DOCSLIB.ORG

Metafiction in New Zealand from the 1960S to the Present Day

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Metafiction in New Zealand from the 1960S to the Present Day 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. Metafiction in New Zealand from the 1960s to the present day A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Massey University, Albany, New Zealand Matthew Harris 2011 Metafiction in New Zealand from the 1960s to the present day (2011) by Matthew Harris (for Massey University) is licensed under a Creative Commons - Attribution-NonCommercial-NoDerivs 3.0 Unported License. Permissions beyond the scope of this license may be available at www.matthewjamesharris.com. LL ABSTRACT While studies of metafiction have proliferated across America and Europe, the present thesis is the first full-length assessment of its place in the literature of New Zealand. Taking as its point of reference a selection of works from authors Janet Frame, C.K. Stead, Russell Haley, Michael Jackson and Charlotte Randall, this thesis employs a synthesis of contextual and performative frameworks to examine how the internationally- prevalent mode of metafiction has influenced New Zealand fiction since the middle of the 20th century. While metafictional texts have conventionally been thought to undermine notions of realism and sever illusions of representation, this thesis explores ways in which the metafictional mode in New Zealand since the 1960s might be seen to expand and augment realism by depicting individual modes of thought and naturalising unique forms of self-reflection, during what some commentators have seen as a period of cultural ‘inwardness’ following various socio-political shifts in the latter part of 20th century New Zealand. LLL TABLE OF CONTENTS LIST OF FIGURES vi ACKNOWLEDGEMENTS vii INTRODUCTION 1 CHAPTER I: Methodology 24 1 Narratology and performativity 24 1.2 Performativity in narrative 30 1.3 Metafictional performativity in a narratological framework 39 1.4 Description of Terms 47 1.5 Reflexive narrative in the New Zealand context 53 CHAPTER II: The elusive humour of Janet Frame’s metafictions 68 2.1 Derivations: the quizzical and the implausible 68 2.2 Pretenses of language and place in The Carpathians 86 2.3 Out of the frame: metanarration on metanarration 94 CHAPTER III: C.K. Stead: the provenance of narrative 98 3.1 The author, the reader, the text 98 3.2 Foregrounding the authorial mind in criticism 107 3.3 Realist metafiction and the autobiographical 109 CHAPTER IV: Epistemic dubiety in the work of Russell Haley 129 4.1 Freed? the shift from provincialism to internationalism 129 4.2 Exiled to the mind: Russell Haley’s epistemic dubiety 139 4.4 Extradiegetic dubiety in The Settlement 146 4.5 The thin envelope of skin in Beside Myself 151 CHAPTER V: Michael Jackson: intersubjectivity and the individual 159 LY 5.1 Illeism in Barawa 159 5.2 Rainshadow: Intersubjectivity and the individual 165 5.3 Individualism in Pieces of Music 172 CHAPTER VI: Albert Wendt’s citationality and resistance 180 6.1 Māori and Pacific metafiction in the 20th century 180 6.2 Biography is fiction: Ola’s manifold realities 185 6.3 A tale about other tales: citationality and authorial performance in Black Rainbow 192 CHAPTER VII: Charlotte Randall: anthropomorphized narrative 203 7.1 The prison-house of plot in The Curative 203 7.2 Keep it Simple, Stupid? 214 7.3 Fractalian iterations 222 CHAPTER VIII: Findings and discussion 226 REFERENCES 245 APPENDIX A: Statement of contribution to doctoral thesis containing publications 267 APPENDIX B: Low risk notification for interviews 269 APPENDIX C: Interview with C.K. Stead 271 APPENDIX D: Interview with Russell Haley 278 APPENDIX E: Interview with Michael Jackson 286 APPENDIX F: Interview with Albert Wendt 296 APPENDIX G: Interview with Charlotte Randall 301 BIOGRAPHY 312 Y LIST OF FIGURES Number Page 1.Edition. (2004). Richard Frizzell. Ferner Galleries 13 2. Art for Sale. (1980). Billy Apple. Peter Webb Gallery 14 3. Summary of Genette’s categories with emendations 41 4. Masterpiece. (2003). Richard Frizzell. Ferner Galleries 48 5. Author/reader/text in The Death of the Body 121 6. Black Rainbow. (1988). Ralph Hotere. Nadene Milne Gallery 194 YL ACKNOWLEDGMENTS I am especially indebted to Dr Mary Paul and Dr Jack Ross for the help they have provided over the past four years of researching and writing - their comments, question- marks, stylistic advice, editing notes, and suggestions on content have been indispensable; to others within the late School of Social and Cultural Studies who also contributed very useful comments and counter-arguments, especially Dr Jenny Lawn and Prof Peter Lineham; to Dr Sarah Shieff for her comments on my introduction; to my examiners, for their astute critiques; to Massey University for the support of a doctoral scholarship; thanks also to Russell Haley, Michael