Academic literature on the topic 'New Zealand Literature (excl. Maori Literature)'
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Journal articles on the topic "New Zealand Literature (excl. Maori Literature)"
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Neha, Tia, Angus Macfarlane, Sonja Macfarlane, Te Hurinui Clarke, Melissa Derby, Toni Torepe, Fiona Duckworth, Marie Gibson, Roisin Whelan, and Jo Fletcher. "Sustainable prosperity and enterprises for Maori communities in Aotearoa New Zealand: a review of the literature." Journal of Enterprising Communities: People and Places in the Global Economy 15, no. 4 (June 18, 2021): 608–25. http://dx.doi.org/10.1108/jec-07-2020-0133.
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Purpose The research in the field of Indigenous peoples and the espousal of their cultural values in the work environment is recognised as being important as a means of overcoming workplace inequities. The purpose of this paper is to examine research about Maori, the Indigenous people of Aotearoa New Zealand that may inform future enterprises for the long-term prosperity of marginalised Indigenous peoples. Design/methodology/approach This study reviews the literature on unique cultural dynamics of whanau Maori (New Zealand Maori family/community) study practices and the importance of work/home/life balance. Furthermore, it considers strengths-based community enterprises that can lead to sustainable prosperity for Maori. Findings The review yielded three theoretical principles that explain mana (sociocultural and psychological well-being), which can be generalised across multiple contexts, with the workplace being one of these contexts. These principles of mana create a contextual match with whanau external realities; an experiential match of a mana empowerment framework that transfers to the study context and an interpersonal understanding of being understood and empowered within the study context. Research limitations/implications The literature review has been limited to research from 2005 onwards and to research that investigates Maori, the Indigenous peoples of Aotearoa New Zealand. Although the review of the literature has these limitations, the review may be of interest to other studies of Indigenous peoples worldwide. Practical implications The key factors are interwoven, and their importance is considered in relation to the development of positive and supportive environments, which link to job retention, satisfaction and productivity in the workplace for Maori. This, in turn, can have beneficial knock-on effects for not only the New Zealand economy but also more importantly for enhancing sustainable livelihoods for upcoming generations. Social implications Tied together, these factors are paramount for cultural, social and ecological benefits for nga rangatahi (young Maori adults) and the wider community in the workplace. Originality/value The literature review’s value and originality derive from a dearth of recent research on supporting nga rangatahi (young Maori adults) for sustainable prosperity.
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Kable, J. "Thoughts on Aboriginal Literature." Aboriginal Child at School 13, no. 1 (March 1985): 31–52. http://dx.doi.org/10.1017/s0310582200013614.
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Back in early 1982, a mate in New Zealand wrote to me describing, in a very excited manner, his research into cultural aspects of Maori people, especially with respect to the poetry relating to funeral rites. Concurrently, I was completing the Multicultural Education Diploma, and fostering an infant interest in aspects of Australian literature dealing with the immigrant experience and cultural difference (viz. Judah Waten’s Alien Son, and Nancy Keesing’s Shalom). Whilst I had not at that stage successfully made the link between such literature and its effective use in the educational process of students of non-English speaking background, I remember thinking that perhaps I should soon pursue a course which would lead me to an understanding of Aboriginal Australians, in some way similar to Terry’s pursuit in New Zealand.
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Shahid, Syed M. "Managing Diabetes and Obesity in COVID-19 among Maori Adults in New Zealand using Non-Pharmacological Interventions." Diabetes & Obesity International Journal 5, no. 4 (2020): 1–8. http://dx.doi.org/10.23880/doij-16000234.
