Dissertations / Theses on the topic 'New Zealand literature in English'
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McDonnell, Brian. "The Translation of New Zealand fiction into film." Thesis, University of Auckland, 1986. http://hdl.handle.net/2292/2010.
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This thesis explores the topic of literature-into-film adaptation by investigating the use of New Zealand fiction by film-makers in this country. It attempts this task primarily by examining eight case-studies of the adaptation process: five features designed for cinema release (Sleeping Dogs, A State of Siege, Sons for the Return Home, The Scarecrow and Other Halves), one feature-length television drama (the God Boy), and two thirty-minute television dramas (The Woman at the Store and Big Brother, Little Sister, from the series Winners and Losers). All eight had their first screenings in the ten-year period 1975-1985. For each of the case-studies, the following aspects are investigated: the original work of fiction, a practical history of the adaptation process (including interviews with people involved), and a study of changes made during the scripting and shooting stages. The films are analysed in detail, with a focus on visual and auditory style, in particular how these handle the themes, characterisation and style of the original works. Comparisons are made of the structures of the novels and the films. For each film, an especially close reading is offered of sample scenes (frequently the opening and closing scenes). The thesis is illustrated with still photographs – in effect, quotations from key moments – and these provide a focus to aspects of the discussion. Where individual adaptation problems existed in particular case-studies (for example, the challenge of the first-person narration of The God Boy), these are examined in detail. The interaction of both novels and films with the society around them is given emphasis, and the films are placed in their cultural and economic context - and in the context of general film history. For each film, the complex reception they gained from different groups (for example, reviewers, ethnic groups, gender groups, the authors of the original works) is discussed. All the aspects outlined above demonstrate the complexity of the responses made by New Zealand film-makers to the pressure and challenges of adaptation. They indicate the different answers they gave to the questions raised by the adaptation process in a new national cinema, and reveal their individual achievements.Whole document restricted, but available by request, use the feedback form to request access.
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Holt, Jill. "Children's Writing in New Zealand Newspapers, 1930s and 1980s." Thesis, University of Auckland, 2000. http://hdl.handle.net/2292/2315.
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This thesis is an investigation of writing by New Zealand children in the Children's Pages of five New Zealand newspapers: the New Zealand Herald, Christchurch Press and Otago Daily Times in the 1930s and 1980s, the Dominion in the 1930s; and the Wellington Evening Post in the 1980s. Its purpose is to show how children reflected their world, interacted with editors, and interpreted the adult world in published writing, and to examine continuities and changes between the 1930s and 1980s. It seeks evidence of gender variations in writing. and explores the circumstances in which the social role of writing was established by young writers. It considers the ways in which children (especially girls) consciously and unconsciously used public writing to create a public place for themselves. It compares major themes chosen by children, their topic and genre preferences in writing, and the gender and age differences evident in these preferences. The thesis is organised into three Parts, with an Introduction discussing the scholarly background to the issues it explores, and its methodology. Part One contains two chapters examining the format and tone of each Children's Page. And the role and influence of their Editors. Part Two (also of two chapters) investigates the origins and motivations of the young contributors, with a special focus on the Otago Daily Times as a community newspaper. Part Three. of four chapters, explores the children's writing itself, in separate chapters on younger and older children, and a chapter on the most popular genre, poetry. The conclusion suggests further areas of research, and points to the implications of the findings of the thesis for social history in New Zealand and for classroom practice. The thesis contains a Bibliography and an Appendix with a selection of writings by Janet Frame and her family to the Otago Daily Times Children's Page in the 1930s.Note: Whole document restricted at the request of the author, but available by individual request, use the feedback form to request access.
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Paul, Mary. "Reading readings: some current critical debates about New Zealand literature and culture." Thesis, University of Auckland, 1995. http://hdl.handle.net/2292/1974.
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This thesis examines contemporary interpretations of a selection of important texts written by New Zealand women between 1910 and 1940, and also a film and film script written more recently (which are considered as re-readings of a novel by Mander). The thesis argues that, though reading or meaning-making is always an activity of construction there will, at any given moment, always be reasons for preferring one way of reading over another-a reading most appropriate to a situation or circumstances. This study is motivated by a desire to understand how literary criticism has changed in recent years, particularly under the influence of feminism, and how a reader today can make a choice among competing methods of interpretation. Comparisons are drawn between various possible readings of the texts in order to classify methods of reading, particularly nationalist and feminist reading strategies. The over-all tendency of the argument is to propose a more self-critical and self-conscious approach to reading, and to develop a materialist and historical approach which I see as particularly important to the New Zealand context in the 1990s.Thesis is now published as a book. Paul M. (1999) Her Side of the Story: readings of Mander, Mansfield and Hyde. Dunedin: Otago University Press. http://www.otago.ac.nz/press/ for more information.
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Ellis, Jeanne. "Past (pre)occupations, present (dis)locations : the nineteenth century restoried in texts from/about South Africa, Canada, Australia and Aotearoa New Zealand." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96012.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis focuses on the 'restorying‘ of British settler colonialism in a range of texts that negotiate the intricacies of post-settler afterlives in the postcolonial contexts of South Africa, Canada, Australia and Aotearoa New Zealand. In this, I do not undertake a sustained, programmatic comparative reading in order to deliver a set of answers based on insights achieved into the current state of post-settler colonial identities. Rather, I approach the study as an open-ended exploration by reading a combination of texts of various kinds – novels, poetry, drama, films and installation art – from and about these different geographical and historical contexts, structured as a sequence of four chapters, each with a distinct theoretical ensemble specific to the (pre)occupations of the settler colonial past and the linked senses of (dis)location in the present that emerge from the primary texts combined in each case. Since this project is informed by my location as a South African researcher, the cluster of primary texts in every chapter always includes one or more South African texts as pivotal to the juxtapositional dynamics such a reading attempts. By placing this study of the textual afterlives of settler colonialism undertaken from a South African perspective within the ambit of neo-Victorian studies, it is my intention to contribute to the growing body of critical and theoretical work emerging from this interdisciplinary field and to introduce to it a set of primary texts that will extend the parameters of its productive intersections with colonial and postcolonial studies.
AFRIKAANSE OPSOMMING: Hierdie tesis bestudeer die 'restorying' van Britse setlaar-kolonialisme in ‘n groep tekste wat die verwikkeldheid van post-setlaar 'afterlives' in the post-koloniale kontekste van Suid Afrika, Kanada, Australië en Aotearoa Nieu-Seeland vervat. Hiermee onderneem ek nie ‘n volgehoue, programmatiese vergelykende interpretasie met die oog daarop om die huidige stand van post-setlaar koloniale identiteite tot ‘n stel antwoorde te reduseer nie. Ek benader die studie eerder as ‘n verkenning van moontlikhede gegenereer deur die lees van ‘n kombinasie van verskillende tekste – romans, gedigte, drama, films en installasie kuns – wat hulle oorsprong in hierdie verkillende geografiese en historiese kontekste het, asook daaroor handel. Gevolglik bestaan die studie uit vier hoofstukke wat elkeen die (pre)okkupasies van die setlaar-koloniale verlede en die gepaardgaande gevoel van (dis)lokasie in die hede, soos tevoorskyn gebring deur die kombinasie van primere tekste, aan die hand van ‘n toepaslike teoretiese ensemble bespreek. Aangesien die projek uit my posisie as Suid Afrikaanse navorser spruit, en ‘n jukstaposisionele dinamiek grondliggend aan my leesbenadering is, betrek ek telkens een of meer Suid Afrikaanse tekste by die groep primere tekste wat die basis van elke hoofstuk vorm. Deur hierdie studie van die tekstuele 'afterlives' van setlaar-kolonialisme, wat vanuit ‘n Suid Afrikaanse perspektief onderneem word, binne die raamwerk van neo-Viktoriaanse studies te plaas, beoog ek om by te dra tot die korpus van kritiese en teoretiese werk van hierdie interdisiplinere veld. Deur die toevoeging van die betrokke groep primere tekste word die area waar hierdie veld met koloniale en post-koloniale studies oorvleuel verbreed.
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Stoop, Graham Charles. "The management of knowledge : text, context, and the New Zealand English curriculums, 1969-1996." Thesis, University of Canterbury. Education, 1998. http://hdl.handle.net/10092/1045.
