title: He pūrongo whakahokinga kōrero a te akomanga rūmaki o Te Tohu Paetahi

authors: Nock, Sophie

subjects: Reo Māori

abstract: Ko te whāinga matua o tēnei rangahau he whakakaokao, he wetewete āno hoki i ngā whakahokinga kōrero a te hunga uiui i kake atu ai ki runga i te waka o Te Tohu Paetahi i te tau 2008, i raro i te kōawa o Rehutai, i raro anō hoki i te maru o Te Whare Wānanga o Waikato. Ka aro atu ki ngā urupare a te hunga tekau mā ono mō te kaupapa nei o Te Tohu Paetahi, ka mutu, ka matapakihia ngā kōrero me ngā whakaaro o taua hunga kia āta kitea ai, āe rānei e tika ana te whakahaere, te mahi whakaako i te reo, te tautoko mai hoki a ngā kaiwhakaako me te kura. I te mutunga iho tautoko katoa te hunga uiui ki aua mea katoa.

text: He pūrongo whakahokinga kōrero a te akomanga rūmaki o Te Tohu Paetahi Ko te whāinga matua o tēnei rangahau he whakakaokao, he wetewete āno hoki i ngā whakahokinga kōrero a te hunga uiui i kake atu ai ki runga i te waka o Te Tohu Paetahi i te tau 2008, i raro i te kōawa o Rehutai, i raro anō hoki i te maru o Te Whare Wānanga o Waikato. Ka aro atu ki ngā urupare a te hunga tekau mā ono mō te kaupapa nei o Te Tohu Paetahi, ka mutu, ka matapakihia ngā kōrero me ngā whakaaro o taua hunga kia āta kitea ai, āe rānei e tika ana te whakahaere, te mahi whakaako i te reo, te tautoko mai hoki a ngā kaiwhakaako me te kura. I te mutunga iho tautoko katoa te hunga uiui ki aua mea katoa.

year: 2012-05

title: Tukua Kia Rere! Maori Adult Students Succeeding at University

authors: Williams, Daphne Christina (Tina)

subjects: Maori students in higher education

abstract: A considerable amount of research has focussed on Māori underachievement in mainstream education. There is, however, much less research that celebrates Māori academic success. Even less has been written about the experiences of adult Māori students who return to study long after leaving school and go on to become academically successful in higher education. This study contributes to the growing body of knowledge regarding Māori academic success at university. It sought to explore the experiences of sixteen adult Māori students who entered university via special admission and went on to attain undergraduate degrees. The study examined the challenges that these individual’s experienced on their way to becoming academically successful and identified the main factors that helped them to achieve educational success. An overarching Kaupapa Māori theoretical framework was employed in this study. A qualitative research methodology was implemented and Kaupapa Māori research principles informed both the research processes and the interpretation of research outcomes. The findings suggest four major factors contributed to the success of the participants in this study: a strong determination to succeed (whāia te iti kahurangi), the extended family (whānau), strong social support networks with peers and faculty (whakawhanaungatanga) and Te Ao Māori (the Māori World). However, some of these same factors were also found to hinder academic success in the university setting. The Manu Tukutuku (kite) model was developed directly from the research findings. In addition to providing a theoretical frame for understanding the experiences of Māori special admission students at university, this model also provides a useful ‘toolkit’ for those wanting to support Māori students within the university context. The implications of this study suggest that New Zealand Universities can better support Māori special admission students by being more inclusive of their cultural capital, by eliminating racism and discrimination in the university environment and by fostering better relationships between staff and students. Creating opportunities for Māori students to develop social networks at University was also identified as important.

text: Tukua Kia Rere! Maori Adult Students Succeeding at University A considerable amount of research has focussed on Māori underachievement in mainstream education. There is, however, much less research that celebrates Māori academic success. Even less has been written about the experiences of adult Māori students who return to study long after leaving school and go on to become academically successful in higher education. This study contributes to the growing body of knowledge regarding Māori academic success at university. It sought to explore the experiences of sixteen adult Māori students who entered university via special admission and went on to attain undergraduate degrees. The study examined the challenges that these individual’s experienced on their way to becoming academically successful and identified the main factors that helped them to achieve educational success. An overarching Kaupapa Māori theoretical framework was employed in this study. A qualitative research methodology was implemented and Kaupapa Māori research principles informed both the research processes and the interpretation of research outcomes. The findings suggest four major factors contributed to the success of the participants in this study: a strong determination to succeed (whāia te iti kahurangi), the extended family (whānau), strong social support networks with peers and faculty (whakawhanaungatanga) and Te Ao Māori (the Māori World). However, some of these same factors were also found to hinder academic success in the university setting. The Manu Tukutuku (kite) model was developed directly from the research findings. In addition to providing a theoretical frame for understanding the experiences of Māori special admission students at university, this model also provides a useful ‘toolkit’ for those wanting to support Māori students within the university context. The implications of this study suggest that New Zealand Universities can better support Māori special admission students by being more inclusive of their cultural capital, by eliminating racism and discrimination in the university environment and by fostering better relationships between staff and students. Creating opportunities for Māori students to develop social networks at University was also identified as important.

year: 2010

title: Steampunk: The Inner Workings

authors: Smith, Garth Michael Parker

subjects: Steampunk

abstract: Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

text: Steampunk: The Inner Workings Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

year: 2013