Academic literature on the topic 'New Zealand poetry'

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Journal articles on the topic "New Zealand poetry"

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HOLLAND, PETER. "Poetry and Landscape in New Zealand." New Zealand Journal of Geography 92, no. 1 (May 15, 2008): 8–9. http://dx.doi.org/10.1111/j.0028-8292.1991.tb00294.x.

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Moffat, Kirstine. "The Poetry and Fiction of Scottish Settlers in New Zealand." Immigrants & Minorities 30, no. 1 (March 2012): 59–77. http://dx.doi.org/10.1080/02619288.2011.651331.

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Carlston, Erin G. "‘An Inverted Eden’: Modernity and Anti-Modernism in D'Arcy Cresswell's The Forest." Modernist Cultures 15, no. 3 (August 2020): 341–53. http://dx.doi.org/10.3366/mod.2020.0300.

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In 1952, D'Arcy Cresswell published a verse play, The Forest, set in New Zealand's forested Southern Alps. In what Cresswell called a ‘tremendous defense of homosexuality’, The Forest depicts a pair of gay male poets pitted against the archangel Lucifer and women, who are in league together to force men to work the land and thereby desacralize it. Cresswell argues that the pressures on Pākehā men to be economically productive and heterosexually reproductive are manifestations of a literally Satanic plot to alienate men from one another and Nature. While many of Cresswell's New Zealand literary contemporaries espoused a Pākehā masculinity involving matey comradeship and a life spent working the land, Cresswell celebrates a New Zealand wilderness he perceives as the last refuge of male love and inspired poetry. Simultaneously queering Milton, inverting Judeo-Christian history by relocating Eden in the Antipodes, and reversing New Zealand history by undoing the modernity that settler colonialism had created, Cresswell counters the terms of his own exclusion from the literary canon by imagining a world upside-down – and inside-out.
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Della Valle, Paola. "A Call to Arms for the Earth. Environmental Poetry in Aotearoa New Zealand and the Pacific Islands: The Case of the Anthology No Other Place to Stand." Altre Modernità, no. 31 (June 1, 2024): 21–38. http://dx.doi.org/10.54103/2035-7680/23065.

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Poetry is a major artistic expression in New Zealand and Pacific culture, including a longstanding tradition of indigenous oral literature. Besides its many functions, it can also have a crucial militant role. In the present climate emergency, the potential of oral and written poetry for environmental activism has been rediscovered: “poet-performers” have risen as militant figures that write verses and act them out on websites, during public performances and in important political venues. The effects of global warming are dramatically real in the Pacific region, especially in consequence of the sea-level rise that has caused the flooding of many atolls and is threatening the survival of populations and cultures. Aotearoa has always been sensitive to environmental problems, also thanks to the prominent voice of the Māori minority in the country’s politics. It is thus not surprising the recent publication of No Other Place to Stand (2022), the first New Zealand poetry anthology to deal with climate issues from a specifically New Zealand and Pacific perspective. The book forms a dedicated platform for creative work in response to the climate crisis. Half of the contributors are indigenous and a good number under thirty, giving voice to the people of the land and to those with the most at stake for their futures. My article will provide a critical analysis of the volume against the Pacific cultural and political background.
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Riemenschneider, Jörg-Dieter. "Aotearoa New Zealand Landscape Poetry: A Cultural and an Evocritical Reading." Zeitschrift für Australienstudien / Australian Studies Journal 26 (2012): 85–107. http://dx.doi.org/10.35515/zfa/asj.26/2012.06.

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Green, Paula. "On being an unofficial ambassador for children’s poetry in New Zealand." Bookbird: A Journal of International Children's Literature 54, no. 3 (2016): 72–76. http://dx.doi.org/10.1353/bkb.2016.0093.

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Schoone, Adrian. "Can Concrete Poems Fly? Setting Data Free in a Performance of Visual Enactment." Qualitative Inquiry 27, no. 1 (November 6, 2019): 129–35. http://dx.doi.org/10.1177/1077800419884976.