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This is a study of the New Zealand English curriculums, 1969-1996. The study is organised around three phases of reform: the initial changes made to the teaching of English in the first three years of secondary school; the later reform of the senior-school English syllabus; the more recent development of an integrated national curriculum statement for the teaching of English. These reforms are charted in a narrative fashion, although the thesis does not purport to be a full history of English teaching in the period under review. Instead, the various developments and changes to English teaching in New Zealand secondary schools, during a thirty year period, are contextualised under the interpretative paradigm: the management of knowledge. It is argued herein that knowledge, and, in this case, the subject English, has been managed - consciously and unconsciously - in the interests of dominant socio-cultural and socio-economic groups. I aver that even alleged progressive developments in the pedagogy of classroom life have been routinised in the curriculum statements. Consequently, there has been an official sanctioning of established or conservative perspectives on the way English language and literature should be taught, thus often denying the emancipatory themes of respect for the human subject and human agency. My contention is advanced and supported through a careful examination of the curriculum text discourses, and, in several instances, through an examination of the transmission process from the draft statement to the published statement. I am therefore able to argue that the English curriculums must be understood as part of wider social and political processes: the curriculums are produced, managed and reproduced. The influences of the social environment and, in particular, the ideological struggle between State and society, are to be found in the English teaching discourse. This notion is captured in the subtitle of the study: text and context. The thesis concludes with a brief, personal reflection on how an English curriculum might be theorised so that it does not impose on students a definition of reality that declares the values and symbols of the social elites. I assert that an understanding of discourse, or the discourses of knowledge, can provide a way forward for the theorising of the subject English.
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Lawn, Jennifer. "Trauma and recovery in Janet Frame's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25087.pdf.
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Zimmermann, Anne Barbara. "Godwitting and cuckooing : negotiations and legitimations of cultural identity in New Zealand literature /." Seedorf : [s.n.], 1996. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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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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Laurs, Deborah Elizabeth. ""Ungrown-up grown-ups" : the representation of adolescence in twentieth-century New Zealand young adult fiction : a dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature at Massey University, Palmerston North, New Zealand." Massey University, 2004. http://hdl.handle.net/10179/1255.
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Behaviouralists consider adolescence a time for developing autonomy, which accords with Michel Foucault‘s power/knowledge dynamic that recognises individuals‘ assertion of independence as a crucial element within society. Surprisingly, however, twentieth-century New Zealand Young Adult (YA) fiction tends to disempower adolescents, by portraying an adultist version of them as immature and unprepared for adult responsibilities. By depicting events through characters‘ eyes, a focalising device that encourages reader identification with the narratorial point-of-view, authors such as Esther Glen, Isabel Maud Peacocke, Joyce West, Phillis Garrard, Tessa Duder, Lisa Vasil, Margaret Mahy, William Taylor, Kate de Goldi, Paula Boock, David Hill, Jane Westaway, and Bernard Beckett stress the importance of conforming to adult authority. Rites of passage are rarely attained; protagonists respect their elders, and juvenile delinquents either repent or are punished for their misguided behaviours. ―Normal‖ expectations are established by the portrayal of single parents who behave ―like teenagers‖: an unnatural role reversal that demands a return to traditional hegemonic roles. Adolescents must forgive adults‘ failings within a discourse that rarely forgives theirs. Depictions of child abuse, while deploring the deed, tend to emphasise victims‘ forbearance rather than admitting perpetrators‘ culpability. As Foucault points out, adolescent sexuality both fascinates and alarms adult society. Within the texts, sex is strictly an adult prerogative, reserved for reproduction within marriage, with adolescent intimacy sanctioned only between couples who conform to the middle-class ideal of monogamy. On the other hand, teenagers who indulge in casual sex are invariably given cause to regret. Such presentations operate vicariously to protect readers from harm, but also create an idealised, steadfast sense of adultness in the process.
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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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Thurman, Megan. ""The End at the Beginning" : Spiral Logic in Keri Hulme's The Bone People." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/896.
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Hanson, Paul Michael. "Beyond settler consciousness : new geographies of nation in two novels by Margaret Laurence and Fiona Kidman : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/916.
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Dean, Andrew. "Foes, ghosts, and faces in the water : self-reflexivity in postwar fiction." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:4c2e3b07-2454-457a-bf9f-a3f0734c89ba.
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This thesis examines the nature and value of metafictional practices in the careers of postwar novelists. Discussions of metafiction have been central to accounts of postwar literature. Where debates in the 1980s and 1990s about metafiction tended to make claims about its distinctive political and theoretical power, recent work in the study of institutions has folded metafiction into the routine operation of the literary field, and attacked previous claims to distinctive value. In this thesis I both historicize self-reflexive literary practices in the literary field, an element largely absent from the earlier scholarship, and present historically determinate claims about the value of these practices, an element I suggest is missing from the more recent work. To do so, I turn to the study of autobiography, specifically Philippe Lejeune's concept of 'autobiographical space.' In the first chapter, I explore how J. M. Coetzee develops academic literary criticism in his fiction. In the second chapter, I examine how Janet Frame responds to both the demands of a national literature and biographical inquiry into her life. In the third chapter, I address how Philip Roth handles the relationship between the politics of identity and the postwar novel. Self-reflexive practices, I show throughout, are ways of writing that were encouraged by particular formations in the literary field and were handled by writers through more or less explicit treatments of autobiographical space. I argue, though, that while these practices can be remarkably inventive, they carry no guarantees for political, theoretical, or aesthetic value.
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Caskey, Sarah A. "Open secrets, ambiguity and irresolution in the Australian, New Zealand, and Canadian short story." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ58399.pdf.
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Fankhauser, Rochelle A. "Dear Father." Diss., CLICK HERE for online access, 1998. http://patriot.lib.byu.edu/u?/MTAF,34215.
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Redmond, Robert Stanley. "Female authors and their male detectives: the ideological contest in female-authored crime fiction : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University, Palmerston North, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/1057.
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In the nineteen-eighties a host of female detectives appeared in crime fiction authored by women. Ostensibly these detectives challenged hegemonic norms, but the consensus of opinion was that their appropriation of male values and adherence to conventional generic closures colluded with a gender system of male privilege. Academic interest in the work of female authors featuring male detectives was limited. Yet it can be argued that these texts could have the potential to disrupt the hegemonic order through the introduction, whether deliberately, or inadvertently, of a female counterpoint to the hegemony. The hypothesis I am advancing claims that the reconfiguration of male detectives in works authored by women avoids the visible contradictions of gender and genre that are characteristic of works featuring female detectives. However, through their use of disruptive performatives, these works allow scope for challenging normal gender practices—without damage to the genre. This hypothesis is tested by applying the performative theories of Judith Butler to a close reading of selected crime novels. Influenced by the theories of Austin, Lacan and Althusser, Butler’s concept of performativity claims that hegemonic notions of gender are a fiction. This discussion also uses Wayne Booth’s concept of the implied author as a means of distinguishing the performative agency of the text from that of the characters. Agatha Christie, P.D. James, and Donna Leon, each with their male detective heroes, come from different generations. A Butlerian reading illustrates their potential for disrupting gender norms. Of the three, however, only Donna Leon avoids the return to hegemonic control that is a feature of the genre. Christie’s women who have agency are inevitably eliminated, while conformist women are rewarded. James’s lead female character is never fully at ease in her professional role. When thrust into a leadership she proves herself to be competent, but not ready or desirous of the senior position. Instead her role is to mediate the transition of her junior, a male, to that position. Donna Leon is different. The moral and emotional content of her narratives suggests an implied author committed to ideological change. Her characters simultaneously renounce and collude with illusions of patriarchal authority, and could lay claim to be models for Butler’s notion of performative resistance.
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Langstrof, Christian. "Vowel Change in New Zealand English - Patterns and Implications." Thesis, University of Canterbury. Linguistics, 2006. http://hdl.handle.net/10092/930.
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This thesis investigates change in a number of phonological variables in New Zealand English (NZE) during a formative period of its development. The variables under analysis are the short front vowels /ɪ/, /ɛ/, /æ/, the front centring diphthongs /ɪə/ and /ɛə/, and the so-called 'broad A' vowel. The sample includes 30 NZE speakers born between the 1890s and the 1930s (the 'Intermediate period'). Acoustic analysis reveals that the short front vowel system develops into one with two front vowels and one central vowel over the intermediate period via a push chain shift. There is evidence for complex allophonisation in the speech of early intermediate speakers. I argue that duration plays an important role in resolving overlap between vowel distributions during this time. With regard to the front centring diphthongs there is approximation of the nuclei of the two vowels in F1/F2 space over the intermediate period as well as incipient merger in the speech of late intermediate speakers. Although the merger is mainly one of gradual approximation, it is argued that patterns of expansion of the vowel space available to both vowels are also found. The analysis carried out on the 'broad A' vowel reveals that whereas flat A was still present in the speech of the earlier speakers from the sample, broad A had become categorical toward the end of the intermediate period. It is shown that, by and large, the process involves discrete transfer of words across etymological categories. The final chapters discuss a number of theoretical implications. Processes such as the NZE front vowel shift suggest that a number of previously recognised concepts, such as 'tracks' and 'subsystems', may either have to be relaxed or abandoned altogether. It is argued that chain shifts of this type come about by rather simple mechanisms that have a strong resemblance to functional principles found in the evolution of organisms. A case for 'fitness' of variants of a given vowel will be made. Phonological optimisation, on the other hand, is not a driving force in this type of sound change.