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Background: World Health Organisation estimated that diabetes and obesity are responsible for 1.6 million and 4 million mortalities, globally. Likewise, New Zealanders also face the serious consequences of diabetes and obesity mainly impacted Maori due to existence of various health disparities. Presently, researches showed that people with pre-existing diabesity conditions are more susceptible to acquire COVID-19 and resulted in 48% mortality, globally. Aim: This literature review was aimed to identify the effects of Non-Pharmacological (lifestyle) interventions implemented for managing diabetes and obesity among adult Maori in New Zealand especially during COVID-19. Method: To conduct a comprehensive literature review, the universally acclaimed peer-reviewed electronic databases such as PubMed, ProQuest, EIT online and cross-references of included articles were used to discover the most relevant, recent studies on the present topic. Reviewer screened the articles based on inclusion criteria. Electronically available peer-reviewed journal articles which include the interventions on diabetes and obesity for adult Maori of New Zealand and should be conducted between 2015 to 2020 were included. Results: Reviewer searched 35 articles in total. Out of which 07 articles were selected according to inclusion criteria. From total 07, 02 articles included lifestyle interventions exclusively on adult Maori men and 05 studies included adult Maori and other ethnic groups. Findings of the review revealed that non-pharmacological interventions without incentives showed more retention rate of Maori adults as compared to intervention with incentives. All the included articles use Maori culturally acceptable approach in implementing lifestyle interventions for diabetes and obesity prevention. Conclusion: More research needs to be conducted for diabetes and obesity prevention among Maori adults in New Zealand as there is limited literature available which becomes insufficient during special circumstances such as COVID-19 Pandemic.
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Page, Ruth. "Variation in storytelling style amongst New Zealand schoolchildren." Narrative Inquiry 18, no. 1 (August 15, 2008): 152–79. http://dx.doi.org/10.1075/ni.18.1.08pag.
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The relationship between emergent narrative skills, gender and ethnicity continues to be an important area of debate, with significant socio-political consequences. This paper explores the ways in which these variables intersect in a cross-cultural, longitudinal study of children’s storytelling, focusing on data taken from a multicultural school in Auckland, NZ. Differences in storytelling style reflected the characteristics of Maori English and Pakeha English conversational narratives, but also varied according to age and gender, where the variation was most marked for the 10-year-old children, and was most polarised between the narratives of the Pakeha girls and Maori boys. A longitudinal comparison indicated that these differences were by no means fixed, and that over time the older Maori boys’ storytelling altered in line with the literacy demands to conform to the dominant westernised pattern being imposed in this pedagogic context. This study thus points to the ongoing importance of analysing the shifting ways in which gender and cultural identity are renegotiated in educational contexts, suggesting that there is more scope for questioning and potentially changing dominant literacy practices in this part of New Zealand.
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Pillai, Gayathri. "Te Kotahitanga: The Effective Teaching Profile and its Impact on Māori Student Achievement." Kairaranga 16, no. 1 (January 1, 2015): 52–57. http://dx.doi.org/10.54322/kairaranga.v16i1.195.
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Te Kotahitanga is a Kaupapa Maori research and development programme that aims at improving Maori student achievement. Through interviews with students, teachers and whanau, the characteristics of teachers who made a difference were identified. These characteristics were drawn together to form the Effective Teaching Profile (ETP). This literature review provides a brief background on the Te Kotahitanga programme with an emphasis on the ETP, and its impact on Maori students’ achievement in secondary schools. The educational disparities that exist and perpetuate for indigenous (Maori) learners in Aotearoa/New Zealand are discussed as a rationale for implementing Te Kotahitanga in schools. This literature review explores the principles of the ETP and how these impact on Maori achievement. The ETP is also considered from a Resource Teacher: Learning and Behaviour (RTLB) viewpoint.
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Mika, Jason Paul, Nicolas Fahey, and Joanne Bensemann. "What counts as an indigenous enterprise? Evidence from Aotearoa New Zealand." Journal of Enterprising Communities: People and Places in the Global Economy 13, no. 3 (July 8, 2019): 372–90. http://dx.doi.org/10.1108/jec-12-2018-0102.