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In researching the tutors working in alternative education centers in New Zealand, I sought ways to bring voice to their lived experiences through, initially, creating found poetry from interview transcripts. The poems helped bring their vital voices to the page. Even so, I found the emotion of tutors’ lived experiences buckled under the pressure of their compression into lines of poetry. Thus, I set the found words free to form nonlinear configurations in two and three dimensions. In the tradition of concrete poetry noted by Khlebnikov, I “loosed the shackles of syntax . . . to attach meaning to words according to their graphic and phonic characteristics.” In this article, I present concrete poetry deriving from my poetic inquiry and reflect on the value concrete poetry provides arts-based researchers.
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Valle, Paola Della. "No Other Place to Stand: An Anthology of Climate Change Poetry from Aotearoa New Zealand, Jordan Hamel, Rebecca Hawkes, Erik Kennedy and Essa Ranapiri (2022)." Journal of New Zealand & Pacific Studies 11, no. 2 (December 1, 2023): 231–33. http://dx.doi.org/10.1386/nzps_00162_5.

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Review of: No Other Place to Stand: An Anthology of Climate Change Poetry from Aotearoa New Zealand, Jordan Hamel, Rebecca Hawkes, Erik Kennedy and Essa Ranapiri (2022) Auckland: Auckland University Press, 220 pp., ISBN 978 1 86940 955 5 (pbk), NZ$29.99
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Rockel, Barbara. "Finding Nectar: Poetry as Backstory." Ata: Journal of Psychotherapy Aotearoa New Zealand 20, no. 2 (December 30, 2016): 143–49. http://dx.doi.org/10.9791/ajpanz.2016.13.

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This commentary was developed around two interconnected meditations sparked by Chris Milton’s paper: firstly on the idea of poetry as complementary to the healing alchemy of analysis and secondly on how the encounter with a new landscape and culture in Aotearoa New Zealand forms the ground of transpersonal life for Pākehā, especially those of settler descent. The language of poetry, with its capacity to connect us with the mythopoeic world, is offered as a way of contextualising the arrival of Jungian analysis in this land and imaginal ground. Waitara I whanake ake tēnei kōrero mai i ngā taumauri hononga takirua i pupū ake i te pepa a Chris Milton: tuatahi mai i te whakaaro me haere takitahi te ruri me whakamātau tūmahu o te tātarihanga, tuarua te huanga ake o te taiao hou me te ahurea hou i Aotearoa Niu Tīreni hai hanga papa whakawhiti ki te taha wairua mō te Pākehā, torotika nei ki ngā hekenga tauiwi. Ko te reo ruri me ōna pānga ki te hono i a tātau ki te ao atua, kua homai hai horopakinga i te taenga mai o te tātarihanga Hungiana ki tēnei whenua me te papa pohewa.
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Fresno-Calleja, Paloma, and Janet M. Wilson. "Contemporary Pasifika Poetry in Aotearoa New Zealand: An interview with Selina Tusitala Marsh." Journal of Postcolonial Writing 56, no. 2 (March 2, 2020): 271–82. http://dx.doi.org/10.1080/17449855.2020.1728117.

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Dissertations / Theses on the topic "New Zealand poetry"

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Bullock, Owen Fred. "Making Canons and Finding Flowers - A Study of Selected New Zealand Poetry Anthologies." The University of Waikato, 2007. http://hdl.handle.net/10289/2255.

