title: Dissecting action sports studies: Past, present, and beyond

authors: Thorpe, Holly Aysha

subjects: POLITICAL SCIENCE

abstract: The term “action sports” broadly refers to a wide range of mostly individualized activities such as BMX, kite-surfing, skateboarding, surfing, and snowboarding that differed – at least in their early phases of development – from traditional rule-bound, competitive, regulated Western “achievement” sport cultures ( Booth and Thorpe, 2007 ; Kusz, 2007a ; Wheaton 2004, 2010 ). Various categorizations have been used to describe these activities, including extreme, lifestyle, and alternative sports. In this chapter, however, the term action sports is used as it is currently the preferred term among committed participants and industry members in North America and Australasia (many of whom reject the overly commercialized “extreme” moniker imposed upon them by transnational media and mainstream sponsors during the mid- and late 1990s).
Many action sports gained popularity during the new leisure trends of the 1960s and 1970s and increasingly attracted alternative youth, who appropriated these activities and infused them with a set of hedonistic and carefree philosophies and subcultural styles ( Booth and Thorpe, 2007 ;  Thorpe and Wheaton, 2011a ; Wheaton, 2010 ).

text: Dissecting action sports studies: Past, present, and beyond The term “action sports” broadly refers to a wide range of mostly individualized activities such as BMX, kite-surfing, skateboarding, surfing, and snowboarding that differed – at least in their early phases of development – from traditional rule-bound, competitive, regulated Western “achievement” sport cultures ( Booth and Thorpe, 2007 ; Kusz, 2007a ; Wheaton 2004, 2010 ). Various categorizations have been used to describe these activities, including extreme, lifestyle, and alternative sports. In this chapter, however, the term action sports is used as it is currently the preferred term among committed participants and industry members in North America and Australasia (many of whom reject the overly commercialized “extreme” moniker imposed upon them by transnational media and mainstream sponsors during the mid- and late 1990s).
Many action sports gained popularity during the new leisure trends of the 1960s and 1970s and increasingly attracted alternative youth, who appropriated these activities and infused them with a set of hedonistic and carefree philosophies and subcultural styles ( Booth and Thorpe, 2007 ;  Thorpe and Wheaton, 2011a ; Wheaton, 2010 ).

year: 2013

title: 'He is a gentleman. I am a gentleman’s daughter. So far we are equal’: Gender performance in twenty-first century adaptations of Jane Austen’s Emma and Pride and prejudice

authors: Hodgson, Laura

abstract: The core focus of this thesis is gender performance in two of Jane Austen’s novels, Pride and Prejudice and Emma, and twenty-first-century adaptations of these novels. The thesis revolves around six key texts: Austen’s novel Pride and Prejudice, its 2005 film adaptation of the same name directed by Joe Wright, and the transmedia modernisation, The Lizzie Bennet Diaries; as well as Austen’s novel Emma, its 2020 film adaptation of the same name directed by Autumn de Wilde, and the transmedia web series, Emma Approved. There have undoubtedly been shifts in gender performance over the two hundred years since Austen published her novels, but these are not always reflected in the adaptations. In part this is due to the surprisingly progressive nature of some of Austen’s meditations on gender, with Elizabeth Bennet from Pride and Prejudice presenting as a pre-feminist and George Knightley from Emma performing as a pre-feminist man. These aspects of gender performance are extended by Keira Knightley’s portrayal of Elizabeth Bennet in Wright’s film, which reframes the character as a Romantic feminist, and Johnny Flynn’s performance of Mr. Knightley as a hero positioned under the female gaze in de Wilde’s film. 

Yet, the thesis also reveals that Austen’s feminist precursors are not always developed in contemporary adaptations. Indeed, Lizzie Bennet in The Lizzie Bennet Diaries is a postfeminist who is far from being an autonomous twenty-first century woman and is dependent on family and male suitors to provide her with opportunities. Likewise, the opportunity to reimagine Austen’s characters in a twenty-first-century gender context is also ignored in some adaptations, particularly the transmedia web series, with Emma in Emma Approved continuing to endorse patriarchal structures in the same way that she does in Austen’s original novel. The dandyism of Frank Churchill in Austen’s Emma is also undercut in Emma Approved through a performance of heteronormativity that sidelines the queer potential initiated by previous adaptations, such as the 1995 film Clueless. Most striking is the stagnant gender performance of Mr. Darcy from Pride and Prejudice who remains the embodiment of hegemonic gentry masculinity in both the film and the web series. This thesis reveals that the lack of change in gender performance in some contemporary Austen adaptations demonstrates the persistence of hegemonic masculinity in the twenty-first century, while postfeminist performances of gender at times seem regressive.