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PurposeThis paper aims to contribute to indigenous entrepreneurship theory by identifying what constitutes an indigenous enterprise, focussing on Aotearoa New Zealand as a case.Design/methodology/approachThis paper combines policy (quantitative survey) and academic research (qualitative interviews) to answer the same question, what is an indigenous enterprise in Aotearoa New Zealand?FindingsThe authors found a degree of consistency as to what counts as an indigenous enterprise in the literature (e.g., identity, ownership, values), yet a consensus on a definition of Maori business remains elusive. They also found that an understanding of the indigenous economy and indigenous entrepreneurial policy are impeded because of definitional uncertainties. The authors propose a definition of Maori business which accounts for indigenous ownership, identity, values and well-being.Research limitations/implicationsThe main limitation is that the literature and research use different definitions of indigenous enterprise, constraining comparative analysis. The next step is to evaluate our definition as a basis for quantifying the population of indigenous enterprises in Aotearoa New Zealand.Practical implicationsThe research assists indigenous entrepreneurs to identify, measure and account for their contribution to indigenous self-determination and sustainable development.Social implicationsThis research has the potential to reconceptualise indigenous enterprise as a distinct and legitimate alternative institutional theory of the firm.Originality/valueThe research challenges assumptions and knowledge of entrepreneurship policy and practice generally and the understanding of what is the nature and extent of an indigenous firm.
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Williams, Mark. "A Bicultural Education." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1552–56. http://dx.doi.org/10.1632/pmla.2016.131.5.1552.
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In 1995 I Taught a Course in New Zealand Literature at Tokyo University. The Students Were Attentive, and Curious About New Zealand, but they found my Kiwi English hard to follow, being accustomed to American or British varieties. I wondered about their seeming tolerance recently while teaching a similar course to undergraduates back home, at Victoria University, in Wellington, when one of the Maori students complimented a Pākehā (New Zealand European) colleague for her Maori pronunciation. Like most Pākehā, I have a rudimentary grasp of Māori, enough to be familiar with the words and phrases that have entered everyday speech and those in the poetry and fiction I teach. But I cannot conduct a conversation in Māori or read a Māori text, and I am as embarrassed by the irritation that my pronunciation of te reo (the Māori language) causes Māori speakers as I was by the difficulty my rising terminals and strange accent posed for competent English speakers in Japan.
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Bronwyn, Copeland, Cheryl Collier, and Jessica Braim. "531 - Dementia prevention and utilising the “teachable moment” in the New Zealand context." International Psychogeriatrics 33, S1 (October 2021): 76. http://dx.doi.org/10.1017/s104161022100226x.
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Dementia is a debilitating disease with wide-reaching impacts. Up to 40% of dementias are estimated to be preventable through modifiable risk factors, which is essential as no disease-modifying treatments are currently available. A literature review was performed using the OVID database, Google Scholar, and following references. Dementia as a key word was combined with the following key words: education, prevention, risk reduction, risk perception, family members, adult children, health promotion, behaviour change, Maori Health, health literacy, healthy aging, behavioural intervention, attitudes, teachable moment, psychoeducation.
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Marshall, Yvonne. "Indigenous Theory is Theory: Whakapapa for Archaeologists." Cambridge Archaeological Journal 31, no. 3 (May 18, 2021): 515–24. http://dx.doi.org/10.1017/s0959774321000214.
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Drawn by their foundation in fundamentally ‘otherwise’ posthuman ethical and moral worlds, archaeologists have in recent years employed a number of indigenous theories to interpret archaeological materials. In this paper I consider the potential of New Zealand Maori whakapapa, loosely and reductively translatable as genealogy or ancestry, to become a strand of general theory in archaeology. The qualities of whakapapa which I feel have particular potential are its moral and ethical embeddedness and its insistence on multiple forms of relating. Importantly, whakapapa has an accessible indigenous voice. There is an extensive published literature, both Maori and non-Maori, academic and general, discussing, interpreting and applying Maori social theory, including whakapapa. In addition, whakapapa remains today fundamental to everyday and ceremonial Maori life. It is lived. Employing whakapapa as archaeological theory does not, then, depend on a having a specific authoritative interpreter. Here I have taken recent work by installation artist Maureen Lander as a forum to outline the key principles of whakapapa and to inform my discussion of whakapapa as archaeological theory.
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Toyibah, Dzuriyatun, and Irma Riyani. "DOING GENDER AND RACE INTERSECTIONALITY: THE EXPERIENCES OF FEMALE MAORI AND NONWHITE ACADEMICS IN NEW ZEALAND." International Journal of Asia Pacific Studies 18, no. 1 (January 25, 2022): 31–47. http://dx.doi.org/10.21315/ijaps2022.18.1.2.