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This thesis analyses the poetry contained in anthologies published between the 1940s and 1980s in New Zealand and that of some later anthologies that retrospectively covered the same period. I wanted to find out what subject matter preoccupied poets during these times, to monitor changes in the content of that poetry and to observe what techniques were used and the evolution of styles. Complimentary to the study of the poetry is an evaluation of the intentions of the editors of the anthologies and how much their selections were directed by their tastes and knowledge to form a kind of 'construct', or representation of the publishing of poetry. From my reading, I conjectured that the literary canon with regard to poetry was formed in New Zealand by the mid-1970s, on the strength of publications from Penguin and Oxford University Press. The 1945 and 1960 anthologies by Allen Curnow were extremely influential - particularly the second of these two - and the editors of future anthologies from the larger publishers diverged comparatively little from his choices. Curnow's anthologies are the subject of Chapter One, and in Chapter Two, I look at Vincent O'Sullivan's series of three anthologies for Oxford (1970, 1976 and 1987), which confirmed and expanded that canon. However, from the mid-1960s, and especially in the early 1970s, new trends emerged in New Zealand writing, linked to a consciousness of post-modernist literary theory. Some of the new trends, together with material that supplemented existing perspectives on poetry, are discussed in Chapter Three. The greater degree of acknowledgement of writing by women poets - which began in the late 1960s in smaller literary journals - reached a point where the first anthology of women's poetry, Private Gardens, could be published in 1977. The first major anthology to be edited by a woman appeared five years later. The gradualness of these changes is stressed, however, with regard to women's poetry included in the larger anthologies themselves. A new bias emerged in the late 1970s and 1980s in favour of work from the University presses. Nevertheless, anthologies that presented some alternative point of view on our literary history proliferated at the beginning of the twenty-first century. Taken together, the anthologies Big Smoke and Real Fire form a more holistic picture of what went on in the 1960s and 1970s and are discussed in Chapter Four of this thesis. Concluding remarks focus on the prejudices that appear to have guided the publishing of poetry in New Zealand anthologies, the influence of major poets, and the possibilities for further study of this body of literature.
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Harris, Nancy May. "Making it new: "Modernism" in B.E. Baughan's New Zealand poetry." Thesis, University of Canterbury. English, 1992. http://hdl.handle.net/10092/4919.

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This thesis examines one woman's attempt at revolution in New Zealand poetry. It will suggest that we may need to re-assess our perception of Blanche Edith Baughan - as a nascent "modern", rather than a "colonial" poet. The generally accepted view is that significant modern poetry emerged in New Zealand in the nineteen-twenties, and came to full flowering in the nineteen-thirties, and that Blanche Baughan was a "forerunner". She has achieved a modest reputation as an innovator in New Zealand poetry, perhaps as our first "true colonial voice ". This thesis proposes that Baughan was more than simply a "forerunner", that she had in fact, by 1908, introduced many of the changes currently credited to New Zealand poets of the succeeding generation. The title "Making it New" alludes to the catch-cry of Modernist poetry ("Make it New!") as expressed by Ezra Pound. Although Baughan is in no way connected to the Modernist movement, her directive to creative colonials, "Be thou new!" (from "Maui's Fish") has obvious Parallels. Two major factors account for the difference between Baughan and her New Zealand literary contemporaries - her mysticism and her freedom from the prevailing "Anglophilia". Baughan was reluctantly English at a time when pro-English sentiment was pervasive in both the life and the literature of the colony. This significant pre-condition of her "modernism" has been barely touched on, and the reasons behind it unrecorded, by literary historians and critics. A short biographical background will account for her attitude and reveal some hitherto unpublished facts. Baughan considered herself a mystic. Her mysticism, her classical education, her interest in philosophy and in social reform, together gave her a close empathy with the writings of the American Transcendentalists and of Thomas Carlyle. Their influence, which may be traced both in the message, and (occasionally), in the style of her texts, is supported by her possession of personal copies of Carlyle's Sartor Resartus, his On Heroes, Emerson's Essays and Representative Men, and Walt Whitman's Democratic Vistas and Other Papers. The significance of Baughan's transcendentalism - indeed its very existence - has been over-looked by critical comment to date. This thesis views it as a key factor in her empathy with the American Transcendentalists, and flowing from that, it sees in Whitman's "New Worldism" as defined in his "Democratic Vistas", Baughan's main stepping-stone to "modernism". Accounting for Baughan's markedly different outlook and its effect on the matter and method of her poems required the inclusion in this thesis of four inter-related themes: her biographical past; her mysticism; her education (in the broadest sense, including the influences, particularly of the American Transcendentalists, on her poetic thought); and, finally, her conversion of transcendentalist concepts and precepts to the "modern" elements in her work. The thesis is organized in two related halves. Part A (chapters one to three), deals with the influences on her work. It includes, as well, an examination, from hindsight, of Baughan's "modernism" in relation to that of the main New Zealand poets of the nineteen-twenties and thirties. Part B (chapters four to eight), consists of an exploratory study of her major poetic texts, the five very long works I have termed "colonial allegories": "ShingleShort", "A Bush Section", "Maui's Fish", "Burnt Bush" and "The Paddock". In Part B, I will seek out the poems' transcendentalist underpinning, their debunking of "Anglophilia" - and of conservative attitudes in general - and the practical spinoffs of Baughan's emphasis on change and newness at the level of the text. This study is confined to the allegories. Baughan's other works, whether in poetry or prose, are mentioned only where necessary either to illustrate her development or to clarify some point in the thesis.
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Phillipson, Allan. "C. K. Stead and three modes of New Zealand poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25137.pdf.

