title: A summary of terminology used in tephra-related studies

authors: Lowe, David J.

subjects: tephra

abstract: The word ‘tephra’, derived from a Greek word for ash, is a collective term for all the unconsolidated, primary pyroclastic products of a volcanic eruption. We summarise here the meanings and applicability of this and related terms, including tephrostratigraphy, tephrochronology, tephrochronometry, tephrology, and cryptotephra. These and other tephra-based terms, some of which are erroneous or unnecessary, have been used in a wide range of stratigraphic and paleoenvironmental disciplines and in archaeology.

text: A summary of terminology used in tephra-related studies The word ‘tephra’, derived from a Greek word for ash, is a collective term for all the unconsolidated, primary pyroclastic products of a volcanic eruption. We summarise here the meanings and applicability of this and related terms, including tephrostratigraphy, tephrochronology, tephrochronometry, tephrology, and cryptotephra. These and other tephra-based terms, some of which are erroneous or unnecessary, have been used in a wide range of stratigraphic and paleoenvironmental disciplines and in archaeology.

year: 2001

title: The Modern Dragon: Contemporary Representations from Tolkein to Present

authors: Sheridan, Brendan Daniel

subjects: Dragon

abstract: ‘Every century has its dragons.’  I intend to examine depiction of dragons from 1937  onwards to try to determine how we perceive the dragon in the modern world. To this end I will examine dragons in a variety of contemporary media, from film and television, as well as literature. They will include, but not be limited to: Game of Thrones , Eragon , The Hobbit , Dragonflight , Guards! Guards! , and How to Train Your Dragon.

Framed by adaptation studies, this thesis analyses the way in which contemporary texts re-interpret and re-imagine the dragon. In so doing, it draws on related theories, in particular human-animal studies, the uncanny, the other, and gender studies, in order to understand the enduring fascination with this mythical creature and the way in which modern authors and directors draw on and depart from both Eastern and Western mythological tradition and folklore.

The first section examines the shape of the dragon and how they are depicted, not only in literary text, but also in television, film, and art work. This involves identifying the literary and mythological forebears of these current depictions, as well as what the presentation reveals about contemporary culture. Having identified recent adaptations of the dragon’s physical form, I move to a discussion of the nature of the dragon, in particular its intelligence and morality. Throughout this section, I draw on human-animal studies to analyse the dragon’s familiarity and otherness.  

Turning to the interrelation between dragons and magic, I look at how dragons are presented as magical beings who at times exhibit magical abilities and at times are themselves the source of magic. As in my discussion of the dragon’s nature, it is the strangeness of the dragon which is apparent here: it is a creature of fantasy, beyond the realm of the rational, belonging to what J.R.R. Tolkein refers to as ‘Of Faërie’.  In the fourth chapter, the focus on dragon-slayers and dragon-riders highlights the human impulse to tame and control or destroy this mystical creature. At the same time, I reveal the human belief in their capacity to domesticate the dragon’s essential wildness to be delusive. I conclude with an analysis of the gender ambiguity of the dragon and its particular association with women, foregrounding their mutual marginalisation by society.

text: The Modern Dragon: Contemporary Representations from Tolkein to Present ‘Every century has its dragons.’  I intend to examine depiction of dragons from 1937  onwards to try to determine how we perceive the dragon in the modern world. To this end I will examine dragons in a variety of contemporary media, from film and television, as well as literature. They will include, but not be limited to: Game of Thrones , Eragon , The Hobbit , Dragonflight , Guards! Guards! , and How to Train Your Dragon.

Framed by adaptation studies, this thesis analyses the way in which contemporary texts re-interpret and re-imagine the dragon. In so doing, it draws on related theories, in particular human-animal studies, the uncanny, the other, and gender studies, in order to understand the enduring fascination with this mythical creature and the way in which modern authors and directors draw on and depart from both Eastern and Western mythological tradition and folklore.

The first section examines the shape of the dragon and how they are depicted, not only in literary text, but also in television, film, and art work. This involves identifying the literary and mythological forebears of these current depictions, as well as what the presentation reveals about contemporary culture. Having identified recent adaptations of the dragon’s physical form, I move to a discussion of the nature of the dragon, in particular its intelligence and morality. Throughout this section, I draw on human-animal studies to analyse the dragon’s familiarity and otherness.  

