title: Charles Gallagher; an investor in mining

authors: Hart, Philip

abstract: Charles Gallagher, born in Ireland, for a time prospered when working on American silver mining fields. After arriving in New Zealand in 1883 with his Irish wife and young children, he settled at Thames, where for a while he was a publican and invested in mining as well as doing some prospecting. As so often, he was involved in arguments over the ownership of a silver-bearing claim.
In 1884, the family settled at Te Aroha, where he erected two houses, expensively furnished. Once again, he prospected for silver, unsuccessfully, wasting considerable sums on this endeavour. His financial state was secure until, when he was ill, he settled his money on his wife, and afterwards was angered when she refused to return it because of his ‘intemperate’ habits. The consequence was that while she was in comfortable circumstances, even able to share the ownership of a steamer, he would die penniless.
His private life was increasingly unhappy, marked by heavy drinking and violence against others, especially his wife. He was pathologically jealous of his long-suffering but faithful wife, with tragic consequences on Christmas Day, 1890.

text: Charles Gallagher; an investor in mining Charles Gallagher, born in Ireland, for a time prospered when working on American silver mining fields. After arriving in New Zealand in 1883 with his Irish wife and young children, he settled at Thames, where for a while he was a publican and invested in mining as well as doing some prospecting. As so often, he was involved in arguments over the ownership of a silver-bearing claim.
In 1884, the family settled at Te Aroha, where he erected two houses, expensively furnished. Once again, he prospected for silver, unsuccessfully, wasting considerable sums on this endeavour. His financial state was secure until, when he was ill, he settled his money on his wife, and afterwards was angered when she refused to return it because of his ‘intemperate’ habits. The consequence was that while she was in comfortable circumstances, even able to share the ownership of a steamer, he would die penniless.
His private life was increasingly unhappy, marked by heavy drinking and violence against others, especially his wife. He was pathologically jealous of his long-suffering but faithful wife, with tragic consequences on Christmas Day, 1890.

year: 2016

title: Dynamics, Determinability and Configurative Audience Involvement: The TV Drama Series in the Era of Social Media

authors: Fleet, Matthew

abstract: The dramatic television series, like many other mediums, has traditionally adhered to a consistent set of text variables over it’s development as a form of media. These variables are Dynamics, Determinability, Transiency, Perspective, Access, Linking and User Function, and television series has typically maintained a fixed quality for each of these categories. However, with the era of social media, the potential for these variables to open up arises, and it is possible that the way we view a dramatic television series as a text is no longer governed by these guidelines as strictly as it once was. Social media has already been utilised by the television industry in regards to marketing or establishing fan-bases, but it’s rarely been employed in such a way that it can reshape how we view and analyse television.
While there are several different ways that this potential can be explored from a narrative perspective, many of these present very clear drawbacks to utilising them from a production standpoint. While a choose-your-own-adventure type television series where the audience votes on decisions would certainly shake up these variables a great deal, it also represents a huge increase in production costs and effort, as splitting paths result in a lot of unused or unaired footage.
The goal is to find a concept that shakes up the traditional television format with its integration of social media, that doesn’t result in a huge shift in production costs. One concept that potentially achieves this was the idea that the actual content of the television series remains fixed, while the order of the episodes shifts around depending on audience interaction and feedback via social media. This represents an extremely interesting narrative concept, where the story has to make sense regardless of the order the episodes are viewed in, while still shifting the narrative structure enough to be interesting for audiences.
Based on this concept, Kleptoes is born. Kleptoes is a dramatic serialized television series focused around a group of friends who develop a taste for burglary after seeking revenge for a robbery of their own house. Kleptoes starts and finishes with a traditional pilot episode and finale episode, while each episode in between focuses on a different character across the same timeline. These episodes can be viewed in any order and make sense, as we see what each character has been up to in the time span between pilot and finale, often seeing the same scene from different perspectives with different details revealed or hidden.
Not just an interesting and innovative format for storytelling, this concept also succeeds in reworking some of the earlier variables to separate itself from the traditional manner of viewing television as a text. Dynamics, Determinability and
User Function in particular are all impacted greatly by this integration of social media, and prove that the way we view the television series as a text can be reshaped greatly by incorporating digital media in it’s development.

