title: Air Force Pataka: Fifty years of the Royal New Zealand Air Force in Hamilton: A history of the Te Rapa Air Force Base 1942-1992

authors: Amner, Lindsay

subjects: Military bases New Zealand

abstract: As a boy growing up in Hamilton in the 1970s, I can remember the hundreds of times we drove past the Te Rapa Air Force Base, and how each time I searched intently for a glimpse of the Grumman Avenger parked inside the gates. Great was my excitement if I ever got a good look, and great was my disappointment when in 1978, the Avenger was removed for a reason beyond my limited understanding. 
Also beyond my understanding was the purpose of the Base itself. In spite of my intent gaze on our trips to Auckland, I can seldom recall ever seeing a uniformed serviceman, and I certainly never saw the faintest sign of aircraft landing or taking off, which as every small boy knows, must be the sole purpose for an Air Force Base. Was there an underground airstrip? Or did the Base have some secret purpose which small boys were not permitted to know? Whatever the reason, the Base was a solid existence on the road out of Hamilton towards Auckland, and I, like most other Hamiltonians, accepted its presence without ever really knowing or questioning its true role. 
This study will show the purpose of the Te Rapa Base and in discussing its function will also show the wider aspect of the relationship of the Base to the city of Hamilton. The questions of whether the Base adequately filled the role for which it was designed, and why the Base was finally closed down, will be answered as this history of the Air Force supply house unfolds.

text: Air Force Pataka: Fifty years of the Royal New Zealand Air Force in Hamilton: A history of the Te Rapa Air Force Base 1942-1992 As a boy growing up in Hamilton in the 1970s, I can remember the hundreds of times we drove past the Te Rapa Air Force Base, and how each time I searched intently for a glimpse of the Grumman Avenger parked inside the gates. Great was my excitement if I ever got a good look, and great was my disappointment when in 1978, the Avenger was removed for a reason beyond my limited understanding. 
Also beyond my understanding was the purpose of the Base itself. In spite of my intent gaze on our trips to Auckland, I can seldom recall ever seeing a uniformed serviceman, and I certainly never saw the faintest sign of aircraft landing or taking off, which as every small boy knows, must be the sole purpose for an Air Force Base. Was there an underground airstrip? Or did the Base have some secret purpose which small boys were not permitted to know? Whatever the reason, the Base was a solid existence on the road out of Hamilton towards Auckland, and I, like most other Hamiltonians, accepted its presence without ever really knowing or questioning its true role. 
This study will show the purpose of the Te Rapa Base and in discussing its function will also show the wider aspect of the relationship of the Base to the city of Hamilton. The questions of whether the Base adequately filled the role for which it was designed, and why the Base was finally closed down, will be answered as this history of the Air Force supply house unfolds.

year: 1993

title: Shifting the learning culture of a secondary school in Aotearoa New Zealand: An analysis of enacting a shared vision

authors: Greenhill, Deborah

abstract: Educational leadership frameworks and organisational literature have extensively documented successful leadership approaches, practices, change processes, and reform models. However, the literature lacks a nuanced understanding of how individual leaders, particularly middle leaders, make sense of and respond to implementing school-wide change. This study centres on how curriculum (middle) leaders in a traditional secondary school in Aotearoa New Zealand (AoNZ), interpret and translate a school vision into practice to shift their school's learning culture.
This interpretive study uses one school as a case study and six participants, five of whom are middle (curriculum) leaders and one senior leader participant. The findings are drawn from their transcripts from semi-structured interviews and associated documents they submitted for analysis. Reflexive thematic analysis was used to generate authentic insights into their lived experiences.
Key findings revealed that vision enactment involves a complex interplay between contextual realities and professional agency. While inclusive vision development fostered collective ownership, curriculum leaders were crucial intermediaries, having to translate aspirational language into concrete, student-centred strategies. Their agency was enabled through structured frameworks but constrained by contextual factors, including external performativity pressures and internal entrenched traditions. The study identified specific enablers (collaborative structures, embedded professional development, external expertise) and inhibitors (inadequate change management support, limited cross-faculty collaboration) affecting vision enactment. These findings demonstrate that meaningful educational change requires not only distributing leadership but also providing robust support systems that recognise the pivotal role of curriculum leaders as bridges between vision and sustainable learning culture change.
The study contributes to the field by offering insights into how curriculum leaders interpret a school vision and exercise professional agency to translate aspirational statements into classroom practices while navigating the complex contextual factors that enable and constrain their efforts.

text: Shifting the learning culture of a secondary school in Aotearoa New Zealand: An analysis of enacting a shared vision Educational leadership frameworks and organisational literature have extensively documented successful leadership approaches, practices, change processes, and reform models. However, the literature lacks a nuanced understanding of how individual leaders, particularly middle leaders, make sense of and respond to implementing school-wide change. This study centres on how curriculum (middle) leaders in a traditional secondary school in Aotearoa New Zealand (AoNZ), interpret and translate a school vision into practice to shift their school's learning culture.
This interpretive study uses one school as a case study and six participants, five of whom are middle (curriculum) leaders and one senior leader participant. The findings are drawn from their transcripts from semi-structured interviews and associated documents they submitted for analysis. Reflexive thematic analysis was used to generate authentic insights into their lived experiences.
Key findings revealed that vision enactment involves a complex interplay between contextual realities and professional agency. While inclusive vision development fostered collective ownership, curriculum leaders were crucial intermediaries, having to translate aspirational language into concrete, student-centred strategies. Their agency was enabled through structured frameworks but constrained by contextual factors, including external performativity pressures and internal entrenched traditions. The study identified specific enablers (collaborative structures, embedded professional development, external expertise) and inhibitors (inadequate change management support, limited cross-faculty collaboration) affecting vision enactment. These findings demonstrate that meaningful educational change requires not only distributing leadership but also providing robust support systems that recognise the pivotal role of curriculum leaders as bridges between vision and sustainable learning culture change.
The study contributes to the field by offering insights into how curriculum leaders interpret a school vision and exercise professional agency to translate aspirational statements into classroom practices while navigating the complex contextual factors that enable and constrain their efforts.

year: 2025

title: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám

authors: Roa, Hariru Te Aroha

subjects: Translation

abstract: Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

text: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

year: 2013