Jackson, Charlotte Randall, Karl Stead and Albert Wendt who have been extremely helpful in making themselves available to answer my questions; to Landfall and The Literary Encyclopedia for publishing parts of this thesis; to my fellow inmates in the PhD room at Albany; to Sheryl Harris, Ian and Linda Cook for financial support; to the friends that I’ve seen less of than I would have liked, especially Cam and Pete; and much love to Emma and the kids. YLL INTRODUCTION Although the mode of writing most commonly referred to as “metafiction” has become a well-established area of study internationally, particularly since its rise to prominence in American literature since the 1960s, this is the first attempt at a full-length study of its place in the literature of Aotearoa-New Zealand. Key studies of the mode in the latter part of the twentieth century by theorists Robert Scholes (1979), Linda Hutcheon (1980), Patricia Waugh (1984, 1992) and Robert Stam (1992) have focussed predominantly on American writing – and, to a lesser extent, British, South American, and European work - while the proliferation of metafictional writing in New Zealand remains largely undocumented. Indeed, the only book-length studies produced in New Zealand on metafiction have been theses on Hispanic literature and French film: Nicola Gilmour’s A “Passing” Interest: Reading Transvestite Narratives, Gender and Metafiction in Nineteenth and Twentieth-Century Hispanic Writers (2000) and Deborah Walker’s Self- reflexivity and the Construction of Subjectivity in Contemporary French Cinema (2001). Aside from critical works on Janet Frame, C.K. Stead’s personal essays, articles by Cherry Hankin, and Patrick Evans’ brief comments in his conclusion to the Penguin History of New Zealand Literature (1990), there are only two substantial sources for criticism on the mode. Lawrence Jones’ overview of metafiction and reflexivity in his chapter “Other Modes” in The Oxford History of New Zealand Literature (1998) 1 and Michael Morrissey’s entertaining if unorthodox introduction to The New Fiction (1985), provide the most comprehensive notes on metafiction in New Zealand: the only further sources for Jones provides a similar, though smaller, overview in Part II of Barbed Wire and Mirrors (1987). commentary can be found in the occasional journal article or book review. Broadly speaking then, the goal of this research is to fill this gap in our criticism with a book- length study which will draw on a selection of authors to trace the international mode of metafiction, its key concerns and characteristics, across the last fifty years of New Zealand’s literary history. The question this thesis asks could then be formulated as: How has the international field of metafiction manifested itself in New Zealand fiction since the 1960s? Clearly, metafictions have grown to occupy prime space in the country’s literary landscape. For authors such as Janet Frame and C.K. Stead reflexivity has been, at one time or another in their careers, the single most important modal feature of their novels. One might be inclined to agree with Lawrence Jones who in The Oxford History of New Zealand Literature writes that metafiction “had become by 1991 the most important new development in mode in the New Zealand novel…” (1998, p. 230). And even if it was not the most important development - mythological-realism in Māori and Pacific writing is surely a strong contender - metafiction seems to have been the most ubiquitous. Beginning here in the late 1960s with Frank Sargeson’s protégés Maurice Duggan, Janet Frame, and C.K. Stead, the mode continues in various guises through the 1970s, 80s and 90s in the work of Michael Jackson, Albert Wendt, Russell Haley, Bill Manhire, Nigel Cox, Michael Morrissey, Craig Harrison, Maurice Shadbolt, Maurice Gee and others, and continues into the twenty-first century in novels such as Charlotte Randall’s Within the Kiss (2002), Paul Thomas’ Work in Progress (2006), and Jack Ross’ Kingdom of Alt (2010). What, according to various reviews of these writers, seems to set their work apart is that they directly and self-consciously address their own procedures and techniques. These meta texts, to note the Greek, move with, above or across themselves: editing themselves as they go, exploring the structure which gives them shape, self-consciously revealing their own linguistic elements, questioning the conditions of their authorship, and often parodying the literary conventions and clichés of the genre of which they still remain a part. The origin of the term metafiction is generally traced back to American novelist and critic William Gass in 1970, who in Fiction and the Figures of Life, defines metafiction as works “in which the forms of fiction serve as the material upon which further forms can be imposed” (p. 25) or which “instruct us in the art of narration, the myth-making imagination” (p.