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Several studies that focus on Western settings like Canada, the United States, the United Kingdom, Australia, and New Zealand have found that gendered institutions within academic careers are still preserved through various means. These studies have verified that fewer women are in tenure track positions than men. Additionally, women have been receiving a lower salary and are seldom promoted. Several issues such as mobility, parenting, and gender bias in application and evaluation rate as well as gender citation gap are highly correlated with women’s challenges in pursuing professorships. Nonetheless, there is still a lack of studies pertaining to the impact of the intersection of race and gender on the experiences of people of colour and minority groups in academia. The current study aims to explore the role that gender and race play among female academics, which includes the careers of Maori academics (the indigenous people of New Zealand) and non-white academics in New Zealand. Based on in-depth interviews conducted with 15 academic staff, including Maori and non-white academics in New Zealand, the current research corroborates the existing literature regarding the interplay of race and gender in advancing academic career. Furthermore, this research also finds that the merit-based concept or objective indicators of academic excellence do not necessarily apply in New Zealand. On account of their gender and racial identities, women of minority groups and non-white academics frequently experience multidimensional marginalisation while pursuing their academic careers.
Dissertations / Theses on the topic "New Zealand Literature (excl. Maori Literature)"
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Dionne, Lee Elton. "Situating the cetacean: Science and storytelling in Witi Ihimaera's The whale rider." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/2883.
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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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Allen, Chadwick 1964. "Blood as narrative/narrative as blood: Constructing indigenous identity in contemporary American Indian and New Zealand Maori literatures and politics." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289022.
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Following the end of World War II and the formation of the United Nations organization, indigenous minorities who had fought on behalf of First World nations--including record numbers of New Zealand Maori and American Indians--pursued their longstanding efforts to assert cultural and political distinctiveness from dominant settler populations with renewed vigor. In the first decades after the War, New Zealand Maori and American Indians worked largely within dominant discourses in their efforts to define viable contemporary indigenous identities. But by the late 1960s and early 1970s, both New Zealand and the United States felt the effects of an emerging indigenous "renaissance," marked by dramatic events of political and cultural activism and by unprecedented literary production. By the mid-1970s, New Zealand Maori and American Indians were part of an emerging international indigenous rights movement, signaled by the formation and first general assembly of the World Council of Indigenous Peoples (WCIP). In "Blood As Narrative/Narrative As Blood," I chronicle these periods of indigenous minority activism and writing and investigate the wide range of tactics developed for asserting indigenous difference in literary and political activist texts produced by the WCIP, New Zealand Maori, and American Indians. Indigenous minority or "Fourth World" writers and activists have mobilized and revalued both indigenous and dominant discourses, including the pictographic discourse of plains Indian "winter counts" in the United States and the ritual discourse of the Maori marae in New Zealand, as well as the discourse of treaties in both. These writers and activists have also created powerful tropes and emblematic figures for contemporary indigenous identity, including "blood memory," the ancient child, and the rebuilding of the ancestral house (whare tipuna). My readings of a wide range of poems, short stories, novels, essays, non-fiction works, representations of cultural and political activism, and works of literary, art history, political science, and cultural criticism lead to the development of critical approaches for reading indigenous minority literary and political activist texts that take into account the complex historical and cultural contexts of their production--local, national and, increasingly, global.
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Seran, Justine Calypso. "Intersubjective acts and relational selves in contemporary Australian Aboriginal and Aotearoa/New Zealand Maori women's writing." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/21999.