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Quigley, Sarah. "A world elsewhere : a critical and biographical study of the European influence on the life and work of Charles Brasch." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:e6384f57-5ab1-491a-8882-75a42b582bac.

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When Charles Brasch died, in 1973, he specified that his private papers - his diaries, letters, and many of his manuscripts - be placed under embargo for thirty years after his death. The external details of his life were, by this time, well-known. He had become a high-profile figure in the field of New Zealand literature, through his critical writings, his role as 'patron', and particularly his twenty- year editorship of the periodical Landfall. Yet his reputation as a poet, although established, was neglected both then and now. His poetry is one of central relevance to a contemporary scene; as clearly as any, it reveals the difficulty of writing for, and about, a society which still laboured under the weight of a 'colonial' stigma. By tracing the movement from his juvenilia to his mature poetry, from his teenage years to adulthood, this study examines the effect of Brasch's personal development on his writing. Partly because of the embargo on his papers, partly because of his secretive nature, his private life has remained a shadow behind poetry which is itself often ambiguous; yet his creative progression was largely determined by the events of this life, both external and internal. Previously, little has been known or written about the decade and a half he spent in Europe. These were crucial years, both in shaping his editorial vision, and in the discovery of his own poetic voice. By means of personal interviews, and recourse to letters in private collections, his story is told: from his arrival in Oxford in 1927, to his final acceptance of New Zealand as his home, in 1945. The first chapter outlines the three years he spent at St John's College, and the general literary context in which he began to write. Chapter Two covers his brief foray into archaeology, and the resultant poetry and unpublished fiction. The importance of German literature - particularly that of Rilke - to his work becomes the focus of Chapter Three. As a direct result of this influence, the second half of the 1930s was dominated by his search for a voice, and a subject, of his own. Chapter Four details this struggle, and the first tentative New Zealand element in his work. A teaching job at Great Missenden - the subject of Chapter Five - temporarily distracted Brasch from developing this theme, yet sources reveal that the country of his birth was never far from his mind. Chapters Six and Seven deal with the effect on his poetry of the growing unease in Europe, the difficult split of allegiances to two hemispheres, and his subsequent commitment to England for the duration of the war. Throughout 1944-5, he became involved in script-writing, and the eighth and final chapter examines the extent of his success in this new genre. His return to New Zealand, late in 1945, marked the apparent beginning of a career which, nonetheless, had its origins in experiences half a world away.
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O'Neill, Helen Josephine. "Once preferred, now peripheral : the place of poetry in the teaching of English in the New Zealand curriculum for year 9, 10 and 11 students : a thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English, The University of Canterbury, Christchurch, New Zealand /." Thesis, University of Canterbury. Culture, Literature and Society, 2006. http://hdl.handle.net/10092/950.

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A poet is somebody who feels, and who expresses his (or her) feeling through words. This may sound easy. It isn't ... . It's the most wonderful life on earth. Or so I feel. e. e. cummings: 'A Poet's Advice'. (1-3, 27-28) Fifty years ago poetry was a key element in the English programme in most secondary schools. Today it is marginalised, with many teachers avoiding teaching poetry as far as possible. The consequence is a cycle of disadvantage whereby many students, never having studied, let alone attempted to write a poem in school, leave without having encountered literature at its most intense and concentrated. Since the study of poetry can also be avoided almost entirely in university English departments, such students will, in their turn, when they themselves become educators of the next generation, similarly avoid teaching poetry. This thesis investigates the pedagogical and curricular contexts within which English has been taught in New Zealand since 1945, and within which poetry has become increasingly marginal. Surveys of and interviews with students past and present, teachers and teacher-educators enable me to identify a range of reasons why this has happened, and a cycle of deprivation has developed. The thesis also identifies, however, ways in which the cycle of deprivation can be broken, and the teaching of poetry made central to the teaching of written, oral and visual language in accordance with the principles of the current New Zealand curriculum for the teaching of English.
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Cozzone, Iolanda. "Una poeta : perspectives on the translation of Janet Frame's Verse into Italian." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16610.