Turning to the interrelation between dragons and magic, I look at how dragons are presented as magical beings who at times exhibit magical abilities and at times are themselves the source of magic. As in my discussion of the dragon’s nature, it is the strangeness of the dragon which is apparent here: it is a creature of fantasy, beyond the realm of the rational, belonging to what J.R.R. Tolkein refers to as ‘Of Faërie’.  In the fourth chapter, the focus on dragon-slayers and dragon-riders highlights the human impulse to tame and control or destroy this mystical creature. At the same time, I reveal the human belief in their capacity to domesticate the dragon’s essential wildness to be delusive. I conclude with an analysis of the gender ambiguity of the dragon and its particular association with women, foregrounding their mutual marginalisation by society.

year: 2015

title: ‘Let’s Get Wild’: Sensuous Geographies of Kāwhia Kai and Hokitika Wildfoods Festivals in Aōtearoa New Zealand

authors: Modlik, Melanie

subjects: Food Festivals

abstract: Food Festivals allow communities to celebrate local food and drink. This original thesis examines the mutual relationship between food festival organisers, festival attendees and festival spaces. Two unique New Zealand regional food festivals – Kāwhia Kai on the West Coast of the North Island and Wildfoods Hokitika on the West Coast of the South Island - are critically examined. The research addresses three questions. First, how do these food festivals construct their locations and vice versa? Second, in what ways do food festivals contribute to place identity? And, third, how do food festival attendees sensually experience the festivals?
The concept of embodiment provides the overarching framework for this research. With academic interests in both tourism and geography, I weave understandings of culinary tourism, festivals, tourist embodied experiences, sensuality, visercality and abjection to address my research questions. I use this theoretical ‘toolbox’ alongside qualitative methodological approaches which enable research participants to express their embodied experiences and emotions. Ten semi-structured interviews were conducted with festival organisers and food stall holders. Participant ‘sensing’ was carried out in both Kāwhia and Hokitika. In thinking about the social, cultural and ‘felt’ aspects of food, I also use my own body as an instrument of research. Promotional texts were collected and all data analysed using critical discourse analysis.
The empirical material is divided into two themes. The first theme focuses on location and place identity. Concepts of ‘place attachment’ and ‘sense of belonging’ construct food festival regions. The formation of ‘new colonial’ and ‘new Māori’ traditions is another way in which these food festivals created unique place identities. The second theme highlights the embodied experiences and spaces of both food festivals. Bodily senses, place and spaces are created through visceral and abject reactions to food experiences.
Food festivals have the potential to enhance the economic, social and cultural wellbeing of regional communities. The success of food festivals, however, is dependent on multi-sensual embodied experiences.

text: ‘Let’s Get Wild’: Sensuous Geographies of Kāwhia Kai and Hokitika Wildfoods Festivals in Aōtearoa New Zealand Food Festivals allow communities to celebrate local food and drink. This original thesis examines the mutual relationship between food festival organisers, festival attendees and festival spaces. Two unique New Zealand regional food festivals – Kāwhia Kai on the West Coast of the North Island and Wildfoods Hokitika on the West Coast of the South Island - are critically examined. The research addresses three questions. First, how do these food festivals construct their locations and vice versa? Second, in what ways do food festivals contribute to place identity? And, third, how do food festival attendees sensually experience the festivals?
The concept of embodiment provides the overarching framework for this research. With academic interests in both tourism and geography, I weave understandings of culinary tourism, festivals, tourist embodied experiences, sensuality, visercality and abjection to address my research questions. I use this theoretical ‘toolbox’ alongside qualitative methodological approaches which enable research participants to express their embodied experiences and emotions. Ten semi-structured interviews were conducted with festival organisers and food stall holders. Participant ‘sensing’ was carried out in both Kāwhia and Hokitika. In thinking about the social, cultural and ‘felt’ aspects of food, I also use my own body as an instrument of research. Promotional texts were collected and all data analysed using critical discourse analysis.
The empirical material is divided into two themes. The first theme focuses on location and place identity. Concepts of ‘place attachment’ and ‘sense of belonging’ construct food festival regions. The formation of ‘new colonial’ and ‘new Māori’ traditions is another way in which these food festivals created unique place identities. The second theme highlights the embodied experiences and spaces of both food festivals. Bodily senses, place and spaces are created through visceral and abject reactions to food experiences.
Food festivals have the potential to enhance the economic, social and cultural wellbeing of regional communities. The success of food festivals, however, is dependent on multi-sensual embodied experiences.

year: 2015