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This thesis explores the dynamics of intersubjectivity and relationality in a corpus of contemporary literature by twelve Indigenous women writers in order to trace modes of subject-formation and communication along four main axes: violence, care, language, and memory. Each chapter establishes a comparative discussion across the Tasman Sea between Indigenous texts and world theory, the local and the global, self and community. The texts range from 1984 to 2011 to cover a period of growth in publishing and international recognition of Indigenous writing. Chapter 1 examines instances of colonial oppression in the primary corpus and links them with manifestations of violence on institutional, familial, epistemic, and literary levels in Aboriginal authors Melissa Lucashenko and Tara June Winch’s debut novels Steam Pigs (1997) and Swallow the Air (2006). They address the cycle of violence and the archetypal motif of return to bring to light the life of urban Aboriginal women whose ancestral land has been lost and whose home is the western, modern Australian city. Maori short story writer Alice Tawhai’s collections Festival of Miracles (2005), Luminous (2007), and Dark Jelly (2011), on the other hand, deny the characters and reader closure, and establish an atmosphere characterised by a lack of hope and the absence of any political or personal will to effect change. Chapter 2 explores caring relationships between characters displaying symptoms that may be ascribed to various forms of intellectual and mental disability, and the relatives who look after them. I situate the texts within a postcolonial disability framework and address the figure of the informal carer in relation to her “caree.” Patricia Grace’s short story “Eben,” from her collection Small Holes in the Silence (2006), tells the life of a man with physical and intellectual disability from birth (the eponymous Eben) and his relationship with his adoptive mother Pani. The main character of Lisa Cherrington’s novel The People-Faces (2004) is a young Maori woman called Nikki whose brother Joshua is in and out of psychiatric facilities. Finally, the central characters of Vivienne Cleven’s novel Her Sister’s Eye (2002) display a wide range of congenital and acquired cognitive impairments, allowing the author to explore how the compounded trauma of racism and sexism participates in (and is influenced by) mental disability. Chapter 3 examines the materiality and corporeality of language to reveal its role in the formation of (inter)subjectivity. I argue that the use of language in Aboriginal and Maori women’s writing is anchored in the racialised, sexualised bodies of Indigenous women, as well as the locale of their ancestral land. The relationship between language, body, and country in Keri Hulme’s the bone people (1984) and Alexis Wright’s Carpentaria (2006) are analysed in relation to orality, gesture, and mapping in order to reveal their role in the formation of Indigenous selfhood. Chapter 4 explores how the reflexive practice of life-writing (including fictional auto/biography) participates in the decolonisation of the Indigenous self and community, as well as the process of individual survival and cultural survivance, through the selective remembering and forgetting of traumatic histories. Sally Morgan’s Aboriginal life-writing narrative My Place (1987), Terri Janke’s Torres Strait Islander novel Butterfly Song (2005), as well as Paula Morris and Kelly Ana Morey’s Maori texts Rangatira (2011) and Bloom (2003) address these issues in various forms. Through the interactions between memory and memoirs, I bring to light the literary processes of decolonisation of the writing/written self in the settler countries of Australia and Aotearoa/New Zealand. This study intends to raise the profile of the authors mentioned above and to encourage the public and scholarly community to pay attention and respect to Indigenous women’s writing. One of the ambitions of this thesis is also to expose the limits and correct the shortcomings of western, postcolonial, and gender theory in relation to Indigenous women writers and the Fourth World.
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Lambert, Kelly Ann. "Calling the taniwha : Mana Wahine Maori and the poetry of Roma Potiki : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Arts in New Zealand Literature /." ResearchArchive@Victoria e-thesis, 2006. http://hdl.handle.net/10063/995.
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Bentley, Trevor William. "Images of Pakeha-Māori: A Study of the Representation of Pakeha-Māori by Historians of New Zealand From Arthur Thomson (1859) to James Belich (1996)." The University of Waikato, 2007. http://hdl.handle.net/10289/2559.