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Janet Frame (1924-2004) is known for being one of the most prolific, translated, and unconventional New Zealand novelists. Her work, however, includes a vast production of poems, which scholars and translators have ignored or, at least, not considered worthy for a comprehensive approach to her. Frame's work has undergone the further limitation of a strongly biography-based hermeneutics: from the gossiping around her alleged schizophrenia, to the popularity of the filmic version of her autobiography (An Angel at My Table) by Jane Campion, and the countless legends that have sprung around her, she has often been stigmatised and labelled the 'mad writer' of Campion's movie. This thesis links the risks of the life/myth-driven perspectives to the current lack of interest in Frame's poetry. Her poetic production is here presented as a fundamental part of her oeuvre and her idiosyncratic approach to writing. Therefore, this study aims to fill this gap in the literature on Frame and thus reconfigure her role as a poet. Through a combination of methodologies grounded in literary and verse translation theories, creativity and genre studies, poststructuralism and postcolonialism, this thesis investigates the most significant traits of Frame's prose and poetry, particularly the traits shared by both. It critiques past translations of Frame's prose into Italian where these have not taken into account the poetic value of her work, and suggests strategies for the translation of her verse into Italian, arguing that an informed approach to her poetry in translation may greatly contribute to a reconfiguration and re-evaluation of her legacy.
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Lambert, Kelly Ann. "Calling the taniwha : Mana Wahine Maori and the poetry of Roma Potiki : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Arts in New Zealand Literature /." ResearchArchive@Victoria e-thesis, 2006. http://hdl.handle.net/10063/995.

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Painter, Holly. "Wanderlust : a poetry collection : a thesis submitted to the University of Canterbury in partial fulfilment of the requirements for the degree of Master of Fine Arts in Creating Writing /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/2743.

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Jackson, Janet Ruth. "A coat of ashes: A collection of poems, incorporating a metafictional narrative - and - Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2125.

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This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process. The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses. The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones. The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific concepts in terms of subjective human concerns. The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary. The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work. As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.
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Wijland, Roel, and n/a. "Poetic brandscapes." University of Otago. Department of Marketing, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080716.144516.

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�Every poet who takes language seriously is working against a culture of clear marketable meanings and commodified production� states New Zealand novelist, essayist and poet Gregory O�Brien. This statement is the motivation for research that is explored in a collaborative ethnographic study of brand culture perceptions in New Zealand. It takes its inspiration from The Poetics of Space (Bachelard, 1978) and provides intimate lyrical insights into the experience of brands and brandscapes. Gregory O�Brien describes the artists that inspire him as: �Those who resolutely stand on their own creative terms, working towards their own objectives, as oblivious as they can be to any market forces.� O�Brien�s observations are relevant to the research project in two essential ways: first to cast light on a shared cultural commodity construct such as a brand from its proposed opposite cultural site of individual imagination and secondly, to accept the poetic in the form of the undiluted voice of vocational poets as valuable media in their own right to achieve insightful interpretations. Critical marketing projects have the duty to generate an alternative �marketing gaze� sufficient to the task of �revelation� (Brownile & Hewer, 2007). With regards to individual artists and poets specifically, critical marketing concepts implicitly pose the main research question as to the scenarios that are conceivably available to consumers: how does �working against marketable meanings� imaginatively work? The project proposes the new construct of co-imagination as the co-active mental and spiritual engagement of consumers with the cultural artefacts of brandscapes that invite individual meaning making. It substantiates this individuality in a poetic evocation of brandscapes by thirteen artists. It analyses the holistic imaginative process on the basis of mental models, strategic scenarios and evocative aesthetics, in order to assess how talented consumers work against marketable meaning. It subsequently offers the relationship of co-imagination with existing co-optive concepts in marketing, literature and consumer behaviour, such as co-creation (Prahalad & Ramaswamy, 2004), co-performance (Deighton, 1992) and co-duction (Booth, 1988). It results in a collaborative artistic inquiry that assembles individual evocations of enchantment and disenchantment with the beauty and ugliness of brandscapes, through newly created poetry. The research introduces the new concepts of aesthetic scarcity and aesthetic community and in its collaborative method of inquiry offers an alternative to a poetic tradition in consumer behaviour of the poet / researcher conflation (Sherry & Schouten, 2002). As a result, the project complements the understanding of the individual meaning-making process in brand culture and is relevant to both practitioners and researchers in consumer behaviour and brand strategy. The design of the project included a four month research journey that covered the North and the South Island of New Zealand with the objective of meeting a variety of poets in their local inspirational environments and brandscapes and catalyse an unusual creative cooperation of highly individual radical artists. In the thick description and analyses of the extensive field research, the project implicitly adds to existing work on brand culture (Schroeder, Salzer Morling, & Askegaard, 2006), brand aesthetics (Saizer-Mörling & Strannegård, 2004) and the relationship between artists and brands (Schroeder, 2005). The research includes design elements based on romantic pragmatism (Rorty, 2007a) and cognitive aesthetics (R. H. Brown, 1977), both post-romantic concepts that explore aesthetic perception as perspectival knowledge and aesthetic distance as a means to transcend the dichotomy of objectivity and subjectivity.
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Books on the topic "New Zealand poetry"