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Spence, J. "The English church in Canterbury, New Zealand, 1843-1890." Thesis, University of Canterbury. History, 2013. http://hdl.handle.net/10092/8020.
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The story of Canterbury as a Church of England settlement begins in 1843, when Edward Gibbon Wakefield conceived the idea of founding such a settlement in New Zealand. As a suitable background for the main theme, however, I have briefly considered the coming of Christianity to these Islands. Attention is then drawn to the genesis of Canterbury and to the role of the English Church in founding and developing the colony. I have regarded the year 1890 as a convenient point at which to conclude the story, because Bishop Harper's resignation took effect then, and the gains of the Church during the first episcopate had been consolidated.
In this thesis my aim is to catch something of the spirit of those Churchmen, who devoted their energies to making Canterbury what they believed she should become a holy habitation. I have not been content with a mere description of Church affairs or with a monotonous narrative of consecrations and dedications. An attempt has been made to assess the influence of the Church on the community as a whole, and to estimate the value of her work. It has to be borne in mind, of course, that the; Church is a failure from the world’s point of view -- so was Her Lord -- and that the world at large underestimates the beneficial effects emanating from organised Christianity.
The Church of England in Canterbury from 1843 to 1890 illustrates something unique in the history of the English Church. Although the same experiment will never be repeated, we should at least be thankful it was attempted once. It also demonstrates the influence which ideals exercise upon practice, and the way in which ideals are modified when applied in practical life. Finally, it is well for us to remember that many who toiled for Canterbury’s sake were not ashamed to own Jesus of Nazareth as their Lord and King.
There has been ample opportunity to carry out research, especially among the records at "Church House” in Christchurch. Numerous published and unpublished reports, despatches, letters, minutes and papers have been carefully examined. The problem has not been a lack of material, rather was it to decide what to leave out. Volumes might be written about the Church in Canterbury; I have had to compress the story into a few pages. The task sometimes seemed laborious and wearisome, but now it is finished I feel well rewarded.
References made in the course of the work show to what sources or authors the present writer is indebted. Thanks are also due to Sir James Hight, to the Provincial and Diocesan Secretary, Mr L. H. Wilson, to Mr L. W. Broadhead, the Church Steward, to the Rev. Canon H. S. Hamilton, and to the Revs. J. F. Feron and H. G. Norris, for the material they have put at my disposal, and for their interest in the writing of this thesis.
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Hudson, Paul. "English emigration to New Zealand, 1839 to 1850 : an analysis of the work of the New Zealand Company." Thesis, Lancaster University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360644.
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Ludwig, Ilka. "Identification of New Zealand English and Australian English based on stereotypical accent markers." Thesis, University of Canterbury. Linguistics, 2007. http://hdl.handle.net/10092/985.
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Little is known about factors that influence dialect perception and the cues listeners rely on in telling apart two accents. This thesis will shed light on how accurate New Zealanders and Australians are at identifying each other's accents and what vowels they tune in to when doing the task. The differences between New Zealand and Australian English mainly hail from the differing production of the short front vowels, some of which have reached the status of being stereotyped in the two countries. With the help of speech synthesis, an experiment was designed to test the perception of vowels produced in a typically New Zealand and a typically Australian fashion. Forty New Zealanders and sixty Australians took part in the study. Participants were asked to rate words on a scale from 1 (definitely NZ) to 6 (definitely Australian). The words contained one of eight different vowels. Frequency and stereotypicality effects as well as nasality were also investigated. The results demonstrate that dialect identification is a complex process that requires taking into account many different interacting factors of speech perception, social and regional variation of vowels and issues of clear speech versus conversational speech. Although overall performing quite accurately on the task, New Zealanders and Australians seem to perceive each other's speech inherently differently. I argue that this is due to different default configurations of their vowel spaces. Furthermore, a perceptual asymmetry between New Zealanders and Australians concerning the type of vowel has been observed. Reinforcing exemplar models of speech perception, it has also been shown that frequency of a word influences a listener's accuracy in identifying an accent. Moreover, nasality seems to function as an intensifier of stereotypes.
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Hamilton, Stephen Derek. "New Zealand English language periodicals of literary interest active 1920s-1960s." Thesis, University of Auckland, 1996. http://hdl.handle.net/2292/1146.
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The primary objective of this thesis is to provide an account of New Zealand literary magazine activity from the 1920s to the 1960s. While a focus is maintained on the fifteen year period between the appearance of the first issue of Phoenix in March 1932 and the advent of Landfall, the thesis examines several magazines whose issue runs extend well outside that period. The thesis is divided into two volumes, the first of which, in Chapters Two through Five, provides a detailed survey of the four most important periodicals published entirely within the period selected for this study: Phoenix (1932-1933), Tomorrow (1934-1940), Book (1941-1947), and New Zealand New Writing (1942-1945). Chapter Six concludes Volume One with a survey of the numerous university based periodicals, including several published entirely outside the focal period of the study. In Volume Two, Chapters Seven to Nine discuss, in order, the Auckland family magazine the Mirror (1922-1963), the national magazine of the arts Art in New Zealand (1928-1946), and the travel journal the Near Zealand Railways Magazine (1926-1940). All three of these publications are of significance as early sites for the development in New Zealand of the popular fiction genres of romance, adventure and mystery. Chapter Ten deals with a range of minor little magazines, including the New Zealand Mercury (1933-1936), Quill (1934-1948), Anvil (1945-1946), Chapbook (1945-1950), Oriflamme: A Literary Journal (1939-1942), and those edited, printed and published by Noel Farr Hoggard: Spilt Ink (1932-1937), New Triad (1937-1942), Letters (1943-1946), and Arena'(1946-1972). Appendix I supplies an annotated bibliography of the fifty-two periodicals discussed in the body of the thesis. These annotations are supplemented with author indexes for those periodicals not already indexed by earlier researchers. Appendix II compares the text of Allen Curnow's 1939 prose and poetry sequence Not in Narrow Seas with an early version of the sequence published in Tomorrow between June 1937 and August 1938.
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Kepa, Tangiwai Mere Appleton. "Language matters: The politics of teaching immigrant adolescents school English (New Zealand)." Thesis, University of Auckland, 2002. http://wwwlib.umi.com/dissertations/fullcit/3046046.
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The purpose of this thesis is to reflect upon the complex process of educating the sons and daughters of immigrant parents from diverse cultural communities. The study stresses the importance of valuing the language and culture of students in Aotearoa-New Zealand for whom English is another language. It is argued that the discourse of what shall be called ‘technocratic pedagogy’ falls short of meeting this goal. What is needed is more expansive and inclusive programmes that apprehend the social, economic, and political contexts of learning. This is necessary if the students are to continue their education not simply to absorb prescribed information and ideas but to actively understand, question, challenge, and change the school and the classroom. The thesis is written from the perspective of an indigenous Maori teacher trained in technocratic approaches of practice looking to aspects of her intimate culture, Tongan and Samoan ways of representing the world, and Paulo Freire's critical pedagogy to transform contemporary education that tends to exclude the adolescents from learning in school. This thesis is not simply another contribution to the ways in which teachers of school English in general think about methodologies and approaches to learning; rather, it is addressed more specifically to those Maori, Tongan, and Samoan teachers in this country who work with and alongside communities who are from the Kingdom of Tonga and the islands of Samoa. Thus, there is great value placed on educational experience with indigenous Tongan and Samoan teachers and students in an educational project referred to in the thesis as a ‘School-within-a-school’. The School-within-a-school refers to a site of education for teaching school English to immigrant adolescents within a large, state, secondary school in the city of Auckland. Particular attention is also paid to educational experience with indigenous teachers in a Curriculum Committee and Maori and Tongan grassroots organisations located within the same school. A fresh approach to teaching English accepts culture as the ground on which to begin to reflect on a practice within a specific context. The teachers who have a dynamic relationship with students argue that culture is a primary site for contradictions and that a revolutionary challenge to technocratic pedagogy is necessary, but not sufficient, to value and actively include the students in school. Since the English language and its attendant practices, values, traditions, and aspirations are the grounds for the students' marginalisation, immediate, consciously organised changes in the teaching beliefs, contents of education, and society at large in Aotearoa are necessary parts of any reintegrative pedagogy. On this account, the belief is that pedagogy is vitally important since it can enable the students to understand the technocratic discourse and draw upon the personal and collective experiences to counter the tendency that denies them full participation in school and the classroom.Subscription resource available via Digital Dissertations only.