text: Dynamics, Determinability and Configurative Audience Involvement: The TV Drama Series in the Era of Social Media The dramatic television series, like many other mediums, has traditionally adhered to a consistent set of text variables over it’s development as a form of media. These variables are Dynamics, Determinability, Transiency, Perspective, Access, Linking and User Function, and television series has typically maintained a fixed quality for each of these categories. However, with the era of social media, the potential for these variables to open up arises, and it is possible that the way we view a dramatic television series as a text is no longer governed by these guidelines as strictly as it once was. Social media has already been utilised by the television industry in regards to marketing or establishing fan-bases, but it’s rarely been employed in such a way that it can reshape how we view and analyse television.
While there are several different ways that this potential can be explored from a narrative perspective, many of these present very clear drawbacks to utilising them from a production standpoint. While a choose-your-own-adventure type television series where the audience votes on decisions would certainly shake up these variables a great deal, it also represents a huge increase in production costs and effort, as splitting paths result in a lot of unused or unaired footage.
The goal is to find a concept that shakes up the traditional television format with its integration of social media, that doesn’t result in a huge shift in production costs. One concept that potentially achieves this was the idea that the actual content of the television series remains fixed, while the order of the episodes shifts around depending on audience interaction and feedback via social media. This represents an extremely interesting narrative concept, where the story has to make sense regardless of the order the episodes are viewed in, while still shifting the narrative structure enough to be interesting for audiences.
Based on this concept, Kleptoes is born. Kleptoes is a dramatic serialized television series focused around a group of friends who develop a taste for burglary after seeking revenge for a robbery of their own house. Kleptoes starts and finishes with a traditional pilot episode and finale episode, while each episode in between focuses on a different character across the same timeline. These episodes can be viewed in any order and make sense, as we see what each character has been up to in the time span between pilot and finale, often seeing the same scene from different perspectives with different details revealed or hidden.
Not just an interesting and innovative format for storytelling, this concept also succeeds in reworking some of the earlier variables to separate itself from the traditional manner of viewing television as a text. Dynamics, Determinability and
User Function in particular are all impacted greatly by this integration of social media, and prove that the way we view the television series as a text can be reshaped greatly by incorporating digital media in it’s development.

year: 2015

title: Experiences of Māori of Aotearoa New Zealand's public health system: a systematic review of two decades of published qualitative research

authors: Graham, Rebekah Sarah

subjects: Indigenous health

abstract: Objective: This paper aims to synthesise the broader perspectives of Māori patients and their whānau (extended family, family group) of their treatment within the public health system. Our research question was ‘What are the experiences of Māori in the public health and/or hospital system in Aotearoa New Zealand?’ Methods: A systematic search using PRISMA protocols and reflexive typology organised around the categories of Māori, public healthcare and qualitative research identified 14 papers that covered all three categories. We undertook a qualitative metasynthesis on these papers using a critical community psychology approach. Results: Māori patients and whānau from the included papers mention both barriers and facilitators to health. We categorised barriers as organisational structures, staff interactions and practical considerations. Facilitators were categorised as the provision of whānau support in the form of practical assistance, emotional care and health system navigation. Conclusions: For many Māori, the existing public health system is experienced as hostile and alienating. Whānau members provide support to mitigate this, but it comes as a cost to whānau. Implications for public health: Public health providers must find ways to ensure that Māori consistently experience positive, high-quality healthcare interactions that support Māori ways of being.

text: Experiences of Māori of Aotearoa New Zealand's public health system: a systematic review of two decades of published qualitative research Objective: This paper aims to synthesise the broader perspectives of Māori patients and their whānau (extended family, family group) of their treatment within the public health system. Our research question was ‘What are the experiences of Māori in the public health and/or hospital system in Aotearoa New Zealand?’ Methods: A systematic search using PRISMA protocols and reflexive typology organised around the categories of Māori, public healthcare and qualitative research identified 14 papers that covered all three categories. We undertook a qualitative metasynthesis on these papers using a critical community psychology approach. Results: Māori patients and whānau from the included papers mention both barriers and facilitators to health. We categorised barriers as organisational structures, staff interactions and practical considerations. Facilitators were categorised as the provision of whānau support in the form of practical assistance, emotional care and health system navigation. Conclusions: For many Māori, the existing public health system is experienced as hostile and alienating. Whānau members provide support to mitigate this, but it comes as a cost to whānau. Implications for public health: Public health providers must find ways to ensure that Māori consistently experience positive, high-quality healthcare interactions that support Māori ways of being.

year: 2020