text: 'He is a gentleman. I am a gentleman’s daughter. So far we are equal’: Gender performance in twenty-first century adaptations of Jane Austen’s Emma and Pride and prejudice The core focus of this thesis is gender performance in two of Jane Austen’s novels, Pride and Prejudice and Emma, and twenty-first-century adaptations of these novels. The thesis revolves around six key texts: Austen’s novel Pride and Prejudice, its 2005 film adaptation of the same name directed by Joe Wright, and the transmedia modernisation, The Lizzie Bennet Diaries; as well as Austen’s novel Emma, its 2020 film adaptation of the same name directed by Autumn de Wilde, and the transmedia web series, Emma Approved. There have undoubtedly been shifts in gender performance over the two hundred years since Austen published her novels, but these are not always reflected in the adaptations. In part this is due to the surprisingly progressive nature of some of Austen’s meditations on gender, with Elizabeth Bennet from Pride and Prejudice presenting as a pre-feminist and George Knightley from Emma performing as a pre-feminist man. These aspects of gender performance are extended by Keira Knightley’s portrayal of Elizabeth Bennet in Wright’s film, which reframes the character as a Romantic feminist, and Johnny Flynn’s performance of Mr. Knightley as a hero positioned under the female gaze in de Wilde’s film. 

Yet, the thesis also reveals that Austen’s feminist precursors are not always developed in contemporary adaptations. Indeed, Lizzie Bennet in The Lizzie Bennet Diaries is a postfeminist who is far from being an autonomous twenty-first century woman and is dependent on family and male suitors to provide her with opportunities. Likewise, the opportunity to reimagine Austen’s characters in a twenty-first-century gender context is also ignored in some adaptations, particularly the transmedia web series, with Emma in Emma Approved continuing to endorse patriarchal structures in the same way that she does in Austen’s original novel. The dandyism of Frank Churchill in Austen’s Emma is also undercut in Emma Approved through a performance of heteronormativity that sidelines the queer potential initiated by previous adaptations, such as the 1995 film Clueless. Most striking is the stagnant gender performance of Mr. Darcy from Pride and Prejudice who remains the embodiment of hegemonic gentry masculinity in both the film and the web series. This thesis reveals that the lack of change in gender performance in some contemporary Austen adaptations demonstrates the persistence of hegemonic masculinity in the twenty-first century, while postfeminist performances of gender at times seem regressive.

year: 2023

title: Tangihanga: Through the eyes of young Maori women

authors: Wihongi, Hemaima

subjects: tangihanga

abstract: Tangihanga describes the Māori customary way of approaching death. The aim of this research is to explore the tangihanga experiences of young Māori women. The meanings they create, the learning they experience, and the social relationships they negotiate whilst at tangihanga are of interest. The contribution that tangihanga makes to mediating bereavement, grief and loss will also be investigated. This research seeks to broaden the understanding around the practices, beliefs and meanings that are associated with the processes of Tangihanga as experienced by young Māori women.
This study interviewed young Māori women between the ages of eighteen to twenty four. Face to face interviews were carried out with the use of a semi-structured interview schedule. The interviews provided access to the participant‟s experiences and understanding of tangihanga and the customary practices that are associated with it.
The findings from this study support the notion that the tangihanga is a fundamental event for Māori. The participants found tangi to be a place where their relationships within both their immediate and extended whānau were strengthened. This setting allowed the young women to express their grief in an open and supportive environment surrounded by their whānau. The tangi also provided a place of learning for the young women as they learned about the tikanga and kawa or customary practices in relation to tangihanga. This learning occurred in a number of ways; by observation, through participation and the receiving of instruction from older family members. Thus the tangi provided the opportunity for the transfer of cultural knowledge between generations. These findings suggest that the tangi plays an important role in young women‟s lives as it provides them with access to Māori communities and cultural learning. The challenge for us today is to ensure that these opportunities continue to occur for young Māori women.

text: Tangihanga: Through the eyes of young Maori women Tangihanga describes the Māori customary way of approaching death. The aim of this research is to explore the tangihanga experiences of young Māori women. The meanings they create, the learning they experience, and the social relationships they negotiate whilst at tangihanga are of interest. The contribution that tangihanga makes to mediating bereavement, grief and loss will also be investigated. This research seeks to broaden the understanding around the practices, beliefs and meanings that are associated with the processes of Tangihanga as experienced by young Māori women.
This study interviewed young Māori women between the ages of eighteen to twenty four. Face to face interviews were carried out with the use of a semi-structured interview schedule. The interviews provided access to the participant‟s experiences and understanding of tangihanga and the customary practices that are associated with it.
The findings from this study support the notion that the tangihanga is a fundamental event for Māori. The participants found tangi to be a place where their relationships within both their immediate and extended whānau were strengthened. This setting allowed the young women to express their grief in an open and supportive environment surrounded by their whānau. The tangi also provided a place of learning for the young women as they learned about the tikanga and kawa or customary practices in relation to tangihanga. This learning occurred in a number of ways; by observation, through participation and the receiving of instruction from older family members. Thus the tangi provided the opportunity for the transfer of cultural knowledge between generations. These findings suggest that the tangi plays an important role in young women‟s lives as it provides them with access to Māori communities and cultural learning. The challenge for us today is to ensure that these opportunities continue to occur for young Māori women.

year: 2013