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Gibson, Andy. "Production and perception of vowels in New Zealand popular music." AUT University, 2010. http://hdl.handle.net/10292/962.
Full textAbstract:
An acoustic comparison of sung and spoken vowels for three New Zealand singers investigates the phonetics of pronunciation in popular music. The singers recited the lyrics to their songs and recordings of their sung vocals were also obtained, creating a dataset of paired sung and recited words. Interviews with the singers were conducted so that the pronunciation used in reciting could be compared with a more conversational style. Eight vowels were analysed in these three conditions: DRESS, TRAP, THOUGHT, LOT, START, GOOSE, GOAT and PRICE. As well as providing data for phonetic analysis, the interviews elicited information about the singers’ musical influences, and investigated the singers’ stances towards the use of New Zealand English (NZE) in singing. The results of the comparison of singing and speech reflect the singers’ various stances to some extent. Overall, however, there are strikingly few cases where pairs of sung and spoken vowels have similar pronunciations. The predominance of ‘American’ vowels in the singing of all three participants, despite stated intentions to use New Zealand forms, suggests that the American-influenced singing style is the default in this context. This finding contrasts with early research on singing pronunciation in popular music, which described the use of American pronunciation in pop music as an act of identity which involved effort and awareness (Trudgill, 1983). The results presented here support the claims of more recent studies which suggest, conversely, that it is the use of non-American accent features which requires a wilful act of identity (Beal, 2009; O'Hanlon, 2006). An important consideration in the interpretation of vowel differences between singing and speech is the role played by the act of singing itself. It has been argued that there may be a general preference for increased sonority in singing (Morrissey, 2008) which would lead to the use of more open vowel sounds. This issue is explored and some evidence is found for a sonority-related effect. However, singing inherent effects like this can only explain a portion of the variability between singing and speaking. Most of the differences between singing and speech appear to be caused by social and stylistic motivations. To investigate why American-influenced pronunciation might be the default in the singing of pop music, a perception experiment was conducted to examine the phenomenon from the perspective of the listener. Participants were played words from a continuum that ranged between bed and bad, and they responded by circling whichever word they heard on a response sheet. The perception of ambiguous tokens was found to differ significantly according to whether or not the words were expected to be spoken or sung. These results are discussed with reference to exemplar theories of speech perception, arguing that the differences between singing and speech arise due to context-specific activation of phonetically detailed memories. This perspective can also be applied to the processes which underlie the production of vowels in sung contexts. Singers draw on their memories of popular music when they sing. Their use of American pronunciation in singing is therefore the result of the fact that a majority of their memories of pop singing involve American-influenced phonetic forms.
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James, Ryan. "New media English literature : a product re-launch." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71837.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In the recent past, the large-scale production and marketing of e-reading devices, such as Amazon’s Kindle, and tablet computers, such as Apple’s iPad, have allowed literary works to be presented in a digital reading space, both in the form of standard e-books and, more recently, as enhanced or “amplified” e-books. Much of the position-taking on the matter is polarised: technologists continue to imagine the myriad possibilities of multimodal online “stories”, focusing on opportunities for interactive engagement, while the guardians of literary tradition fear the digital reading space might well cause fluency disruptions and break the hermeneutic immersion necessary for strong reading, irrevocably altering a traditional, paper-based reading experience known to promote a state of deep attention and imaginatively engaged reading. This thesis looks realistically at the current literary climate in which the so-called “digital native” operates, scrutinises the “print” versus “electronic” debate, paying careful attention to how an online environment may well prevent hermeneutic immersion, and then discusses recent enhanced literary products, such as the transmedia fiction title, Chopsticks (Penguin Group USA 2012), and the nonfiction titles released by online publisher Atavist. Then, in an attempt to bridge the gap between the technologists and the print-book purists, and based on what might be considered to be literature’s original value, the thesis proposes a digital reading product in which a formalised set of conventions and a strategic instructional design, or interface, attempts to protect the qualities of traditional, paper-based reading, while at the same time taking advantage of on-screen, online environments to reconnect digital natives with the relevance of past literatures. More specifically, the product presented herein is an attempt to demonstrate 1) how a new aesthetic of literary presentation might stimulate renewed interest in the humanities and liberal arts; 2) how fiction might be reinstated as one of the central components in the education process; 3) how works of fiction that have become increasingly obscure over time or inaccessible to young people might be re-energised; and 4) how what one might call “local” literatures might be “de-parochialised” within an increasingly globalised reading environment.
AFRIKAANSE OPSOMMING: Die produksie en bemarking op groot skaal van e-lesers soos Amazon se Kindle en tabletvormige rekenaars soos Apple se iPad het dit moontlik gemaak om letterkunde in ’n digitale ruimte aan te bied, hetsy in die vorm van e-boeke, of (meer onlangs) in versterkte en “aangevulde” e-boek vorm. Meningsvorming rondom die letterkundige toepaslikheid van e-boeke is sterk gepolariseerd: tegnoloë sien net die magdom moontlikhede raak wat multi-modale aanlyn stories en interaktiewe betrokkenheid inhou, terwyl tradisionele literêre kurators vrese koester oor hoe die digitale leesruimte inbreuk sal maak op die vloei en hermeneutiese onderdompeling nodig vir ’n grondige leeservaring; dit, meen hulle, sal dan ook lei tot die onherroeplike verlies van diep en verbeeldingryke aandag, eienskappe wat lees op papier veronderstel is om mee te bring. Hierdie proefskrif werp ’n realistiese blik op die huidige literêre klimaat, veral die omstandighede waarin die sogenaamde “digital native” deesdae funksioneer. Die debat rondom gedrukte teenoor elektroniese boeke word noukeurig ondersoek, veral met betrekking tot die mate waarin aanlyn lees dalk wel hermeneutiese onderdompeling onderdruk. Verder word versterkte literêre produkte soos die transmedia fiksie titel, Chopsticks (Penguin Group USA 2012), en nie-fiksie titels deur aanlyn-uitgewer Atavist, noukeurig bekyk. Voorts, in ’n poging om die gaping tussen tegnoloë en gedrukte-boek puriste te oorbrug, en op grond van wat mens die oer-waarde van letterkunde dalk kan noem, stel hierdie proefskrif ’n digitale leesproduk voor met ’n geformaliseerde stel konvensies en ’n strategiese instruksionele ontwerp, of koppelvlak (‘interface’). Dit word gedoen in ’n poging om die eienskappe van tradisionele, ‘papier’ lees te behou, maar terselfdetyd voordeel te trek uit die aanlyn-omgewing, en om sodoende die ‘digitale inboorling’ te herenig met die relevansie van vervloë letterkunde. Hierdie voorgestelde produk, dan, is meer spesifiek ’n poging om te wys 1) hoe ’n nuwe literêr-digitale aanbiedingsestetika hernieude belangstelling in die geesteswetenskappe en liberale kunste kan werk; 2) hoe fiksie weer ingestel kan word as kern-komponent in die opvoedingsproses; 3) hoe nuwe energie verleen kan word aan fiksie wat toenemend onbekend of ontoeganklik vir jongmense word; en 4) hoe die Suid-Afrikaanse letterkunde opgehef kan word binne die opset van ’n toenemend-globale leesomgewing.
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Schaub, Kerstin [Verfasser], and Ralph [Akademischer Betreuer] Pordzik. "As Written in the Flesh. The Human Body as Medium of Cultural Identity and Memory in Fiction from New Zealand / Kerstin Schaub. Betreuer: Ralph Pordzik." Würzburg : Universitätsbibliothek der Universität Würzburg, 2013. http://d-nb.info/1036367843/34.
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Carfoot, Catharine. "A Sociophonological Analysis of the short front vowel shift in New Zealand English." Thesis, University of Essex, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520037.
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Kirkland, John Robert. "The recognition of New Zealand English closing diphthongs using time-delay neural networks." Thesis, University of Canterbury. Electrical and Electronic Engineering, 1995. http://hdl.handle.net/10092/7563.