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This thesis investigates how Pakeha-Māori have been represented in New Zealand non-fiction writing during the nineteenth and twentieth centuries. The chronological and textual boundaries range from Arthur Thomson's seminal history The Story of New Zealand (1859) to James Belich's Making Peoples (1996). It examines the discursive inventions and reinventions of Pakeha-Māori from the stereotypical images of the Victorian era to modern times when the contact zone has become a subject of critical investigation and a sign of changing intellectual dynamics in New Zealand and elsewhere. This thesis is about the history of attitudes to culture-crossers in New Zealand, the use of the term 'Pakeha-Māori', and the images that underlie the thinking of Britons and Pakeha about them. It explores the motives and backgrounds of specific authors and the ways in which they frame New Zealand history. It elucidates the ambiguous and contradictory perspectives of Pakeha-Māori in the literature and analyses its impact on changing public perceptions about them. The study critiques the literature with emphasis on theoretically informed research, historical analysis, and literary insights. Discussion is confined to published texts, with the aim of exploring the multiplicity of Pakeha-Māori images and the processes that gave rise to them. This study is essentially an investigation into how and why historians and other scholars try to draw boundaries between cultures in order to create a satisfactory metanarrative or myth of the 'settlement' of New Zealand and thus to forge a sense of New Zealandness. The cultural and racial categories of 'Māori' and 'Pakeha' are very unstable, however, and a consideration of the 'in-between' or 'culture-crossing' category of 'Pakeha-Māori' can reveal the way in which 'Māori' and 'Pakeha' and a sense of New Zealand and New Zealanders have been constructed. More particularly, consideration of representations of those culture-crossers or race-crossers called Pakeha-Māori can reveal the hopes and fears of Pakeha writers regarding Pakeha, Māori and New Zealand and how Pakeha-Māori have frequently been a barometer or litmus test of public perceptions of relations between Māori and Pakeha in different historical periods.
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Paringatai, Karyn Ailsa, and n/a. "Poia mai taku poi: Unearthing the knowledge of the past : a critical review of written literature on the poi in New Zealand and the Pacific." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.110817.
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The primary objective of this thesis is to review literature written about poi in order to construct an historical overview of poi from pre-contact Maori society until the 1920s. The mythological and Polynesian origins of poi, traditional and contemporary materials and methods used to make poi, early travellers, explorers, and settlers accounts of poi and two case studies on the use of poi in the Taranaki and Te Arawa areas will be included in this thesis. The information will be used to show the changes in poi that have occured since Maori and European arrival to New Zealand until the 1920s.
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Kennedy, Melissa. ""Striding both worlds" : cross-cultural influence in the work of Witi Ihimaera." Thesis, University of Canterbury. English, 2007. http://hdl.handle.net/10092/3931.
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This thesis engages with aspects of Witi Ihimaera's oeuvre that demonstrate influences from cultures other than Maori. These may be overt in the fiction, such as plot settings in Venice, Vietnam and Canada, or implicit in his writing mode and style, influenced by English romanticism, Pakeha cultural nationalism, Katherine Mansfield's modernist epiphanies, and Italian verismo opera. In revealing Ihimaera's indebtedness to cultural and aesthetic influences commonly seen as irrelevant to contemporary Maori literature, this thesis reveals a depth and richness in Ihimaera's imaginary that is frequently overlooked and undervalued in New Zealand literary interpretation. Illuminating cross-cultural influence in Ihimaera's works calls into question the applicability of biculturalism as a comprehensive manner of accounting for both Maori cultural ambitions of self-determination and the Maori relationship with Pakeha on the national level. Far from an "us-versus-them" dialectic based on a separatist notion of two individually self-sufficient and complete cultures, Ihimaera's fiction shows Maori culture to have been shaped by a long history of interaction and influence with the colonial British and the Pakeha. This is manifest in the way that the Maori sovereignty and renaissance movements, which gathered force in the 1970s, have been inspired by European concepts of modernity, the structures of nation building and, more recently, by Western globalization described in the theories of transculturation and diaspora. Similarly, in New Zealand literature, Maori writing is commonly considered a parallel genre which describes a distinctive Maori worldview and literary style. Contrary to the familiar interpretation of Ihimaera's fiction from this standpoint, this thesis argues that an emphasis on difference tends to lose sight of fiction's capacity to bring into play issues of differentiation, originality and hybridity through its very form and function. In effect, Maori negotiation of its sovereign space in its literature takes place in its forms rather than in its storyline, for example in multiple linguistic significations, in the text's unstable relationship with reality, and the way that imagery escapes concrete, definitive explanation. In this optic, this thesis analyses little-discussed aspects of Ihimaera's fiction, including his love of opera, the extravagance of his baroque lyricism, his exploration of the science-fiction genre, and his increasing interest in taking Maori into the international arena. While reading against the grain of current New Zealand literary practice, this thesis does not intend to contest such reading. Rather, it endeavours to present an additional, complementary analytical framework, based on a conviction that contemporary Maori-Pakeha cultural and literary negotiation and contestation is far from unique, but a local manifestation of other international and historical efforts for recognition and respect.