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Bornholdt, Jenny. Miss New Zealand: Selected poems. Wellington [N.Z.]: Victoria University Press, 1997.

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Harry, Ricketts, ed. 99 ways into New Zealand poetry. Auckland, N.Z: Vintage, 2010.

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Vincent, O'Sullivan, ed. An Anthology of twentieth century New Zealand poetry. 3rd ed. Auckland: Oxford University Press, 1987.

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1960-, Bornholdt Jenny, O'Brien Gregory 1961-, and Williams Mark 1951-, eds. An anthology of New Zealand poetry in English. Auckland: Oxford University Press New Zealand, 1997.

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Gresson, Nicholas L. A life in poetry. North Melbourne, Vic: Arcadia, 2011.

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1949-, Edmond Murray, and Paul Mary, eds. The New poets: Initiatives in New Zealand poetry. Wellington, N.Z: Allen & Unwin New Zealand Ltd. in association with the Port Nicholson Press, 1987.

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1974-, Pirie Mark, and Jones, Tim, 1959 June 15-, eds. Voyagers: Science fiction poetry from New Zealand. Brisbane: Interactive Press, 2009.

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1974-, Pirie Mark, and Jones Tim 1959-, eds. Voyagers: Science fiction poetry from New Zealand. Brisbane: Interactive Press, 2009.

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Pirie, Mark. Voyagers: Science fiction poetry from New Zealand. Brisbane: Interactive Press, 2009.

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1974-, Pirie Mark, and Jones, Tim, 1959 June 15-, eds. Voyagers: Science fiction poetry from New Zealand. Brisbane: Interactive Press, 2009.

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Book chapters on the topic "New Zealand poetry"

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Sturm, Terry. "New Zealand Poetry." In A Companion to Twentieth-Century Poetry, 293–303. Malden, MA, USA: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470998670.ch23.

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Matapo, Jacoba, and Jean M. Allen. "Traversing Pacific identities in Aotearoa/New Zealand." In Poetry, Method and Education Research, 207–20. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429202117-18.

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Fresno-Calleja, Paloma, and Janet M. Wilson. "Contemporary Pasifika Poetry in Aotearoa New Zealand: An interview with Selina Tusitala Marsh." In Beyond Borders, 140–51. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003263449-11.

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Harrison, Stephen. "Catullus in New Zealand: Baxter and Stead." In Living Classics, 295–324. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199233731.003.0018.