Full textAbstract:
As a step towards the development of a modular time-delay neural network (TDNN)
for recognizing phonemes realized with a New Zealand English accent, this thesis focuses on the development of an expert module for closing diphthong recognition. The performances of traditional and squad-based expert modules are compared speaker-dependently for two New Zealand English speakers (one male and one female). Examples of each kind of expert module are formed from one of three types of TDNN, referred to as basic-token TDNN, extended-token TDNN and sequence-token TDNN.
Of the traditional expert modules tested, those comprising extended-token TDNNs are found to afford the best performance compromises and are, therefore, preferable if a traditional expert module is to be used. Comparing the traditional and squad-based expert modules tested, the latter afford significantly better recognition and/or false-positive error performances than the former, irrespective of the type of TDNN used. Consequently, it is concluded that squad-based expert modules are preferable to their traditional counterparts for closing diphthong recognition. Of the squad-based expert modules tested, those comprising sequence-token TDNNs are found to afford consistently better false-positive error performances than those comprising basic- or extended-token TDNNs, while similar recognition performances are afforded by all. Consequently, squad-based expert modules comprising sequence-token TDNNs are recommended as the preferred method of recognizing closing diphthongs realized with a New Zealand accent.
This thesis also presents results demonstrating that squad-based expert modules comprising sequence-token TDNN s may be trained to accommodate multiple speakers and in a manner capable of handling both uncorrupted and highly corrupted speech utterances.
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Cattermole, Grant. "School reports : university fiction in the masculine tradition of New Zealand literature." Thesis, University of Canterbury. English, 2011. http://hdl.handle.net/10092/9709.
Full textAbstract:
This thesis will investigate the fictional discourse that has developed around academia and how this discourse has manifested itself in the New Zealand literary tradition, primarily in the works of M.K. Joseph, Dan Davin and James K. Baxter. These three writers have been selected because of their status within Kai Jensen's conception of “a literary tradition of excitement about masculinity”; in other words, the masculine tradition in New Zealand literature which provides fictional representations of factual events and tensions. This literary approach is also utilised in the tradition of British university fiction, in which the behaviour of students and faculty are often deliberately exaggerated in order to provide a representation of campus life that captures the essence of the reality without being wholly factual. The fact that these three writers attempt, consciously or unconsciously, to combine the two traditions is a matter of great literary interest: Joseph's A Pound of Saffron (1962) appropriates tropes of the British university novel while extending them to include concerns specific to New Zealand; Davin's Cliffs of Fall (1945), Not Here, Not Now (1970) and Brides of Price (1972) attempt to blend traditions of university fiction with the masculine realist tradition in New Zealand literature, though, as we will see, with limited success; Baxter's station as the maternal grandson of a noted professor allows him to criticise the elitist New Zealand university system in Horse (1985) from a unique position, for he was more sympathetic towards what he considered the working class “peasant wisdom” of his father, Archie, than the “professorial knowledge” of Archie's father-in-law. These three authors have been chosen also because of the way they explore attitudes towards universities amongst mainstream New Zealand society in their writing, for while most novels in the British tradition demonstrate little tension between those within the university walls and those without, in New Zealand fiction the tension is palpable. The motivations for this tension will also be explored in due course, but before we can grapple with how the tradition of British university fiction has impacted New Zealand literature, we must first examine the tradition itself.
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Mansfield, Katherine. "Sensationalising the New Woman : crossing the boundaries between sensation and New Woman literature." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/120186/.
Full textAbstract:
My thesis seeks to conceptualise and explore the relationship between Sensation and New Woman fiction, two popular genres of the mid- to late-Victorian era, to investigate the extent to which Sensation literature is a forerunner to the early development of the New Woman novel; and consequently how the two genres blur, or cross, temporal and conceptual boundaries. Both genres challenged prevailing attitudes to gender, sexuality, morality and domesticity: Sensation fiction more implicitly by making the erstwhile Angel of the House the agent of domestic and marital upheaval and even crime, New Woman fiction explicitly by making the rebel of the house the rebel in society; here, she was more often positioned within the larger socio-economic setting for which her rebellion could have dramatic consequences. While previous comparisons of the two genres (although they are limited in number) have focused solely on the crossovers between the female protagonists, I seek to extend existing scholarship by investigating the relationship between Sensation and New Woman fiction through the two genres' response to contemporary legal and social debates, the characters, both female and male, Gothic literature, a mode both genres revisited, and their subversive endings. I argue that it is in challenging Victorian ideologies that Sensation and New Woman literature obscure and, to a certain extent, redefine genre paradigms.
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Barnes, Felicity. "New Zealand's London : the metropolis and New Zealand's culture, 1890-1940 /." Thesis, University of Auckland, 2008. http://hdl.handle.net/2292/3344.
Full textAbstract:
The role of London in forming New Zealand’s culture and identity is a significant feature of New Zealand’s cultural history that has, until now, been overlooked. Ties with London and with ‘Home’ generally, have received little study, and ‘Britishness’ in New Zealand is largely considered a legacy of demography to be eventually outgrown. This thesis suggests something different. During the period 1890-1940, technology changed cultural perceptions of time and space, and it changed the relationship between metropole and former colony too. These technologies drew New Zealand and London closer together. London was constructed as an active part of the New Zealand cultural landscape, rather than as a nostalgic remnant of a predominantly British-born settler population. London was New Zealand’s metropolis too, with consequences for the way New Zealand culture was shaped. This thesis considers the cultural impact of London using four tropes linked to those changing perceptions of time and space. ‘Greater New Zealand’ is concerned with space, whilst ‘“New” New Zealand’ is concerned with time. ‘London’s Farm’ and the ‘Imaginative Hinterland’ consider propinquity and simultaneity respectively. Each theme draws from different bases of evidence in order to suggest London’s broad impact. Collectively, they argue for a shift away from a core and periphery relationship, towards one better described as a city and hinterland relationship. This approach draws upon existing national, imperial, and cultural historiography, whilst at the same time questioning some of their conventions and conceptions. New Zealand as hinterland challenges the conceptual borders of ‘national history’, exploring the transnational nature of cultural formations that otherwise have been considered as autochthonous New Zealand (or for that matter, British) developments. At the same time, whilst hinterlands may exist as part of empire, they are not necessarily products of it. Nor are they necessarily formed in opposition to the metropole, even though alterity is often used to explain colonial relationships. ‘New Zealand’s London’ is, instead a reciprocal creation. Its shared cultural landscape is specific, but at the same time, it offers an alternative means for understanding other white settler colonies. Like New Zealand, their cultural histories may be more complex cultural constructions than national or imperial stories allow.Whole document restricted, but available by request, use the feedback form to request access.
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Barnard, Roger Christopher Graham. "Non English speaking background learners in the mainstream classroom : a New Zealand case study." Thesis, University of Chichester, 2000. http://eprints.chi.ac.uk/936/.
Full textAbstract:
The introductory chapter of this thesis presents the central premise of the study - that classroom learning is constructed through talk - and states the primary aims. These are to provide an ethnographic account of the process of learning in a mainstream classroom, and to apply to this account a specific theoretical framework with a view to refining its central constructs. The thesis proceeds with a discussion of the methodological basis of the investigation - ethnographic case study - and the procedures used for data collection and analysis. This is followed by a discussion of the theoretical orientation of the study, which explains the complexity of the learning context of isolated bilingual schoolchildren and the rationale for a sociocultural approach to explore it. The neo-Vygotskian constructs central to this study - the zone of proximal development, scaffolding and appropriation - are introduced and explained, as are supporting concepts. Each of the three following chapters of the thesis is divided into three parts. The first examines in detail one of these constructs, and also related concepts, with a view to their potential relevance to the specific context of learning. The second part in each chapter comprises a detailed ethnographic description, micro genetic analysis and interpretation of the context and continuity of the learning discourse. The third part in each chapter comments on the implications for the constructs at issue. These three chapters constitute a narrative of the way that classroom learning is constructed through talk over a school year. The thesis concludes with a review of the pedagogical and theoretical implications arising from the investigation, and considers the utility of a neo-Vygotskian framework for further research into classroom learning.
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Hope, Ruth Veronica. "Towards the Development of the New Zealand Hearing in Noise Test (NZHINT)." Thesis, University of Canterbury. Department of Communication Disorders, 2010. http://hdl.handle.net/10092/4815.
