title: Beyond Romance's Utopia: The Individual and Human Love

authors: Stock, Carolyn

subjects: Romantic love

abstract: This thesis is a critique of romantic love theoretically premised on the analytical psychology of Carl Jung and the humanistic psychoanalysis of Erich Fromm.  The aim of this critique is to explore whether there are grounds for postulating a conception of love beyond the current romantic framework.
As the critique is primarily concentrated at the depth level, romantic love is examined via the medium of Cinderella folklore, with particular focus on Andy Tennant's 1998 film adaptation of Cinderella, Ever After.  Based on a Jungian approach to the psyche and psychic products, the methodological framework incorporates the three following tools: The tool of interpretation at the subjective level, in which the characters of the Cinderella fairy tale are read symbolically rather than taken to denote literal fictitious characters; the tool of constructive analysis, in which it is argued that romantic love is more than 'nothing but' a boy/girl love story or 'nothing but' a myth depicting patriarchal oppression; and the tool of amplification, in which archetypal similarities between the Christian myth and the Cinderella fairy tale are highlighted.
	The central argument of this critique is that while romantic love does not provide a viable model of relatedness if taken and practiced literally, the romantic myth nonetheless contains within it the basis for a fuller and richer experience of love and relatedness if read subjectively.  The rationale for a depth critique of romantic love is based upon the Jungian postulate that phenomena such as dreams and myths issue fundamentally from the unconscious psychic realm, and further upon Jung's recognition of a psychological developmental process he refers to as 'individuation' activated by engagement with the products of the unconscious.  A symbolic/psychological reading of romantic love brings to light that romantic desire toward another is an outward manifestation of an inner desire for individual realisation, and is expressive of the individual's own capacity for wholeness.  The value of a symbolic reading of romantic love is appreciated if it is conceived that it is precisely individual realisation that forms the basis for what is referred to by Erich Fromm as productive or knowledge-based love, argued here to be the ideal and only firm basis for human relatedness generally and intimate relatedness specifically.

text: Beyond Romance's Utopia: The Individual and Human Love This thesis is a critique of romantic love theoretically premised on the analytical psychology of Carl Jung and the humanistic psychoanalysis of Erich Fromm.  The aim of this critique is to explore whether there are grounds for postulating a conception of love beyond the current romantic framework.
As the critique is primarily concentrated at the depth level, romantic love is examined via the medium of Cinderella folklore, with particular focus on Andy Tennant's 1998 film adaptation of Cinderella, Ever After.  Based on a Jungian approach to the psyche and psychic products, the methodological framework incorporates the three following tools: The tool of interpretation at the subjective level, in which the characters of the Cinderella fairy tale are read symbolically rather than taken to denote literal fictitious characters; the tool of constructive analysis, in which it is argued that romantic love is more than 'nothing but' a boy/girl love story or 'nothing but' a myth depicting patriarchal oppression; and the tool of amplification, in which archetypal similarities between the Christian myth and the Cinderella fairy tale are highlighted.
	The central argument of this critique is that while romantic love does not provide a viable model of relatedness if taken and practiced literally, the romantic myth nonetheless contains within it the basis for a fuller and richer experience of love and relatedness if read subjectively.  The rationale for a depth critique of romantic love is based upon the Jungian postulate that phenomena such as dreams and myths issue fundamentally from the unconscious psychic realm, and further upon Jung's recognition of a psychological developmental process he refers to as 'individuation' activated by engagement with the products of the unconscious.  A symbolic/psychological reading of romantic love brings to light that romantic desire toward another is an outward manifestation of an inner desire for individual realisation, and is expressive of the individual's own capacity for wholeness.  The value of a symbolic reading of romantic love is appreciated if it is conceived that it is precisely individual realisation that forms the basis for what is referred to by Erich Fromm as productive or knowledge-based love, argued here to be the ideal and only firm basis for human relatedness generally and intimate relatedness specifically.

year: 2007

title: A Musicological Analysis of Nature's Best

authors: Braae, Nicholas

subjects: popular music

abstract: Academic research on New Zealand popular music has primarily been conducted from historical and cultural perspectives. While asking important questions, these sources have rarely engaged with the musical details of New Zealand popular music. This thesis is a musicological analysis of the 100 songs from the three Nature’s Best albums. The musical perspective complements the socio-cultural research on New Zealand popular music.