Load more

Recommended publications
  • The Writing Life Twelve New Zealand Authors DEBORAH SHEPARD
    Intelligent, relevant books for intelligent, inquiring readers The Writing Life Twelve New Zealand Authors DEBORAH SHEPARD CANDID CONVERSATIONS WITH 12 WRITERS WHO HELPED SHAPE NEW ZEALAND LITERATURE A unique, candid and intimate survey of the life and work of 12 of our most acclaimed writers: Patricia Grace, Tessa Duder, Owen Marshall, Philip Temple, David Hill, Joy Cowley, Vincent O’Sullivan, Albert Wendt, Marilyn Duckworth, Chris Else, Fiona Kidman and Witi Ihimaera. Constructed as Q&As with experienced oral historian Deborah Shepard, they offer a marvellous insight into their careers. As a group they are now the ‘elders’ of New Zealand literature; they forged the path for the current generation. Together the authors trace their publishing and literary history from 1959 to 2018, through what might now be viewed as a golden era of publishing into the more unsettled climate of today. They address universal themes: the death of parents and loved ones, the good things that come with ageing, the components of a satisfying life, and much more. And they give advice on writing. The book has an historical continuity, showing fruitful and fascinating links $49.99 between individuals who have negotiated the same literary terrain for more than sixty years. To further honour them are magnificent photo portraits by CATEGORY: New Zealand Non Fiction distinguished photographer John McDermott, commissioned by the publisher ISBN: 978-0-9951095-3-7 for this project. eISBN: n/a ABOUT THE AUTHOR BIC: BGL, DSK, 1MBN BISAC: LCO020000, BIO007000 Deborah Shepard is an author, teacher of memoir, oral historian and film PUBLISHER: Massey University Press and art historian.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .........................................................
    [Show full text]
  • Renato Amato's Literary Antipodes1
    FULL CIRCLE? RENATO AMATO’S LITERARY ANTIPODES 1 SARAH PATRICIA HILL (Victoria University of Wellington) Sommario Il titolo stesso dell'opera di Amato The Full Circle of the Travelling Cuckoo (1967) rivela il senso di dislocazione dello scrittore migrante ma, al contempo, ne indica la capacità di riconciliarsi con il proprio difficile passato e di adattarsi alla sua patria adottiva, la Nuova Zelanda. Amato (1928-1964) ha dato un contribuito significativo alla scena letteraria della Nuova Zelanda dei primi anni '60, pubblicando numerosi racconti in inglese e completando due romanzi ancora inediti. Attraverso l'analisi critica di questi manoscritti in particolare, questo articolo si propone di capire come essi riflettano le plurime identità di Amato come migrante e autore, facendo luce sulle sue esperienze come unico scrittore italiano in un ambiente letterario predominantemente anglo-celtico. “Possibile che a quarant’anni, e con tutto il mondo che ho visto, non sappia ancora che cos’è il mio paese?” Cesare Pavese, La luna e i falò The only published book by Italian New Zealand writer Renato ‘Michael’ Amato (1928-1964) is The Full Circle of the Travelling Cuckoo , a collection of short stories that appeared posthumously in 1967. Amato’s friend and literary executor Maurice Shadbolt – a key figure in the New Zealand literary landscape of the day – probably intended the title to suggest both Amato’s sense of displacement as a migrant writer and the 1 I would like to express my heartfelt thanks to Timothy Amato for generously making his collection of his father’s personal papers available to me, and to Dora Celeste Amato and Michele Amato for sharing their memories of their brother Renato.
