title: Foregrounding Harmony: Chinese International Student’s Voices in Communication with Their New Zealand Peers

authors: Holmes, Prue

subjects: harmony

abstract: Chinese students’ intercultural communication experiences in Western educational institutions have largely been examined through Eurocentric theoretical lenses, often resulting in misinterpretations of their verbal and nonverbal interactions. Instead, this paper provides new understandings of Chinese students’ intercultural experiences by adopting an “Asinacentric” approach which foregrounds harmony as an epistemological, religious, and axiological base for communication. In-depth interviews with 14 Chinese international and 10 New Zealand Students indicated that Chinese students sought to maintain harmony in interpersonal relations, evidenced in facework, role recognition, the place of listening and silence, and managing group work interactions. The study outcomes have implications for future research on Chinese communication, as well as understandings of Chinese international student’s communication with their New Zealand counterparts in Western Learning contexts.

text: Foregrounding Harmony: Chinese International Student’s Voices in Communication with Their New Zealand Peers Chinese students’ intercultural communication experiences in Western educational institutions have largely been examined through Eurocentric theoretical lenses, often resulting in misinterpretations of their verbal and nonverbal interactions. Instead, this paper provides new understandings of Chinese students’ intercultural experiences by adopting an “Asinacentric” approach which foregrounds harmony as an epistemological, religious, and axiological base for communication. In-depth interviews with 14 Chinese international and 10 New Zealand Students indicated that Chinese students sought to maintain harmony in interpersonal relations, evidenced in facework, role recognition, the place of listening and silence, and managing group work interactions. The study outcomes have implications for future research on Chinese communication, as well as understandings of Chinese international student’s communication with their New Zealand counterparts in Western Learning contexts.

year: 2008

title: Rats, plagues, and children, Oh My! Multimodal representations of the past in historical games

authors: Redder, Ben Dorrington

subjects: visuality design

abstract: Since their inception, Game Studies and its sub-discipline Historical Game Studies have stressed the pedagogical potential of (historical) games for learning. Today, popular off-the-shelf historical digital games such as Assassin’s Creed: Origins (2017), Total War: Three Kingdoms (2019), and Red Dead Redemption (2010) have achieved period-faithful and authentic interactive representations of elements of history that possess pedagogical value distinct from written accounts. To substantiate this claim, the authors forward a multimodal account of the varied ways in which historical knowledge is present in both game design and the gameplay experience. Their approach is illustrated with an under-investigated (yet valuable) mode of historical exploration – ‘Imaginative History.’ Using video and/or screen captures from several sequences of recorded game footage taken from A Plague Tale: Innocence, the authors present a case example from the game’s fantastical portrayal of the Black Death plague. The game’s value for teaching and learning is examined in relation to its re-mediation and subversion of past pre-modern folklore imaginations and beliefs concerning the Black Death. The authors also account for the relevance of the way games achieve a specific mode of engagement that is experientially based and structured within gameplay

text: Rats, plagues, and children, Oh My! Multimodal representations of the past in historical games Since their inception, Game Studies and its sub-discipline Historical Game Studies have stressed the pedagogical potential of (historical) games for learning. Today, popular off-the-shelf historical digital games such as Assassin’s Creed: Origins (2017), Total War: Three Kingdoms (2019), and Red Dead Redemption (2010) have achieved period-faithful and authentic interactive representations of elements of history that possess pedagogical value distinct from written accounts. To substantiate this claim, the authors forward a multimodal account of the varied ways in which historical knowledge is present in both game design and the gameplay experience. Their approach is illustrated with an under-investigated (yet valuable) mode of historical exploration – ‘Imaginative History.’ Using video and/or screen captures from several sequences of recorded game footage taken from A Plague Tale: Innocence, the authors present a case example from the game’s fantastical portrayal of the Black Death plague. The game’s value for teaching and learning is examined in relation to its re-mediation and subversion of past pre-modern folklore imaginations and beliefs concerning the Black Death. The authors also account for the relevance of the way games achieve a specific mode of engagement that is experientially based and structured within gameplay

year: 2022

title: Ahumai

authors: Temara, Pou

subjects: Pātere

abstract: E tika ana kia punarua te wānanga i ēnei pātere e rua nā te mea he mārama te kite iho o whatu he ōrite ētahi o ngā rārangi kupu, ngā whakaaro me ngā kareāroto ki te pātere a Ahumai. Ahakoa kāore i te takoto te ingoa o te kaitito i tēnei pātere, nā te ōrite o ētahi o ngā kupu, e taea te whakapae, nā te ringa kotahi ēnei pātere i waituhi? Kai roto hoki i te pātere nei e takaoto ana ngā rohe o Raukawa pērā i Wharepūhunga, me ngā tangata whai mana o tērā iwi pērā i a Tīkao. Hei taituarā ka hahua ake anō te kōrero a Turanga Te Mauparaoa ki te tata o te rohe o te iwi nāna te waiata nei, ki tōna rohe. Kāore te Māori e kī ‘nō tua ake nei tēnei pātere’ mēnā he tawhiti atu te iwi i tōna. Nō reira, ki taku wānanga, ehara tēnei pātere nō ngā iwi o Taranaki. He tawhiti rawa a Taranaki i Murupara. Hāunga a Raukawa, koia te iwi kai ‘tua ake nei’.

E tuku ana ahau i taku ihu kia puta. Ki te tapahia mai, e pai ana. E kī ana hoki au, ko te mea poto te titonga tuatahi, ko te mea roa te titonga o muri mai. He ariā te mea tuatahi nō te mea tuarua.

text: Ahumai E tika ana kia punarua te wānanga i ēnei pātere e rua nā te mea he mārama te kite iho o whatu he ōrite ētahi o ngā rārangi kupu, ngā whakaaro me ngā kareāroto ki te pātere a Ahumai. Ahakoa kāore i te takoto te ingoa o te kaitito i tēnei pātere, nā te ōrite o ētahi o ngā kupu, e taea te whakapae, nā te ringa kotahi ēnei pātere i waituhi? Kai roto hoki i te pātere nei e takaoto ana ngā rohe o Raukawa pērā i Wharepūhunga, me ngā tangata whai mana o tērā iwi pērā i a Tīkao. Hei taituarā ka hahua ake anō te kōrero a Turanga Te Mauparaoa ki te tata o te rohe o te iwi nāna te waiata nei, ki tōna rohe. Kāore te Māori e kī ‘nō tua ake nei tēnei pātere’ mēnā he tawhiti atu te iwi i tōna. Nō reira, ki taku wānanga, ehara tēnei pātere nō ngā iwi o Taranaki. He tawhiti rawa a Taranaki i Murupara. Hāunga a Raukawa, koia te iwi kai ‘tua ake nei’.

E tuku ana ahau i taku ihu kia puta. Ki te tapahia mai, e pai ana. E kī ana hoki au, ko te mea poto te titonga tuatahi, ko te mea roa te titonga o muri mai. He ariā te mea tuatahi nō te mea tuarua.

year: 2017