title: Landslides in sensitive soils, Tauranga, New Zealand.

authors: Moon, Vicki G.

subjects: sensitive soil

abstract: In the Tauranga region sensitive soil failures commonly occur after heavy rainfall events, causing considerable infrastructure damage. Several notable landslides include a large failure at Bramley Drive, Omokoroa in 1979, the Ruahihi Canal collapse in 1981, and numerous landslides in May 2005; recently the Bramley Drive scarp was reactivated in 2011. These failures are associated with materials loosely classified as the Pahoia Tephras - a mixture of rhyolitic pyroclastic deposits of approximately 1 Ma.

The common link with extreme rainfall events suggests a pore water pressure control on the initiation of these failures. Recent research on the structure of the soils shows a dominance of halloysite clay minerals packed loosely in arrangements with high porosity (51 – 77 %), but with almost entirely micropores. This leads us to conclude that the permeability is very low, and the materials remain continuously wet. The formation of halloysite is encouraged by a wet environment with no episodes of drying, supporting this assumption.

A high-resolution CPT trace at Bramley Drive indicates induced pore water pressures rising steadily to a peak at approximately 25 m depth; this depth coincides with the base of the landslide scarp. We infer that elevated pore water pressures develop within this single, thick aquifer, triggering failure through reduced effective stresses. The inactive halloysite clay mineral results in low plasticity indices (13 – 44 %) and hence high liquidity indices (1.2 – 2.4) due to the saturated pore space; remoulding following failure is sudden and dramatic and results in large debris runout distances.

text: Landslides in sensitive soils, Tauranga, New Zealand. In the Tauranga region sensitive soil failures commonly occur after heavy rainfall events, causing considerable infrastructure damage. Several notable landslides include a large failure at Bramley Drive, Omokoroa in 1979, the Ruahihi Canal collapse in 1981, and numerous landslides in May 2005; recently the Bramley Drive scarp was reactivated in 2011. These failures are associated with materials loosely classified as the Pahoia Tephras - a mixture of rhyolitic pyroclastic deposits of approximately 1 Ma.

The common link with extreme rainfall events suggests a pore water pressure control on the initiation of these failures. Recent research on the structure of the soils shows a dominance of halloysite clay minerals packed loosely in arrangements with high porosity (51 – 77 %), but with almost entirely micropores. This leads us to conclude that the permeability is very low, and the materials remain continuously wet. The formation of halloysite is encouraged by a wet environment with no episodes of drying, supporting this assumption.

A high-resolution CPT trace at Bramley Drive indicates induced pore water pressures rising steadily to a peak at approximately 25 m depth; this depth coincides with the base of the landslide scarp. We infer that elevated pore water pressures develop within this single, thick aquifer, triggering failure through reduced effective stresses. The inactive halloysite clay mineral results in low plasticity indices (13 – 44 %) and hence high liquidity indices (1.2 – 2.4) due to the saturated pore space; remoulding following failure is sudden and dramatic and results in large debris runout distances.

year: 2013

title: A study of early Caroline lyric verse with special attention to that of Thomas Carew and Robert Herrick

authors: McLaren, Margaret Cameron

abstract: In this thesis a range of secular lyrics written during the reign of Charles I, and often slighted since, is surveyed. Special attention is directed to the work of Thomas Carew and Robert Herrick.
First the historical background of the period, with its social and political tensions, is examined. The court is seen as a bastion of privilege, a cause for resentment and, at the same time, a nurturing ground for great poetic talent.
In the tradition of earlier monarchs, Charles I was an earnest patron of the arts; and from their country estates, literary aristocrats like Lord Falkland also gave personal and practical encouragement to artists, especially poets.
The poets in their turn, though they did not always admit it, took their work seriously, creating a myriad of lovely lyrics in which classical, medieval and Renaissance themes and conventions are used, challenged and reworked.
The influence of John Donne and Ben Jonson is seen to have been considerable. Donne had provided a model of personal, dramatic and closely-reasoned “strong lines”. And Jonson encouraged controlled reliance on classical poets “as Guides, not Commanders”, and wrote poetry and criticism in clear idiomatic English, with a respect for the rhythms of both speech and song. 
The development of music, in particular the increasing popularity of the declamatory air in which individual words were heard clearly so that each was important, affected early Caroline lyrics, and was affected by them. To a lesser extent, but just as surely, drama, masque and dance left their mark on the lyric form.
Whether, like Carew, the early Carolines wrote lyrics to be circulated in manuscript, or like Herrick, to be published, the best of them were highly conscious of their craft, and sensitive to the laws of proportion and decorum. They treated their favourite themes, love, philosophy, court and country living, politics and social occasions, the occult, the abnormal and the comic, from many angles, with varying degrees of sensitivity, knowledge and sophistication.
Thomas Carew’s polished amatory and occasional poems “netts, of passions finest thred”, are shown to investigate human relationships with frankness and scintillating wit. 
For all their unpretentious charm and freshness, the lyrics of Robert Herrick, in the context of the whole of Hesperides, are seen to have immense range, depth and assurance. With his love of friends and family, his appreciation of living things, his acceptance of the beautiful and the ugly, his delightful sense of fun, his bold comments on the world about him, and his insistence on the worth of human joy, Herrick has earned the immortality he considered his due.
The court poets, and in particular Thomas Carew and Robert Herrick, wrote an abundance of thoughtful finished lyrics, “rare perfections” to use Carew’s words, which can both give great pleasure and increase our understanding of the complexities of life.

