title: Denial and Distancing in Discourses of Development: shadow of the ‘Third World’ in New Zealand

authors: Kurian, Priya A.

subjects: New Zealand

abstract: Anxieties about development in New Zealand show up in a deep-rooted fear of the ‘Third World’ in the country. We examine how the term ‘Third World’ is deployed in media discourses in economic, social and environmental contexts and how this deployment results in a ‘discursive distancing’ from anything associated with the ‘Third World’. Such distancing demonstrates a fragile national identity that struggles with the contradictions between the nation's desire to be part of the ‘First World’ of global capitalism and the growing disparities in health and wealth within it. The shadow of the ‘Third World’ prevents New Zealand from confronting the realities of its own inequities, which in turn comes in the way of a sound development agenda.

text: Denial and Distancing in Discourses of Development: shadow of the ‘Third World’ in New Zealand Anxieties about development in New Zealand show up in a deep-rooted fear of the ‘Third World’ in the country. We examine how the term ‘Third World’ is deployed in media discourses in economic, social and environmental contexts and how this deployment results in a ‘discursive distancing’ from anything associated with the ‘Third World’. Such distancing demonstrates a fragile national identity that struggles with the contradictions between the nation's desire to be part of the ‘First World’ of global capitalism and the growing disparities in health and wealth within it. The shadow of the ‘Third World’ prevents New Zealand from confronting the realities of its own inequities, which in turn comes in the way of a sound development agenda.

year: 2012

title: Thermal stability and microhardness of Cu-10vol.%Al2O3nanocomposite produced by high energy mechanical milling

authors: Mukhtar, Aamir

subjects: Nanoscale science

abstract: Cu-10vol.%Al₂O₃ nanocomposite powders were produced using two high energy milling routes and heat treated at 150, 300, 400 and 500°C for 1 hour, respectively, to determine the thermal stability of the microstructure and the micohardness change of the materials as a function of the annealing temperature. Annealing of the as-milled powders at 150°C caused recovery and recrystallisation that leads to significant decrease in dislocation density and slight decrease of microhardness. Increasing the annealing temperature to 400°C causes slight coarsening of the Cu grains and corresponding slight decrease of microhardness. Further increasing the annealing temperature to 500°C causes significant coarsening of the Cu grains and cause significant decrease in microhardness. The effects of different factors on the thermal stability and micohardness change of the Cu- Al₂O₃  are discussed.

text: Thermal stability and microhardness of Cu-10vol.%Al2O3nanocomposite produced by high energy mechanical milling Cu-10vol.%Al₂O₃ nanocomposite powders were produced using two high energy milling routes and heat treated at 150, 300, 400 and 500°C for 1 hour, respectively, to determine the thermal stability of the microstructure and the micohardness change of the materials as a function of the annealing temperature. Annealing of the as-milled powders at 150°C caused recovery and recrystallisation that leads to significant decrease in dislocation density and slight decrease of microhardness. Increasing the annealing temperature to 400°C causes slight coarsening of the Cu grains and corresponding slight decrease of microhardness. Further increasing the annealing temperature to 500°C causes significant coarsening of the Cu grains and cause significant decrease in microhardness. The effects of different factors on the thermal stability and micohardness change of the Cu- Al₂O₃  are discussed.

year: 2010

title: Ngā kura a Hineteiwaiwa: The embodiment of Mana Wahine in Māori fibre Arts

authors: Campbell, Donna

subjects: Mana Wahine

abstract: Imagine you are on a continuum of past present and future, in the present while connected to the past and creating for the future. Kairaranga  are constantly in this experience through engaging with the materiality of the practices of raranga and raranga whatu.  
The key focus of this thesis is to provide theoretical discussion of the raranga and whatu practices that are the creative component of this doctoral research.  The theories that inform the analysis are Kaupapa Māori and Mana Wahine both of which, like raranga, are organic to this place, Aotearoa , and have grown as descendants of Papatūānuku  and Ranginui . The connection between these theories and the creative practices of raranga and whatu form a cultural praxis through which I argue enables the transformative power of raranga and whatu practices.  This too is the essence of Te Whare Pora, a weaving house that embraces kairaranga both conceptually and materially and which provides the approach to the project. Te Whare Pora is a place of knowledge and a place of practice. Like Kaupapa Māori and Mana Wahine theories it is a cultural form and expression of praxis. As kairaranga we create taonga  informed by the creative genius of our tūpuna  from the native plants of the land. These ageless practices and the taonga we create are permeated with our own present realities. The taonga then carry this tūpuna knowledge into the future in multiple forms. To highlight this, I explore a range of practices that exemplify raranga and raranga whatu as cultural embodiment.  This is articulated through notions of raranga as an expression of cultural bodies of knowledge, creative practice and regenerative praxis that span the past, present and future.  As such, this thesis is an expression of the creative journey of theory and practice inspired by tūpuna knowledge in the art forms of raranga and raranga whatu. The practices of raranga and raranga whatu not only transform the materials the kairaranga is using, but also the kairaranga themselves. These practices become self-affirming, culturally affirming and ultimately decolonizing.

text: Ngā kura a Hineteiwaiwa: The embodiment of Mana Wahine in Māori fibre Arts Imagine you are on a continuum of past present and future, in the present while connected to the past and creating for the future. Kairaranga  are constantly in this experience through engaging with the materiality of the practices of raranga and raranga whatu.  
The key focus of this thesis is to provide theoretical discussion of the raranga and whatu practices that are the creative component of this doctoral research.  The theories that inform the analysis are Kaupapa Māori and Mana Wahine both of which, like raranga, are organic to this place, Aotearoa , and have grown as descendants of Papatūānuku  and Ranginui . The connection between these theories and the creative practices of raranga and whatu form a cultural praxis through which I argue enables the transformative power of raranga and whatu practices.  This too is the essence of Te Whare Pora, a weaving house that embraces kairaranga both conceptually and materially and which provides the approach to the project. Te Whare Pora is a place of knowledge and a place of practice. Like Kaupapa Māori and Mana Wahine theories it is a cultural form and expression of praxis. As kairaranga we create taonga  informed by the creative genius of our tūpuna  from the native plants of the land. These ageless practices and the taonga we create are permeated with our own present realities. The taonga then carry this tūpuna knowledge into the future in multiple forms. To highlight this, I explore a range of practices that exemplify raranga and raranga whatu as cultural embodiment.  This is articulated through notions of raranga as an expression of cultural bodies of knowledge, creative practice and regenerative praxis that span the past, present and future.  As such, this thesis is an expression of the creative journey of theory and practice inspired by tūpuna knowledge in the art forms of raranga and raranga whatu. The practices of raranga and raranga whatu not only transform the materials the kairaranga is using, but also the kairaranga themselves. These practices become self-affirming, culturally affirming and ultimately decolonizing.

year: 2019