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Abstract The translation and imitation of Latin poets has been a consistent feature of modern New Zealand poetry in English. Fleur Adcock (1934–) has produced some fine translations of two of the greatest twelfth-century Latin poets, Hugh Primas and the Archpoet (1994), and Ian Wedde (1946–) has presented us with a modern Kiwi Horace in The Commonplace Odes (2001). Likewise, Anna Jackson’s poetic interest in Catullus, which she discusses in her chapter in this volume, follows that of other figures in New Zealand poetry, as she herself acknowledges. In this chapter I want to look at two major predecessors of Jackson in making versions of Catullus in New Zealand— James K. Baxter and C. K. (Karl) Stead.
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Ricketts, Harry. "Australia and New Zealand." In A History of World War One Poetry, 277–94. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781009120098.018.

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McIlvanney, Liam. "The View from the Octagon." In The Oxford Handbook of Robert Burns, 464–78. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780198846246.013.34.

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Abstract The Octagon, the central plaza of the city of Dunedin in New Zealand’s South Island, is dominated by the Sir John Steell statue of Robert Burns. The city is also home to the Robert Burns Hotel and the Burns Building at the University of Otago, which sponsors the Robert Burns Fellowship, New Zealand’s premier literary residency. In part, the prominence of the Burns name in Dunedin testifies to a family connection: the Rev Thomas Burns, the poet’s nephew, who cofounded the settlement of Otago. But it also testifies to the ongoing cultural legacy of Scotland’s national poet in Aotearoa New Zealand. This chapter will discuss the influence of Burns on the Scots vernacular poetry of New Zealand—and also on the vernacular prose of works like Vincent Pyke’s 1884 Scots language novel, Craigielinn—with particular reference to the development and establishment of New Zealand literary and cultural identities. Beyond the colonial period, the chapter will assess the profound engagement with Robert Burns’s poetry in the work of New Zealand’s pre-eminent twentieth-century poet, James K. Baxter while also considering Burnsian encounters in the work of contemporary New Zealand writers. The chapter will also discuss the Burnsian contribution to NZ’s associational culture, looking in particular at the Dunedin Burns Club, as well as recent attempts to renovate the tradition of Burnsian poetry and song in contemporary Aotearoa. In so doing, it will provide a detailed and nuanced account of important aspects of Robert Burns’s Australasian afterlife.
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Edmond, Lauris. "Where Poetry Begins." In Beyond Expectations: Fourteen New Zealand Women Write about their Lives. Bridget Williams Books, 1986. http://dx.doi.org/10.7810/9780868616506_3.

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McCooey, David. "Postcolonial Poetry of Australia and Aotearoa/New Zealand." In The Cambridge Companion to Postcolonial Poetry, 72–84. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316111338.007.

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Patke, Rajeev S. "The settler countries." In Postcolonial Poetry in english, 130–56. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199298884.003.0006.

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Abstract The earliest poets to use English outside Britain came from the settler regions of the British Empire. Regional traditions grew in self-confidence as the strings that attached settlements to Britain became attenuated. Poets and critics from North America, Australia, New Zealand, and white South Africa do not generally see their poetic traditions as part of the narrative of postcolonial poetry. Their view of the national literature recognizes a colonial period, but rarely uses ‘postcolonial’ to refer either to the period or the processes that show political self-rule translated by writers into cultural self-confidence. Yet the development of local traditions in the settler countries depended on struggling to overcome colonial dependency long after political autonomy was accomplished. Their path to literary self-confidence ran roughly parallel, but prior, to the processes of cultural decolonization in non-settler colonies. A comparative view of developments in the settler countries thus contributes significantly to a broad-based account of postcolonial poetry in English.
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Whitehead, Gillian. "Awa Herea (Braided Rivers)." In New Vocal Repertory 2, 308–14. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198790181.003.0064.

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Abstract A truly outstanding piece by one of the most consistently rewarding representatives of New Zealand’s art and culture. Gillian Whitehead has long been admired for her poetic vision, natural musicality, and craftmanship. Resident in Britain for many years, she now divides her time between Australia and New Zealand. Her output includes several operas and many other vocal chamber works, and all these show her exceptional lyrical and dramatic gifts. A real performers’ composer, she has often collaborated with New Zealand poets, most particularly Fleur Adcock.
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Conference papers on the topic "New Zealand poetry"

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Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.