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Pistacchi, Ann Katherine. "Spiraling Subversions: The Politics of Māori Cultural Survivance in the Critical Fictions of Patricia Grace, Paula Morris, and Kelly Ana Morey." 2009. http://hdl.handle.net/2292/4528.
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The principal objective of this doctoral research is to examine the ways in which key contemporary (2000-2005) fictional writings by Māori women authors Patricia Grace, Paula Morris, and Kelly Ana Morey demonstrate “survivance” – a term used by University of New Mexico Professor Gerald Vizenor and Ohio State University Professor Chadwick Allen to refer to the ways in which indigenous authors use their texts as “a means of cultural survival that comes with denying authoritative representations of [indigenous peoples] in addition to developing an adaptable, dynamic identity that can mediate between conflicting cultures” (Allen “Thesis” 65). I argue that acts of Māori cultural survivance are manifested in the works of these three authors both internally, in terms of the actions of characters in their fictional narratives, and externally, by the authors themselves who fight for survivance in a literary publishing world that is often slow to recognize and value works of fiction that challenge traditional (Western) modes of novel form and style. Thesis chapters therefore include both extensive critical readings of Grace’s novel Dogside Story (2001), Morris’s novels Queen of Beauty (2002) and Hibiscus Coast (2005), and Morey’s novel Bloom (2003) as well as detailed biographical information based on my interviews with the authors themselves. The thesis emphasizes the ways in which each woman’s approach to writing survivance fiction is largely driven by her personal history and whakapapa. The study also asserts that Grace, Morris and Morey are producing acts of indigenous literary cultural survivance that “imagine the world healthy,” something author and critic Maxine Hong Kingston demands that contemporary writers of critical fictions must do if they are going to convince the book-buying populace “not to worship tragedy as the highest art anymore” (204). Grace, Morris, and Morey depict the creative, generative, and “healthy” aspects of Māori cultural survivance as taking place in both the real and imagined communities which they live in and write about. Their texts offer hope for the ongoing survival – and survivance – of Māori culture in the twenty-first century.
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Harrison, Oliver J. "‘The Paradise of the Southern Hemisphere’: The Perception of New Zealand and the Maori in Written Accounts of German-speaking Explorers and Travellers 1839-1889." 2006. http://hdl.handle.net/2292/703.
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The aim of this research is to examine the much neglected body of writings on New Zealand and the Maori by German-speaking explorers and travellers during the colonising period of the 1840s to 1880s. To the nineteenth-century breed of visitor from Germany and Austria, 'Old' New Zealand often presented itself as an unexplored field of scientific curiosities, from botany and geology to ornithology and ethnology, at the same time as a paradise for immigrant workers. The investigation begins with an evaluation of the eighteenth-century account of Georg Forster, who accompanied Captain Cook on his second voyage to the South Pacific. Forster's account is entrenched in the early racial stereotypes and theories of the 'savage', and provides the first major primary source for all of German-speaking Europe up to the period under investigation. The second main source to be considered is the dominant 'paradise' image which evolved out of the propaganda of the New Zealand Company and continued right through the colonising era. The principal figures to be examined include Ernst Dieffenbach, the official Company naturalist, Friedrich August Krull, the first German Consul in New Zealand, Ferdinand von Hochstetter, the resident geologist on the Novara expedition, Julius von Haast, the founder and director of the Canterbury Museum, Andreas Reischek, the taxidermist and collector, as well as other notable visitors including Max Buchner, Franz Reuleaux, Otto Finsch, Alexander von Hübner and Robert von Lendenfeld. Thus, it is the goal of this investigation to analyse the perception of New Zealand and the Maori in selected works by German-speaking explorers and travellers who arrived in the colony between 1839 and 1889 through, first of all, confronting the prevailing stereotypes and images inherent in the philosophical attitudes of the eighteenth and nineteenth centuries towards the 'savage' and those present in the 'paradise' rhetoric of the British campaigners of colonisation, and secondly, examining the origins, patterns and evolution of their respective perceptions, impressions and opinions in order to reveal the true extent of their non-British 'Germanic' viewpoint.