Full textAbstract:
The ability to understand speech in noise has a profound impact on everyday communication, but cannot be predicted on the basis of puretone thresholds and/or performance on tests of speech in quiet. The aim of this thesis was to develop an adaptive speech in noise test based on the Hearing in Noise Test (HINT) that would be reliable and valid for speakers of New Zealand English (NZE). The methodology used followed the standard procedures for developing the HINT in a new language. Five hundred sentences of 5-7 syllables were collected from New Zealand children’s books and recorded by a native NZE speaker. Nine normal-hearing native NZE speakers aged 18-50 listened to three sets of 50 sentences at -2, -4 and -7 dB signal-to-noise ratios (SNR) in order to establish a performance-intensity (PI) function for these sentences. Three groups of 10 participants were scored on their performance on the sentences in 65 dBA speech-weighted noise at varying SNR. After each round of testing with a new group of participants, the SNR of each sentence was adjusted in order to get closer to 70% intelligibility for all sentences. Sentences that were too easy or difficult or did not respond to adjustments were discarded. Once the remaining 240 sentences were of approximately equal intelligibility, 24 phonemically matched lists of 10 sentences were formed and tested on 12 participants using the adaptive HINT software. The overall mean threshold was calculated as -6 dB, s.d=1.1 dB. The lists were combined to form 12 lists of 20 sentences which would become the NZHINT. Time delays meant that the collection of normative data could not be completed.
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Morrison, Jennifer L. "Negotiating the New Zealand English curriculum : a qualitative model of eight secondary English teachers' classroom practice and response to the English curriculum." Thesis, University of Canterbury. School of Educational Studies and Human Development, 1997. http://hdl.handle.net/10092/2295.
Full textAbstract:
Negotiating the New Zealand English Curriculum, opening with a
contextualised look at the history and current educational environment surrounding
secondary practice under the English Curriculum, describes how secondary English
classroom practice in forms 3 to 7 relates to the principles of the English Curriculum set
out in the Ministry of Education document, English in the New Zealand Curriculum
(Ministry, 1994). Semi-structured, in-depth interviews with eight Canterbury teachers
were used to provide the basis for a qualitative analysis, and use is also made of current
literature, evaluative studies in the area, school documents and key figures in the
English Curriculum development process and debate. Because it was found that the
English Curriculum does not to impact participants' individual pedagogy directly and
that, in this context, classroom practice and response to the English Curriculum are
intimately connected, the researcher presents a Model ofthe Factors Influencing
Classroom Practice and Response to the English Curriculum. Factors in the Model
include Experience, Management Purposes, Consciousness of Professional
Environment, Teacher Interests, Context Constraints, Students and Teacher Beliefs.
Students and Teacher Beliefs, two of the more significant factors, are examined with
more detail in individual chapters. The author concludes with a theoretical discussion
of the curriculum-practice relationship, as well as a brief look at implications of the
Model for professional development.
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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.
Full textAbstract:
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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Bones, Helen Katherine. "A Dual Exile? New Zealand and the Colonial Writing World, 1890-1945." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/5618.
Full textAbstract:
It is commonly thought that New Zealand writers before World War II suffered from a "dual exile". In New Zealand, they were exiled far from the publishing opportunities and cultural stimulus of metropolitan centres. To succeed as writers they were forced to go overseas, where they endured a second kind of spiritual exile, far from home. They were required to give up their "New Zealandness" in order to achieve literary success, yet never completely belonged in the metropolitan centres to which they had gone. They thus became permanent exiles.
This thesis aims to discover the true prevalence of "dual exile" amongst early twentieth-century New Zealand writers. Using both quantitative and qualitative analysis, it argues that the hypothesis of "dual exile" is a myth propagated since the 1930s by New Zealand‘s cultural nationalist tradition. New Zealand writers were not exiles because of the existence of the "colonial writing world"—a system of cultural diffusion, literary networks and personal interactions that gave writers access to all the cultural capital of Britain through lines of communication established by colonial expansion. Those who went to Britain remained connected to New Zealand through these same networks. The existence of the colonial writing world meant that the physical location of the writer, whether in New Zealand or overseas, had far less impact on literary success than the cultural nationalists assumed.
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Reimer, Eric J. "'My passport's green' : Irishness in the new world order /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055706.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 221-231). Also available for download via the World Wide Web; free to University of Oregon users.
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Kimber, Geraldine Maria. "Katherine Mansfield : the view from France." Thesis, University of Exeter, 2007. http://hdl.handle.net/10036/33714.
Full textAbstract:
The aim of this thesis is to assess the reason why Katherine Mansfield’s reputation in France has always been greater than in England. The thesis examines the ways in which the French reception of Mansfield has idealised her persona to the extent of crafting a hagiography. I ask: what were the motives behind the French critics’ desire to put Mansfield on a pedestal? How did the three years she spent on French soil influence her writing? How do the translations of her work collude in the myth surrounding her personality? Although several other scholars have discussed the Katherine Mansfield myth in France, this thesis is the first sustained attempt to establish interconnections between her own French influences (literary and otherwise), and the mythmaking of the French critics and translators. I have divided my thesis into six chapters. The first places Mansfield in the general literary context of her era, exploring French literary tendencies at the time and juxtaposing them with the main literary trends in England. The second chapter focuses on the writer’s trips to France, demonstrating the influence of the French experience on her life and works. The third chapter highlights specific French literary influences and how these manifest themselves in her narrative art. In the fourth, I explain the workings of the writer’s narrative art, so that when in the next chapter I study the translations via close textual analysis, it will become clear whether the beliefs and principles expressed in the original texts have been diluted during the translation process. The last chapter prior to the conclusion will follow the critical appraisal of her life and work in France from her death up to the present day, by closely analysing the differing French critical responses. The division of the thesis in this way will enable me to show how these various strands combine to create a legend which has little basis in fact, thereby demonstrating how reception and translation determine the importance of an author’s reputation in the literary world.
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Ellis, Oliver Benjamin Crawford. "“The Much Wished-For Shore”: Nationalism and Utopianism in New Zealand Literature: 1817-1973." Thesis, University of Canterbury. English, 2013. http://hdl.handle.net/10092/9255.
Full textAbstract:
This thesis examines the relationship between utopianism and nationalism in New Zealand literature between 1817 and 1973. My research utilises the definition of both the utopia and the nation as “imagined” or “imaginary” communities (to use Benedict Anderson and Phillip Wegner’s terms), in demonstrating how they function as interdependent concepts in colonial New Zealand literature. Specifically, my research focuses on how a dominant discourse of Pākehā nationalism is influenced by the desires of colonial settlement. There is an identifiable tradition in which New Zealand is imagined as a utopian space with an ambivalence towards modernity. The settler nation is defined subjectively by different authors, retaining, however, a tradition of excluding groups which are not compatible with the authors’ utopian projections. This exclusion may be based on race, gender, class, political views or other categorisations. I view this tradition as a dialectic of changing desires and utopian visions, based on changing historical contexts, but always engaged with the central attempt to speculate the possibilities that New Zealand holds as a utopia for Anglocentric settlement. The thesis is divided into four chapters, each based on the comparison of two texts from a certain period. The first chapter compares two texts of early nineteenth century British settlement, J.L. Nicholas’ Narrative of Voyage to New Zealand (1817) and E.J. Wakefield’s Adventure in New Zealand (1845). The second chapter examines Samuel Butler’s Erewhon (1872) and Julius Vogel’s Anno Domini 2000 (1889). The third chapter focuses on Robin Hyde’s Wednesday’s Children (1936) and John Mulgan’s Man Alone (1939). My final chapter argues that the end of this mode of writing is signalled by Smith’s Dream (1971 rev. 1973) by C.K. Stead and Intensive Care (1970) by Janet Frame, which demonstrate a changing approach to the tradition. After this point, other postcolonial voices emerge and the attempted homogeneity of settler utopianism is disrupted.
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Rudd, Alison. "'Demons from the deep' : postcolonial Gothic fictions from the Caribbean, Canada, Australia and New Zealand." Thesis, University of Northampton, 2006. http://nectar.northampton.ac.uk/2962/.
