – its natural beauty and its rich and colourful culture. I was able to spend most of my time in the immense libraries of New Zealand’s universities and in conversation with scholars and authors who so very openly supported my work and provided answers where clarity had yet been missing.