Books on the topic "New Zealand Literature (excl. Maori Literature)"
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Theunissen, Steve. The Maori of New Zealand. Minneapolis: Lerner Publications Co., 2003.
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Maori. New York: Thomson Learning, 1994.
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Strudwick, Leslie. Maori. New York: AV2 by Weigl, 2012.
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Naumann, Ruth. Te ao o te Maori =: The world of the Maori. Auckland, N.Z: New House Publishers, 1989.
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Hemara, Wharehuia. Māori pedagogies: A view from the literature. Wellington, N.Z: New Zealand Council for Educational Research, 2000.
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The Maoris of New Zealand. Vero Beach, FL: Rourke Publications, 1989.
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Maori oral literature as seen by a classicist. Dunedin, N.Z: University of Otago, 1989.
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Maori. New York: AV2 by Weigl, 2012.
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Graham, Pita. Maori legends of the land: Maori tales and traditions. Takapuna, N.Z: Bush Press of New Zealand, 2002.
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Leach, Foss. Prehistoric fish catches in New Zealand. Oxford, England: Tempus Reparatum, 1993.
Find full textBook chapters on the topic "New Zealand Literature (excl. Maori Literature)"
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Nachowitz, Todd. "Identity and Invisibility." In Indians and the Antipodes, 26–61. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199483624.003.0002.
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Shipping logs reveal that the first Indians to set foot on New Zealand soil were two young lascars from Pondicherry who arrived on a French East India Company ship in 1769—the year that James Cook first visited the country. Indian arrival in New Zealand was, therefore, contemporaneous with first European contact, a fact never before recognized in the extant literature on nation-building. Since then hundreds of Indian sepoys and lascars accompanied British East India Company ships to New Zealand, many going through Australian ports seeking work with sealing expeditions and on timber voyages. In the early nineteenth century, some of the lascars began to jump ship, marry local Maori women and settled down in New Zealand. This chapter argues that Indians in New Zealand can claim a history that goes as far back as the earliest Maori–European (Pakeha) contact.
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Akhter, Selina. "Social Workers' Understanding of Bi-Culturalism and Its Cultural Differences in Aotearoa New Zealand." In Research Anthology on Child and Domestic Abuse and Its Prevention, 429–44. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-5598-2.ch024.
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The chapter attempts to review some conceptualizations developed in the literature around the topic cultural appropriateness and examines how culture interacts with child abuse and domestic violence situations of ethnic migrant community. Also, the chapter highlights specific cultural knowledge of ethnic migrant community that the practitioners from different cultures need to deal with in society. The uniqueness of New Zealand is that it takes into account the discourse of the Treaty of Waitangi, history, racism, colonization, Matauranga Maori, etc. while the major focus of the concept cultural sensitiveness developed in multicultural context is on the differences between Western and non-Western cultural values and the legacy of their cultural norms and socio-economic context.
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Akhter, Selina. "Social Workers' Understanding of Bi-Culturalism and Its Cultural Differences in Aotearoa New Zealand." In Handbook of Research on Indigenous Knowledge and Bi-Culturalism in a Global Context, 255–70. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6061-6.ch014.
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The chapter attempts to review some conceptualizations developed in the literature around the topic cultural appropriateness and examines how culture interacts with child abuse and domestic violence situations of ethnic migrant community. Also, the chapter highlights specific cultural knowledge of ethnic migrant community that the practitioners from different cultures need to deal with in society. The uniqueness of New Zealand is that it takes into account the discourse of the Treaty of Waitangi, history, racism, colonization, Matauranga Maori, etc. while the major focus of the concept cultural sensitiveness developed in multicultural context is on the differences between Western and non-Western cultural values and the legacy of their cultural norms and socio-economic context.
Conference papers on the topic "New Zealand Literature (excl. Maori Literature)"
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.