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This thesis explores the field of Postcolonial Gothic, initially through an examination of theories of the Gothic and the postcolonial and their points of intersection. Homi Bhabha’s notion of the ‘unhomely’ as the paradigm for postcolonial experience, particularly with regard to migrancy and Julia Kristeva’s concept of the abject are identified as particularly productive for a Postcolonial Gothic framework, which is then applied to a survey of the way the Gothic is figured on the individual and the Local, regional or national levels in the context of Caribbean, Canadian, Australian and New Zealand postcolonial writing and demonstrates how the Gothic as a mode of writing furnishes postcolonial authors with a narrative strategy to express the traumas of colonialism and their postcolonial legacies. In coming to terms with the past, historical temporality and authority are rendered problematic by postcolonial writers because the physical and psychic violence of colonialism and its effects on the individual and on society are compounded by the repression of past trauma. The effects of such trauma threaten to resurface despite resistance. These experiences underpin the images of postcolonial revenants as hybrid, distorted and monstrous figures, which arise out of cultural contact between colonised and coloniser. The ghost, the phantom, the revenant, gain new meanings in the service of the postcolonial, where the duppy, and the soucouyant, from the Caribbean; the Bunyip from Australia and the shape- shifting figure of Coyote from Canada are hybrid manifestations created from European, indigenous and cross-cultural remains and they speak of culturally specific histories, traumas and locations. The thesis is arranged into four chapters: Caribbean gothic, Canadian Gothic, Australian Gothic and New Zealand Gothic. Each chapter provides an overview of the Gothic in the national or regional context, placing the emphasis on the postcolonial and then focuses on the way the Gothic is utilised by both dominant and marginal cultures: by white settlers and indigenous peoples in Canada, Australia and New Zealand, by the descendents of people forcibly mobilised through slavery in the Caribbean, and by other more recent migrants to, or between these locations. The writers discussed have different tales to tell about the effects of colonialism on the individual and on their society, but they have chosen the Gothic as means of expression for some of the most violent and unspeakable acts of colonialism and their legacy in the postcolonial
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Randolpe, Lyssa. "The new woman and the new science : feminist writing 1880-1900." Thesis, Coventry University, 2001. http://curve.coventry.ac.uk/open/items/206dbf26-a8d1-ea66-bafb-338445adbefc/1.
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In this thesis I contend that evolutionary scientific discourses were integral to the work of "New Woman" writers of late Victorian literary culture in Britain. In the cultural debates that raged over the new gender politics and their relationship to social and moral values at the fin de siècle, the questions raised about femininity, modernity and the "woman question" were also central to the "new sciences" of sexology, eugenics, psychology and anthropology. This thesis investigates the issue of whether the new sciences offered an enabling set of discourses to New Women through which to produce new artistic, professional and personal feminine identities and to campaign for feminist goals. An understanding of the field of cultural production informs this discussion; I argue that science functions as cultural and symbolic capital in literary production of the period, and consider the dynamics between constructs of value, status, and the feminine in the literary market-place and their relationship to scientific narratives. This analysis is developed through the illumination of the relationship between New Woman novelists and poets, female aesthetes, and other forces in the field, in discussion of the thematic concerns and literary strategies of those participating in these debates: amongst others, Mona Caird, "Iota" (Katherine Mannington Caffyn), Victoria Cross(e) (Annie Sophie Cory), Sarah Grand (Frances Elizabeth McFall), Vernon Lee (Violet Paget), Alice Meynell, May Kendall, Constance Naden, and the anti-New Woman male writer, Grant Allen. An examination of a variety of literary forms and genres, in addition to the novel — the principal focus for much scholarship on the New Woman — such as the feminist periodicals, poetry, journalism and the short story, is central to the thesis and enables identification of shared literary strategies and techniques as well as consideration of readers and critical contexts. The roles and representation of "woman" in this period were produced within biological determinist concepts of sex and Nature. The study concentrates on ways in which essentialist dichotomies of cultural and biological reproduction redefined notions of literary and artistic "genius", motherhood and female citizenship, as they intersect with "race" and sexuality in imperial contexts. Women's critique and construct of these subjectivities differed; study of the women's journals reveals a consumer culture saturated in discourses of health and hygiene, negotiated by a divided community of readers. Focus on theories and representation of the child in late Victorian culture finds that Alice Meynell's writing challenged evolutionary psychology, and relates Sarah Grand's child genius to emergent Galtonian eugenics. I argue that late nineteenth-century feminism was intimately involved in imperialism and eugenics, and suggest that current feminist scholarship must confront and analyse these investments. In this thesis I find that boundaries between the groups' identities are fluid; points of intercourse and affiliation are revealed, such as the ways in which scientific constructs of "race", as in Mona Caird's use of the Celtic, are deployed in order to comment on literary value. I have highlighted the ambivalences at work in these appropriations, and suggest that the New Woman text was not always polemical, nor did it reject "high art" values, and that the female aesthetes also express feminist convictions. I contend that for many feminist writers, participation in these late nineteenth-century debates was a necessary and productive critical intervention, with radical, if not always progressive, implications.
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Cox, Emma. "Shakespeare and indigeneity : performative encounters in Australia and Aotearoa-New Zealand /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18639.pdf.
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Langman, Andrew Peter. "'Beyond, both the Old World, and the New' : Authority and Knowledge in the works of Francis Bacon, with special reference to the New Atlantis." Thesis, Queen Mary, University of London, 2007. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1887.
Full textAbstract:
This study investigates the role of authority in the works of Francis Bacon, arguing that the issue of authority provides not only an interpretation of New Atlantis, but an important structural component of his body of works. From the first manifestation of his philosophical project to his last works of natural history, authority is an all-pervasive issue - the authority of nature, of scripture, of the named author, and how authority functions in the dissemination of natural knowledge. Chapter one argues that the publication of New Atlantis alongside Sylva sylvarum in 1626/7 was more the result of William Rawley's need to assert his own authority as the protector and disseminator of Bacon's textual legacy than an appreciation of the work's own qualities. Chapter two considers Bacon's views of history and time, suggesting that Bacon not only conceived of a new, progressive mode of historical time which would allow for the assertion of a textual authority based on the records of a civilisation unbroken by the vicissitudes of time, but that he figured these theories in New Atlantis. Chapter three argues that Bacon used theology both as defence and imperative to his intellectual programme, while his attempt to move beyond the deterministic, Calvinist world-view to allow for multiple possible futures, or `chance': Bacon could then present experiment as the way of eliminating chance, in order to accelerate the rate of new discovery. Chapter four investigates Bacon's manipulations of textual authority, from the early rehearsals of the Instauratio magna to the performance of reliability in print in Sylva sylvarum. Finally, the afterword seeks to suggest that the New Atlantis hinges on the issues of authority with which Bacon engaged throughout his career and writings: in the issue of authority, Francis Bacon found the beginning and the end of his philosophy.
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Shirakawa, Mineko. "Experimental study of morphological case marking knowledge in Japanese-English bilingual children in Christchurch New Zealand." Thesis, University of Canterbury. Social and Political Sciences, 2013. http://hdl.handle.net/10092/8715.
Full textAbstract:
This thesis presents the results of an experimental study designed to examine whether children raised bilingually in Japanese and English from birth in Christchurch, New Zealand, exhibit the same morphological case and topic marking knowledge in Japanese as monolingual children in Japan. The participants were 34 children aged between five and eleven years who have been raised in a one-person one-language environment in an English dominant community. The study replicated previous studies on monolingual Japanese children, and involved two widely used paradigms for assessing a child’s grammar: picture selection, and elicited imitation. The responses of the children in this study were different from those reported in studies of monolingual children. In the picture selection tasks, some children in this study interpreted the agent-patient relationship based on the word order cue in the object-initial types of transitive sentences, whereas previous studies have demonstrated that monolingual children five years and older are able to interpret the agent-patient relationship in the same way as adults, using the case marking cue. Moreover, in the elicited imitation tasks, many children in this study re-analysed the topic-comment construction as a genitive possessive when the particles in the stimuli were masked with noise. This pattern has not been reported in any previous study. The results also revealed that there was a great degree of individual variation. The study suggests cross-linguistic influence from English on Japanese as a possible explanation for the difference between the children in this study and monolinguals. The phenomena observed in the results satisfies two conditions for cross-linguistic influence proposed by Hulk and Müller (2000) and Müller and Hulk (2001), because (i) English and Japanese overlap at the surface level in terms of the agent position in a canonical sentence and the possessive structure, and (ii) the problematic structures for some children in this study involved the interface between syntax and pragmatics in the C-domain. The study, however, has no principled explanation for the individual variation found because of a lack of data on the Japanese input and the child’s fluency, both of which are likely to affect simultaneous bilingual development.
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Bellamy, Connie. "The new heroines : the contemporary female Bildungsroman in English Canadian literature /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72826.
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MacIntyre, Christine Anne. "Turn-of-the-century Canadian women writers and the "New Woman"." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10372.