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Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.
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Faumuina, Cecelia. "'Asi - The presence of the unseen." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.110.

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This paper considers an indigenous, methodological framework developed for my doctoral thesis, ‘Asi: The Presence of the Unseen. Defined as ‘Ngatu’ the framework employs the heliaki (metaphor) of women’s collective crafting of indigenous fabric, to structure an artistic research project. Ngatu is cloth made from the bark of the paper mulberry tree. Used for floor mats, bedding, clothing and room dividers it is also often given as a gift at weddings, funerals and formal presentations. Ngatu is considered one of Oceania’s distinctive art forms and processes. Within the study, the position of the researcher is both a creator of artistic work and a reflector on the experience and practices of other collaborators. The Ngatu framework enables a practice-led inquiry that is underpinned by indigenous principles: uouongataha (the pursuit of harmony), mālie/māfana (warmth and beauty) and anga fakatōkilalo (being open to learning). Guided by these values, the methodology employs five distinct phases: TŌ (gestation) TĀ (harvesting knowledge) NGAOHI / TUTU (preparing and expanding ideas) HOKO/KOKA’ANGA (harmonious composition), and FOAKI (presentation). The Ngatu methodology may be seen in the light of a significant discussion in 2019, where a gathering of Oceanic scholars considered a proliferation of Indigenous models of inquiry that had been developed by Pacific researchers outside of conventional Western research paradigms. Although much of the discussion focused on research emanating from Health and the Social Sciences, the use of heliaki to describe methodological approaches to artistic inquiry also has a discernible history in doctoral theses in Aotearoa/New Zealand (Pouwhare, 2020; Toluta’u, 2015; Tupou, 2018; Vea, 2015). The Ngatu methodological framework was applied to the question, “What occurs when young Oceanic people work together artistically in a group, drawing on values from their cultural heritage to create meaningful faiva (artistic performances)?” In posing this question, the thesis sought to understand how, ‘asi (the spirit of the unseen), might operate as an empowering agency for endeavour and belonging. As such, the study proposed that ‘asi which is conventionally identified at the peak of artistic performance, might be also discernible before and after such an event, and resource the energy of artistic practice as a whole. The Ngatu methodology was applied to two bodies of work. The first was a co-created project called Lila. This was developed by a team of secondary school students who produced a contemporary faiva for presentation in 2019. This case study was used in conjunction with interviews from contemporary Oceanic youth leaders, reflecting on the nature and agency of ‘asi, as it appears in their artistic workshops with young people. The second work was a performance called FAIVA | FAI VĀ. This was the researcher’s artistic response to the witnessed nature of ‘asi. The performance integrated spoken word poetry, sound, illustration and video design.
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Mortensen Steagall, Marcos. "Mai Tawhiti: a story of research collaboration in Aotearoa New Zealand between a Māori and a non-Māori practitioners." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2023.v4i1.204.

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In recent decades, there has been an emergence of academic discourse about the Global South and Indigenous knowledge internationally, opening opportunities for practice-led research due to the rich epistemologies from Aotearoa. In New Zealand, Māori designers and artists have enriched and redefined the conceptual boundaries of how research is conducted in the academy by providing access to different ways of knowing and alternative methods for leading and presenting knowledge. Despite the exponential growth in global interest in Indigenous knowledge, there remains scant research on creative collaborations between Māori and non-Māori practitioners. Engaging in these collaborative approaches requires adherence to Māori principles to ensure a respectful process that upholds the mana (status, dignity) of participants and the research. This presentation focuses on a collaborative partnership between Māori and non-Māori practitioners that challenges conceptions of ethnicity and reflects the complexity of a globally multi-ethnic society. This presentation was articulated through the poetic photographic installation called 'Tangata Whenua,' supporting a practice-led PhD project entitled 'KO WAI AU? Who am I?'. This project explores how a Māori documentary maker from this iwi (tribe) might sensitively address the grief and injustice of a tragic historical event. In this creative partnership, the researchers collaborated to record the land still bearing the painful remnants of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. This presentation contributes to the understanding of cross-cultural and intercultural creativity. It discusses how the shared conceptualization of ideas, immersion in different creative processes, personal reflection, and development over time can foster collaboration.
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