title: Where did the rats of big South Cape Island come from?

authors: Robins, Judith H.

abstract: The ship rat invasion of Big South Cape Island/Taukihepa in the 1960s was an ecological catastrophe that marked a turning point for the management of rodents on offshore islands of New Zealand. Despite the importance of this event in the conservation history of New Zealand, and subsequent major advances in rodent eradication and biosecurity, the source and pathway of the rat invasion of Big South Cape Island has never been identified. Using modern molecular methods on contemporary and historical tissue samples, we identify the mitochondrial DNA (mtDNA) haplotype of ship rats (Rattus rattus) on Big South Cape Island and compare it to that of ship rats in the neighbouring regions of Stewart Island/Rakiura and southern New Zealand, all hypothesised as possible source sites for the invasion. We identify two haplotype clusters, each comprising three closely related haplotypes; one cluster unique to Stewart Island, and the other found in southern New Zealand and elsewhere. By a process of elimination we rule that the ship rat invasion of Big South Cape Island was neither by swimming nor boat transport from Stewart Island, and is unlikely to have come from the south coast ports of New Zealand. However, because the ship rat haplotype found on Big South Cape Island is cosmopolitan to New Zealand’s South Island and elsewhere, we can only confirm that the invasion likely originated from some distance, but are not able to identify the invasion source more precisely. An unexpected consequence of our study is the discovery of five new mtDNA haplotypes for R. rattus that have not been previously reported.

text: Where did the rats of big South Cape Island come from? The ship rat invasion of Big South Cape Island/Taukihepa in the 1960s was an ecological catastrophe that marked a turning point for the management of rodents on offshore islands of New Zealand. Despite the importance of this event in the conservation history of New Zealand, and subsequent major advances in rodent eradication and biosecurity, the source and pathway of the rat invasion of Big South Cape Island has never been identified. Using modern molecular methods on contemporary and historical tissue samples, we identify the mitochondrial DNA (mtDNA) haplotype of ship rats (Rattus rattus) on Big South Cape Island and compare it to that of ship rats in the neighbouring regions of Stewart Island/Rakiura and southern New Zealand, all hypothesised as possible source sites for the invasion. We identify two haplotype clusters, each comprising three closely related haplotypes; one cluster unique to Stewart Island, and the other found in southern New Zealand and elsewhere. By a process of elimination we rule that the ship rat invasion of Big South Cape Island was neither by swimming nor boat transport from Stewart Island, and is unlikely to have come from the south coast ports of New Zealand. However, because the ship rat haplotype found on Big South Cape Island is cosmopolitan to New Zealand’s South Island and elsewhere, we can only confirm that the invasion likely originated from some distance, but are not able to identify the invasion source more precisely. An unexpected consequence of our study is the discovery of five new mtDNA haplotypes for R. rattus that have not been previously reported.

year: 2016

title: "We’re like the sex CPR dummies”: Young women’s understandings of (hetero)sexual pleasure in university accommodation

authors: Brown, Juliana

subjects: (hetero)sex

abstract: In this article, we explore the discourses that affect young women’s experiences of (hetero)sexual pleasure, drawing on data from focus groups with young women and young men who lived within a university residential setting in Aotearoa/New Zealand. Here we focus on the gendered understandings among the participants that prioritise men’s sexual pleasure and largely position women as the means of achieving that pleasure. The young women spoke of multiple barriers to gaining equality during (hetero)sexual experiences, with key issues being the coital imperative and women’s supposed sexual passivity. In challenging these barriers, the young women described various tactics used to resist their subordinate position. However, the women often placed the onus of responsibility for dismantling these barriers on themselves, thus bearing the burden of responsibility for not only young men’s sexual pleasure but also their own.

text: "We’re like the sex CPR dummies”: Young women’s understandings of (hetero)sexual pleasure in university accommodation In this article, we explore the discourses that affect young women’s experiences of (hetero)sexual pleasure, drawing on data from focus groups with young women and young men who lived within a university residential setting in Aotearoa/New Zealand. Here we focus on the gendered understandings among the participants that prioritise men’s sexual pleasure and largely position women as the means of achieving that pleasure. The young women spoke of multiple barriers to gaining equality during (hetero)sexual experiences, with key issues being the coital imperative and women’s supposed sexual passivity. In challenging these barriers, the young women described various tactics used to resist their subordinate position. However, the women often placed the onus of responsibility for dismantling these barriers on themselves, thus bearing the burden of responsibility for not only young men’s sexual pleasure but also their own.

year: 2017

title: A Portfolio of Compositions

authors: Dobson, Elizabeth Jane

subjects: music

abstract: The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

text: A Portfolio of Compositions The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

year: 2010