title: Unnatural divides: Species protection in a fragmented legal landscape.

authors: Wallace, Philippa Jane

abstract: Human use and development reshapes land, reconstitutes water, consumes space and natural resources and alters faunal compositions. This presents significant challenges to policy makers and wildlife conservation managers mandated to maintain and enhance biological diversity. In New Zealand a sizeable public conservation estate (approximately one third of the land area) buffers these inroads; however, limitations in terms of the representativeness and extent of the estate (Ministry for the Environment, 2007, p.3; Craig et al., 2000, p.66), conservation management budgetary constraints (Controller and AuditorGeneral, 2012, p.26) and elevated levels of threatened endemic species (IUCN, 2013) mean that more universal efforts are required to protect threatened species in all environments in New Zealand.

text: Unnatural divides: Species protection in a fragmented legal landscape. Human use and development reshapes land, reconstitutes water, consumes space and natural resources and alters faunal compositions. This presents significant challenges to policy makers and wildlife conservation managers mandated to maintain and enhance biological diversity. In New Zealand a sizeable public conservation estate (approximately one third of the land area) buffers these inroads; however, limitations in terms of the representativeness and extent of the estate (Ministry for the Environment, 2007, p.3; Craig et al., 2000, p.66), conservation management budgetary constraints (Controller and AuditorGeneral, 2012, p.26) and elevated levels of threatened endemic species (IUCN, 2013) mean that more universal efforts are required to protect threatened species in all environments in New Zealand.

year: 2016

title: Write the Body Bloody: Violence, Gender & Identity in the Poetry of Sylvia Plath & Ai

authors: Elliott, Rachael

subjects: Sylvia Plath

abstract: Poems that hang themselves on the rope of acts, apparitions and assertions of violence, voiced by a fierce ‘I’, are primary modes in the work of both Sylvia Plath and Ai.  Their violent ‘I’s burst the boundaries of acceptable poetic expression in moments of crisis, trauma and uncertainty, giving voice to the unspeakable. Yet critical analysis has made a habit of dividing these poets’ violent use of the first person, placing Plath firmly in the category of (naked) autobiographical confession and Ai in the tradition of (masked) dramatic monologue. This thesis highlights the links between the modes in which Plath and Ai inhabit the poetic ‘I’, exploring how they each use scenes of violence to perform and interrogate issues of gender and identity, expose the nexus of tenderness and cruelty and obscure the roles of villain and victim. It argues that neither the category of confessional poetry or dramatic monologue can cage these poets’ seizure of the ‘I’ or explain their emphasis on self as theatre and character as concert. It examines the ways in which selected poems from each writer’s work do violence to the gender and identity limits implicit in both labels.
The creative section which follows this legacy of ‘unacceptable’ women’s writing continues to agitate against the gender limits imposed upon women. It does not flinch from conflict and unpicks the body to discover what identity really means. It embodies the ghosts that haunt my writing self, demanding they be given a voice. My poetry is a breathing fusion of my personal and my dramatic selves. Like the poetry of Plath and Ai, my own creative work refuses to be caged.

text: Write the Body Bloody: Violence, Gender & Identity in the Poetry of Sylvia Plath & Ai Poems that hang themselves on the rope of acts, apparitions and assertions of violence, voiced by a fierce ‘I’, are primary modes in the work of both Sylvia Plath and Ai.  Their violent ‘I’s burst the boundaries of acceptable poetic expression in moments of crisis, trauma and uncertainty, giving voice to the unspeakable. Yet critical analysis has made a habit of dividing these poets’ violent use of the first person, placing Plath firmly in the category of (naked) autobiographical confession and Ai in the tradition of (masked) dramatic monologue. This thesis highlights the links between the modes in which Plath and Ai inhabit the poetic ‘I’, exploring how they each use scenes of violence to perform and interrogate issues of gender and identity, expose the nexus of tenderness and cruelty and obscure the roles of villain and victim. It argues that neither the category of confessional poetry or dramatic monologue can cage these poets’ seizure of the ‘I’ or explain their emphasis on self as theatre and character as concert. It examines the ways in which selected poems from each writer’s work do violence to the gender and identity limits implicit in both labels.
The creative section which follows this legacy of ‘unacceptable’ women’s writing continues to agitate against the gender limits imposed upon women. It does not flinch from conflict and unpicks the body to discover what identity really means. It embodies the ghosts that haunt my writing self, demanding they be given a voice. My poetry is a breathing fusion of my personal and my dramatic selves. Like the poetry of Plath and Ai, my own creative work refuses to be caged.

year: 2014

title: Aihe Pepene

authors: Hart, Philip

abstract: Sharing the same illustrious whakapapa as his brother Reha Aperahama, Aihe Pepene was prominent when living in the Thames district before settling at Te Aroha in 1878. When speculators tried to acquire the Thames foreshore from Pepene and others in 1870, he became involved in the subsequent legal actions over unpaid promissory notes. Later he would acquire interests in many blocks of land, and received a steady income by leasing or selling these plus his share in the goldfields revenue. When the Aroha Block was considered by the land court for the last time, in 1878, he conducted the case for Ngati Rahiri.
He invested in four Hauraki goldfields, and was briefly an owner and skipper of two small river steamers, an unsuccessful endeavour that resulted in his being forced to sell more land to meet his debts. Once his 1880 and 1881 financial difficulties were resolved, no more such problems recurred. 
A leading rangatira in Hauraki generally as well as at Te Aroha, he would be elected to a Maori Committee that was soon revealed to have no significance. Closely involved with Pakeha, he assisted settlement, and his loyalty to the Crown was illustrated by his becoming an officer in the Thames Native Volunteer Corps. A member of the Church of England for many years, like many Maori he became a Mormon, a faith perhaps more appropriate to his private life, for he had more than one wife, notoriously eloping with the wife of a more senior rangatira despite already being married.

text: Aihe Pepene Sharing the same illustrious whakapapa as his brother Reha Aperahama, Aihe Pepene was prominent when living in the Thames district before settling at Te Aroha in 1878. When speculators tried to acquire the Thames foreshore from Pepene and others in 1870, he became involved in the subsequent legal actions over unpaid promissory notes. Later he would acquire interests in many blocks of land, and received a steady income by leasing or selling these plus his share in the goldfields revenue. When the Aroha Block was considered by the land court for the last time, in 1878, he conducted the case for Ngati Rahiri.
He invested in four Hauraki goldfields, and was briefly an owner and skipper of two small river steamers, an unsuccessful endeavour that resulted in his being forced to sell more land to meet his debts. Once his 1880 and 1881 financial difficulties were resolved, no more such problems recurred. 
A leading rangatira in Hauraki generally as well as at Te Aroha, he would be elected to a Maori Committee that was soon revealed to have no significance. Closely involved with Pakeha, he assisted settlement, and his loyalty to the Crown was illustrated by his becoming an officer in the Thames Native Volunteer Corps. A member of the Church of England for many years, like many Maori he became a Mormon, a faith perhaps more appropriate to his private life, for he had more than one wife, notoriously eloping with the wife of a more senior rangatira despite already being married.

year: 2016