title: Birth, Death, and Marriage in the Garden: Canterbury Colonial Women Gardeners, 1850–1914

authors: Bainbridge, Annette Helen

subjects: Garden History

abstract: This thesis presents a study of the role of gardens in the life stages of colonial women of Canterbury. Using the framework of the expected life-cycle of middle- and upper-class Victorian women (birth, marriage, death), this thesis analyses how women’s garden-making, and interactions with gardens, cast new light on various aspects of colonial gender discourse and gender relations.

The study demonstrates that gardens of colonial women were sites of social cohesion in settler communities. Colonial women used the garden for family or communal events, such as wedding celebrations, and community games and sports that helped bind together rural society. Women were also capable of using the garden as a site of resistance to, or rejection of, the prevailing gender norms. The ambiguity of the garden space, both public and private, connected to the house but separate from the house, enabled women to use it as a site for pushing the boundaries of what was considered socially acceptable behaviour in colonial society

Women gardeners also made considerable contributions to environmental transformation in New Zealand’s South Island. This thesis argues that this has been overlooked or minimalised in environmental historiography in New Zealand. It also argues that previous historical arguments that women gardeners were motivated primarily by imperial ideologies and the desire for social display, ignores the very real role played by environmental hazards and health issues in the creation of colonial gardens.

text: Birth, Death, and Marriage in the Garden: Canterbury Colonial Women Gardeners, 1850–1914 This thesis presents a study of the role of gardens in the life stages of colonial women of Canterbury. Using the framework of the expected life-cycle of middle- and upper-class Victorian women (birth, marriage, death), this thesis analyses how women’s garden-making, and interactions with gardens, cast new light on various aspects of colonial gender discourse and gender relations.

The study demonstrates that gardens of colonial women were sites of social cohesion in settler communities. Colonial women used the garden for family or communal events, such as wedding celebrations, and community games and sports that helped bind together rural society. Women were also capable of using the garden as a site of resistance to, or rejection of, the prevailing gender norms. The ambiguity of the garden space, both public and private, connected to the house but separate from the house, enabled women to use it as a site for pushing the boundaries of what was considered socially acceptable behaviour in colonial society

Women gardeners also made considerable contributions to environmental transformation in New Zealand’s South Island. This thesis argues that this has been overlooked or minimalised in environmental historiography in New Zealand. It also argues that previous historical arguments that women gardeners were motivated primarily by imperial ideologies and the desire for social display, ignores the very real role played by environmental hazards and health issues in the creation of colonial gardens.

year: 2015

title: Displaying 3D images: algorithms for single-image random-dot

authors: Thimbleby, Harold W.

subjects: Machine learning

abstract: A new, simple, and symmetric algorithm can be implemented that results in higher levels of detail in solid objects than previously possible with autostereograms. In a stereoscope, an optical instrument similar to binoculars, each eye views a different picture and thereby receives the specific image that would have arisen naturally. An early suggestion for a color stereo computer display involved a rotating filter wheel held in front of the eyes. In contrast, this article describes a method for viewing on paper or on an ordinary computer screen without special equipment, although it is limited to the display of 3D monochromatic objects. (The image can be colored, say, for artistic reasons, but the method we describe does not allow colors to be allocated in a way that corresponds to an arbitrary coloring of the solid object depicted.) The image can easily be constructed by computer from any 3D scene or solid object description.

text: Displaying 3D images: algorithms for single-image random-dot A new, simple, and symmetric algorithm can be implemented that results in higher levels of detail in solid objects than previously possible with autostereograms. In a stereoscope, an optical instrument similar to binoculars, each eye views a different picture and thereby receives the specific image that would have arisen naturally. An early suggestion for a color stereo computer display involved a rotating filter wheel held in front of the eyes. In contrast, this article describes a method for viewing on paper or on an ordinary computer screen without special equipment, although it is limited to the display of 3D monochromatic objects. (The image can be colored, say, for artistic reasons, but the method we describe does not allow colors to be allocated in a way that corresponds to an arbitrary coloring of the solid object depicted.) The image can easily be constructed by computer from any 3D scene or solid object description.

year: 1994-10-01

title: The Pirates of Parihaka: Parody as a Response to Violence

authors: Moffat, Kirstine

abstract: This paper originates from my archival exploration of Gilbert and Sullivan, specifically Frank Rolleston's adaptation of Pirates of Penzance, a discovery pivotal for my chapter on Gilbert and Sullivan in colonial New Zealand. This led to a broader investigation into literary and musical responses to Parihaka, contemplating the appropriateness of capturing its essence. In 2019, reflecting on our national journey, I align with Ihimaera's perspective, acknowledging the justified anger at injustice but also embracing the optimism and hope—a new dawn after the dark night, symbolizing death, resurrection, and new life. The Maori proverb "Ko te poo e teiwi te kai hari te raa" encapsulates this sentiment, emphasizing that the night brings the day, and "Ko te mate te kai hari i te orange e au" asserts that death brings life.

text: The Pirates of Parihaka: Parody as a Response to Violence This paper originates from my archival exploration of Gilbert and Sullivan, specifically Frank Rolleston's adaptation of Pirates of Penzance, a discovery pivotal for my chapter on Gilbert and Sullivan in colonial New Zealand. This led to a broader investigation into literary and musical responses to Parihaka, contemplating the appropriateness of capturing its essence. In 2019, reflecting on our national journey, I align with Ihimaera's perspective, acknowledging the justified anger at injustice but also embracing the optimism and hope—a new dawn after the dark night, symbolizing death, resurrection, and new life. The Maori proverb "Ko te poo e teiwi te kai hari te raa" encapsulates this sentiment, emphasizing that the night brings the day, and "Ko te mate te kai hari i te orange e au" asserts that death brings life.

year: 2019-11-26