    [Show full text]
  • 2013 ANZSI Conference: “Intrepid Indexing: Indexing Without
    Intrepid indexing: indexing without boundaries 13–15 March 2013 Wellington, New Zealand Table of Contents Papers • Keynote: Intrepid indexing: from the sea to the stars, Jan Wright • Publishers, Editors and Indexers: a panel discussion, Fergus Barrowman, Mei Yen Chua and Simon Minto • Māori names and terms in indexes, texts and databases, Robin Briggs, Ross Calman, Carol Dawber • EPUB3 Indexes Charter and the future of indexing, Glenda Browne • People and place : the future of database indexing for Indigenous collections in Australia, Judith Cannon and Jenny Wood • Indexing military history, Peter Cooke • Ethics in Indexing, Heather Ebbs • Running an Indexing Business, Heather Ebbs, Pilar Wyman, Mary Coe and Tordis Flath • Archives and indexing history in the Pacific Islands, Uili Fecteau and Margaret Pointer • Typesetting Dilemmas, Tordis Flath and Mary Russell • Can an index be a work of art? Lynn Jenner and Tordis Flath • Advanced SKY Index, Jon Jermey • East Asian names: understanding and indexing Chinese, Japanese and Korean (CJK) names, Lai Lam and Cornelia (Nelly) Bess • Intermediate CINDEX - Patterns for the Plucky, Frances Lennie • Demystifying indexing: keeping the editor sane! Max McMaster (presented by Mary Russell) • Numbers in Indexing, Max McMaster (presented by Mary Russell) • Japan's indexing practice, Takashi Matsuura • Understanding Asian Names, Fiona Price • Indexing Tips and Traps; Practical approaches to improving indexes and achieving ANZSI Accreditation, Sherrey Quinn o Indexing Tip and Traps — slides o Practical
    [Show full text]
  • 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.
    [Show full text]
  • Joyce Pualani Warren
    DOI 10.17953/aicrj.43.2.warren Reading Bodies, Writing Blackness: Anti-/Blackness and Nineteenth- Century Kanaka Maoli Literary Nationalism Joyce Pualani Warren June 5, 1850, journal entry written by fifteen-year-old Hawaiian Prince Alexander A Liholiho, the future King Kamehameha IV, details his experience of anti-Black discrimination on a train in Washington, DC. The conductor “told [him] to get out of the carriage rather unceremoniously,” because of his skin color, “saying that [he] was in the wrong carriage.”1 For Alexander Liholiho, a law school student as well as the future monarch, this diplomatic tour of the United States and Europe was an opportunity to interact with foreign heads of state. Although the conductor deferred to the prince after someone whispered into the official’s ear at a critical moment in the argument, Alexander Liholiho surmised in his entry, “he had taken me for somebodys servant [sic], just because I had a darker skin than he had. Confounded fool.”2 During a soiree at the White House only days earlier President Zachary Taylor and Vice President Millard Fillmore had treated him as an equal; now a train conductor cruelly abused him as a “servant” in need of correction. Perhaps ironically, the young prince had found the president’s “plain citizens dress” [sic] lacking in comparison to his own “belted & cocked” attire, yet none of the outward markers of his royalty registered with the conductor.3 Instead, the conductor misreads Alexander Liholiho’s body based on his racist assumption that a Black body, or a body approximating one, could occupy no other narrative than the one inscribed Joyce Pualani Warren is an assistant professor in the Department of English at the University of Hawai‘i at Mānoa.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Angel: Through My Eyes - Natural Disaster Zones by Zoe Daniel Series Editor: Lyn White
    BOOK PUBLISHERS Teachers’ Notes Angel: Through My Eyes - Natural Disaster Zones by Zoe Daniel Series editor: Lyn White ISBN 9781760113773 Recommended for ages 11-14 yrs These notes may be reproduced free of charge for use and study within schools but they may not be reproduced (either in whole or in part) and offered for commercial sale. Introduction ............................................ 2 Links to the curriculum ............................. 5 Background information for teachers ....... 12 Before reading activities ......................... 14 During reading activities ......................... 16 After-reading activities ........................... 20 Enrichment activities ............................. 28 Further reading ..................................... 30 Resources ............................................ 32 About the writer and series editor ............ 32 Blackline masters .................................. 33 Allen & Unwin would like to thank Heather Zubek and Sunniva Midtskogen for their assistance in creating these teachers notes. 83 Alexander Street PO Box 8500 Crows Nest, Sydney St Leonards NSW 2065 NSW 1590 ph: (61 2) 8425 0100 [email protected] Allen & Unwin PTY LTD Australia Australia fax: (61 2) 9906 2218 www.allenandunwin.com ABN 79 003 994 278 INTRODUCTION Angel is the fourth book in the Through My Eyes – Natural Disaster Zones series. This contemporary realistic fiction series aims to pay tribute to the inspiring courage and resilience of children, who are often the most vulnerable in post-disaster periods. Four inspirational stories give insight into environment, culture and identity through one child’s eyes. www.throughmyeyesbooks.com.au Advisory Note There are children in our schools for whom the themes and events depicted in Angel will be all too real. Though students may not be at risk of experiencing an immediate disaster, its long-term effects may still be traumatic.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]