The Nature’s Best project was instigated by Mike Chunn in 2001 to celebrate the 75th anniversary of the Australasian Performing Right Association (APRA). All songwriting members of APRA and 100 celebrities and critics were invited to vote for their ten favourite New Zealand popular songs. Fourmyula’s 1969 hit ‘Nature’ gained the most votes. The three Nature’s Best CDs ranked the top 100 songs. The albums were a commercial success upon release in 2002 and 2003.

This thesis analyses the 100 songs with regards to eight musical parameters: harmony, melodic construction, form, beat, length, tempo, introductory hooks and instrumental solos. The analytical methods were drawn from classical and popular musicology. Interviews with twelve songwriters were also conducted to gain alternative viewpoints on the analysis. The 100 songs provide a sample of New Zealand popular music from 1970 until 2000; thus, the analysis is useful for addressing questions of New Zealand musical style and traits.

The results suggest New Zealand songwriters follow fundamental principles of Anglo-American songwriting, such as arched and balanced melodies, and forms based on repeated and contrasting sections. The harmonic language is similar to international artists of the same period; however, it appears 1970s and 1980s songwriters were more adventurous in this area compared with their 1990s counterparts. The instrumental solos were notable for an anti-virtuosic trait. It is argued this feature mirrors aspects of New Zealand identity.

text: A Musicological Analysis of Nature's Best Academic research on New Zealand popular music has primarily been conducted from historical and cultural perspectives. While asking important questions, these sources have rarely engaged with the musical details of New Zealand popular music. This thesis is a musicological analysis of the 100 songs from the three Nature’s Best albums. The musical perspective complements the socio-cultural research on New Zealand popular music.

The Nature’s Best project was instigated by Mike Chunn in 2001 to celebrate the 75th anniversary of the Australasian Performing Right Association (APRA). All songwriting members of APRA and 100 celebrities and critics were invited to vote for their ten favourite New Zealand popular songs. Fourmyula’s 1969 hit ‘Nature’ gained the most votes. The three Nature’s Best CDs ranked the top 100 songs. The albums were a commercial success upon release in 2002 and 2003.

This thesis analyses the 100 songs with regards to eight musical parameters: harmony, melodic construction, form, beat, length, tempo, introductory hooks and instrumental solos. The analytical methods were drawn from classical and popular musicology. Interviews with twelve songwriters were also conducted to gain alternative viewpoints on the analysis. The 100 songs provide a sample of New Zealand popular music from 1970 until 2000; thus, the analysis is useful for addressing questions of New Zealand musical style and traits.

The results suggest New Zealand songwriters follow fundamental principles of Anglo-American songwriting, such as arched and balanced melodies, and forms based on repeated and contrasting sections. The harmonic language is similar to international artists of the same period; however, it appears 1970s and 1980s songwriters were more adventurous in this area compared with their 1990s counterparts. The instrumental solos were notable for an anti-virtuosic trait. It is argued this feature mirrors aspects of New Zealand identity.

year: 2012

title: The art of dialogue with indigenous communities in the new biotechnology world

authors: Hudson, Maui

subjects: biotechnology

abstract: Te Hau Mihi Ata is a research project that aims to negotiate spaces for and develop processes of dialogue that allow for a deeper level of interaction between mtauranga Māori (Māori indigenous knowledge) and science. Over a two-year period a series of facilitated exchanges or wnanga were held focusing on areas of new technology (assisted reproductive technologies, life technologies, and future food technologies) that involved Māori scientists and people with expertise in mtauranga Māori. These dialogue events were designed to explore, through the challenge of considering new biotechnologies, the similarities and differences that emerge from approaching these issues from different knowledge paradigms. This paper will outline the key project findings from this series of exchanges including the barriers and facilitators to the dialogue process and knowledge exchange as well as discuss how participants created connections between scientific discourse and indigenous knowledge frameworks.

text: The art of dialogue with indigenous communities in the new biotechnology world Te Hau Mihi Ata is a research project that aims to negotiate spaces for and develop processes of dialogue that allow for a deeper level of interaction between mtauranga Māori (Māori indigenous knowledge) and science. Over a two-year period a series of facilitated exchanges or wnanga were held focusing on areas of new technology (assisted reproductive technologies, life technologies, and future food technologies) that involved Māori scientists and people with expertise in mtauranga Māori. These dialogue events were designed to explore, through the challenge of considering new biotechnologies, the similarities and differences that emerge from approaching these issues from different knowledge paradigms. This paper will outline the key project findings from this series of exchanges including the barriers and facilitators to the dialogue process and knowledge exchange as well as discuss how participants created connections between scientific discourse and indigenous knowledge frameworks.

year: 2012