text: A study of early Caroline lyric verse with special attention to that of Thomas Carew and Robert Herrick In this thesis a range of secular lyrics written during the reign of Charles I, and often slighted since, is surveyed. Special attention is directed to the work of Thomas Carew and Robert Herrick.
First the historical background of the period, with its social and political tensions, is examined. The court is seen as a bastion of privilege, a cause for resentment and, at the same time, a nurturing ground for great poetic talent.
In the tradition of earlier monarchs, Charles I was an earnest patron of the arts; and from their country estates, literary aristocrats like Lord Falkland also gave personal and practical encouragement to artists, especially poets.
The poets in their turn, though they did not always admit it, took their work seriously, creating a myriad of lovely lyrics in which classical, medieval and Renaissance themes and conventions are used, challenged and reworked.
The influence of John Donne and Ben Jonson is seen to have been considerable. Donne had provided a model of personal, dramatic and closely-reasoned “strong lines”. And Jonson encouraged controlled reliance on classical poets “as Guides, not Commanders”, and wrote poetry and criticism in clear idiomatic English, with a respect for the rhythms of both speech and song. 
The development of music, in particular the increasing popularity of the declamatory air in which individual words were heard clearly so that each was important, affected early Caroline lyrics, and was affected by them. To a lesser extent, but just as surely, drama, masque and dance left their mark on the lyric form.
Whether, like Carew, the early Carolines wrote lyrics to be circulated in manuscript, or like Herrick, to be published, the best of them were highly conscious of their craft, and sensitive to the laws of proportion and decorum. They treated their favourite themes, love, philosophy, court and country living, politics and social occasions, the occult, the abnormal and the comic, from many angles, with varying degrees of sensitivity, knowledge and sophistication.
Thomas Carew’s polished amatory and occasional poems “netts, of passions finest thred”, are shown to investigate human relationships with frankness and scintillating wit. 
For all their unpretentious charm and freshness, the lyrics of Robert Herrick, in the context of the whole of Hesperides, are seen to have immense range, depth and assurance. With his love of friends and family, his appreciation of living things, his acceptance of the beautiful and the ugly, his delightful sense of fun, his bold comments on the world about him, and his insistence on the worth of human joy, Herrick has earned the immortality he considered his due.
The court poets, and in particular Thomas Carew and Robert Herrick, wrote an abundance of thoughtful finished lyrics, “rare perfections” to use Carew’s words, which can both give great pleasure and increase our understanding of the complexities of life.

year: 1977

title: The Māori language curriculum for New Zealand schools: Spiral lesson/ lesson sequence design

authors: Johnson, Diane

subjects: Māori language teaching

abstract: A draft curriculum document for the teaching and learning of te reo Māori as a subject in mainstream schools in New Zealand (that is, in schools other than Kura Kaupapa Māori schools) was designed and trialled in 2004 and 2005. That draft is currently being reworked in line with the advice of those who trialled the document as well as that of a team of advisers set up by the Ministry of Education. The revised curriculum document will be submitted to the Ministry of Education in May 2006. As is the case with all new curriculum documents, the implementation phase will be critical. The extent to which this flexible, outcomes-focused curriculum document will genuinely inform new approaches to teaching and learning will depend not only upon the good will of teachers and communities, but also upon their ability to interpret the curriculum and to use it in a way that informs the design of language programmes, including the planning of units of work and of lessons and lesson sequences. In balancing language development and language practice, a communicative core and spiral approach is recommended, an approach in which there are core lessons (where the focus is language development) and spiral lessons (where the focus is language practice). In an earlier issue of this Journal (Johnson, 2003), one of us discussed core lesson design. Here, the design of spiral lessons is discussed and exemplified in the context of an outcomes-based curriculum.

text: The Māori language curriculum for New Zealand schools: Spiral lesson/ lesson sequence design A draft curriculum document for the teaching and learning of te reo Māori as a subject in mainstream schools in New Zealand (that is, in schools other than Kura Kaupapa Māori schools) was designed and trialled in 2004 and 2005. That draft is currently being reworked in line with the advice of those who trialled the document as well as that of a team of advisers set up by the Ministry of Education. The revised curriculum document will be submitted to the Ministry of Education in May 2006. As is the case with all new curriculum documents, the implementation phase will be critical. The extent to which this flexible, outcomes-focused curriculum document will genuinely inform new approaches to teaching and learning will depend not only upon the good will of teachers and communities, but also upon their ability to interpret the curriculum and to use it in a way that informs the design of language programmes, including the planning of units of work and of lessons and lesson sequences. In balancing language development and language practice, a communicative core and spiral approach is recommended, an approach in which there are core lessons (where the focus is language development) and spiral lessons (where the focus is language practice). In an earlier issue of this Journal (Johnson, 2003), one of us discussed core lesson design. Here, the design of spiral lessons is discussed and exemplified in the context of an outcomes-based curriculum.

year: 2005