Full textAbstract:
This study examines the literature written by the generation of women who come between pioneering women writers such as Catharine Parr Traill and Susanna Moodie and contemporary women writers such as Alice Munro and Margaret Laurence, literature which helps us to understand the tradition of New Woman writing present in Canada at the turn of the century. This thesis examines selected texts published between 1895 and 1910, a period of rapid urban and industrial expansion in Canada when women began seeing themselves and their roles in society in "new" ways. The first chapter of this thesis examines the concept of the "New Woman" in terms of its original connotations. The second chapter focuses on the representations of the "New Woman" in Lily Dougall's The Madonna of a Day. Sara Jeannette Duncan's A Daughter of Today is the subject of the third chapter. The final chapter examines short stories written by Canadian women journalists Kit Coleman, Ethelwyn Wetherald, and Jean Blewett. (Abstract shortened by UMI.)
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Persson, Ulrika. "Culture-specific items : Translation procedures for a text about Australian and New Zealand children's literature." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-46025.
Full textAbstract:
The aim of this study is to analyse the problems met when translating culture-specific items in a text about Australian and New Zealand colonial and post-colonial children’s literature into Swedish. The analysis quantifies and describes the different translation procedures used, and contrasts different strategies when there was more than one possible choice. It also outlines the reasons for the choices made when creating a text adapted for a Swedish audience. The translation methods applied are dynamic equivalence and domestication. As for the categorization of the material, the theories of Newmark (1988) have primarily been followed. The study shows that the frequency of each translation procedure depends on the type of culture-specific item, and the chosen translation method. It is argued that transference is the most commonly used procedure, and recognized translations are not as frequent as could have been expected with the choice of domestication. This is the case for proper nouns and references to literary works, where transference and dynamic equivalence has been given priority over domestication whenever the factual content was considered to be the most important aspect to follow. As for culture-specific items of the category social culture, neutralisation is the most commonly used procedure. In such cases the domestication method was more influential than dynamic equivalence as the consideration of ethics as well as avoidance of cultural taboos in the target culture were considered to be more important than content.
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Azhar, Hadeel Jamal. "Marginalisation vs. emancipation : the (New) Woman Question in Dollie Radford's diary and poetry." Thesis, Edinburgh Napier University, 2016. http://researchrepository.napier.ac.uk/Output/452895.
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This thesis sheds light on Dollie Radford as one of the talented women writers whose work is still insufficiently acknowledged by contemporary studies because of the lack of extant information about her life. LeeAnne Richardson, Ruth Livesey, and Emily Harrington are three of only a handful of scholars who have discussed in any detail Radford's role as a poet, socialist, and activist who was surrounded by key figures in the history of English literature and culture, such as William Morris, Oscar Wilde, Eleanor Marx, and Olive Schreiner. Despite being identified by Victorian reviewers as a “domestic” woman poet, all contemporary scholars who have hitherto considered Radford pinpoint her “radical” thoughts and engagement with the New Woman. Building on arguments by Radford's contemporary scholars, my argument highlights Radford's role as a Victorian feminist who sought, through her poetry, to challenge patriarchal attitudes and defy social conventions which imprisoned women of her generation. While the first two chapters of this thesis provide a contextual background of women's rights and women's poetry in the Victorian era, the four remaining chapters explore how Radford's personal conflict as an ignored married woman and unsupported writer might have influenced her empathetic portrayal of marginalised figures, such as prostitutes, the working classes, women writers, and homosexuals. Simultaneously, the chapters highlight the subversive meanings obscured by Radford's use of evocative and aesthetic language. The majority of the poems, letters, and diary entries included here are unpublished and have not yet been considered by contemporary critics. Thus, this research adds to the existing body of knowledge, offering a new approach to Radford's life and poetry in relation to aspects concerning women in Victorian and Edwardian England. By continuously interrogating Radford's choice of metaphors and images in contrast with those depicted by other Victorian poets, I aim to establish Radford as a significant fin-se-siècle woman poet whose poetry embraces a literary tradition which questions negative gendered attitudes biased against passionate women writers.
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Robertson, Lisa C. "New and novel homes : women writing London's housing, 1880-1918." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/91748/.
Full textAbstract:
This thesis investigates the relationship between women's writing and domestic architecture in London during the four decades around the turn of the twentieth century. It foregrounds novels written by women in order to investigate the ways in which this literature grapples with new forms of urban housing that emerged in order to accommodate economic, political and cultural changes in the city. This period of study is roughly framed by the Married Women's Property Act of 1882, legislation that allowed women to exist legally outside the family structure, and the end of WWI, which initiated a movement towards suburbanisation that was intended to alleviate the necessity of housing the city's labour forces locally. While scholarship to date has been attentive to the ways that women have been denied participation in the production of urban environments – through professional exclusion and social marginalisation – this thesis argues that their creative engagement with the city should be understood as an important contribution to its growth and development, imaginatively and materially. Central to this thesis is a consideration of the ways in which changing gender ideologies initiated new patterns for domestic architecture, but were also responses to the new social relationships that took shape as a result of their construction. It looks closely at women's literary engagement with domestic architecture in order to gain insight into the ways that the representative spaces of these texts interact with the city's built environment. In Chapter 1, I begin with an examination of the ways in which women's fiction engages with the political and legislative developments that initiated slum clearance and city improvement projects, and which led to the construction of model dwellings and early local authority housing. In Chapter 2, I trace the origins of purpose-built housing for women, or 'ladies' chambers', and consider its treatment in contemporaneous novels and journalism. In Chapter 3, I examine the ways in which the settlement movement challenged conventional notions of home and labour by studying its representation in two novels that construct these concerns within discussions of sexuality. I conclude this thesis with an investigation of the development of Hampstead Garden Suburb, and of the ways its design and representation sought to redress the social and political uncertainties that emerged in late nineteenth-century London and its literature.
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Vowell, Bianca. "The English of Māori speakers: changes in rhythm over time and prosodic variation by topic." Thesis, University of Canterbury. Communication Disorders, 2012. http://hdl.handle.net/10092/10371.
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This thesis investigates the rhythm and mean pitch of the English of Māori speakers. Recordings are analysed from speakers who have varying degrees of fluency and socialisation in Māori. The rhythm and mean pitch of their English language recordings are measured and analysed in order to address two questions.
The first part addresses the question, ‘Has the distinctive syllable-timed rhythm of modern Māori English developed from the mora-timed rhythm of the Māori language?’ Changes in the rhythm of the English of Māori speakers are measured over time. The rhythm of these speakers is then compared with age-matched Pākehā English speakers. The results show that the distinctive syllable-timed rhythm has indeed developed from the mora-timed rhythm of the Māori language and the use of this rhythm is related to the degree of Māori identity felt by the speaker.
The second part is also concerned with prosody and addresses the question, ‘Are rhythm and mean pitch influenced by topic?’ This is investigated by topic tagging the recordings and comparing the rhythm and mean pitch of each tagged section of speech. Two sets of topic tags are used; Set One has tags representing five categories (Subject, Referent, Location, Time and Attitude) and Set Two has only one tag per topic. The results suggest that mean pitch is not influenced by topic but is higher in sections of quoted speech than in regular speech. The subtle variations observed in rhythm are highly individualised and are influenced most strongly by the referent of the topic and the degree of affinity felt towards that referent.
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Walker, Abby. "Phonetic Detail and Grammaticality Judgements." Thesis, University of Canterbury. Languages, Cultures and Linguistics, 2008. http://hdl.handle.net/10092/2179.
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This thesis investigates predictions of an exemplar account of syntax, by
testing whether manipulating socially salient phonetic detail can alter the
grammaticality judgements given to morpho-syntactic constructions in New
Zealand English (NZE).
Three experiments are were conducted as part of this thesis. The first tested
the social saliency of different phonetic variables in NZE, and found phrase final /t/, which can be realised with or without a release, to be strongest. In the second experiment, phrase final /t/ was tested further, and manipulating the release significantly altered both the age and class ratings given to speakers. The way in which it did this reflected the patterns documented in production.
In the third experiment, participants were asked to rate the grammaticality
of the same sentences. When the results of the previous experiment were
included in the statistical model, an effect of the variant came out as significant. The more participants had rated a speaker as older with the released variant in the previous experiment, the less they rated the sentence as grammatical with the released variant. That is, only the most socially salient realisations were able to alter perceived grammaticality.
Overall, the results of this thesis suggest that speaker information and pho-
netic detail can affect grammaticality judgements. This supports an exemplar
model of syntax. Regardless of the theoretical implications of the findings
however, the methodological ones are clear. If speakers and realisations of
certain phonetic variables can alter grammaticality judgements, then they
must be controlled for in the presentation of stimuli to participants.