title: Ta moko: Maori tattoo

authors: Te Awekotuku, Ngahuia

subjects: Maori

abstract: The author examines the history, technique and meaning of ta moko (Maori tattoo) from prehistory to modern times.

text: Ta moko: Maori tattoo The author examines the history, technique and meaning of ta moko (Maori tattoo) from prehistory to modern times.

year: 1997

title: Translated application interfaces - issues of engagement

authors: Mato, Paora James

abstract: In New Zealand, English is the language that dominates contemporary technologies. Usability testing was completed on a range of applications, available with a Māori-language interface, to gauge levels of awareness, engagement and perception. Nearly all of the respondents were unaware of the availability of these interfaces but most indicated they would prefer to use the Māori-language versions. In terms of engagement and usability, users initially engaged using Māori but switched to English when they wanted to quickly complete the task at hand. Few remained fully engaged with the Māori-language interfaces. High levels of language switching were reported and some frustration as the participants encountered new and unfamiliar uses of words. At face value the feedback suggests the translated interfaces contained unnecessary complications and that better design and content might have enhanced the user experience. However, there is evidence that extended use would enable users to become more familiar with the interfaces alluding to initial barriers created by a previous competence in another language -- in this case English. With this previous competence in mind it might be more useful to employ design concepts that would alleviate initial difficulties and serve to keep the user engaged in the target language for longer periods of time.

text: Translated application interfaces - issues of engagement In New Zealand, English is the language that dominates contemporary technologies. Usability testing was completed on a range of applications, available with a Māori-language interface, to gauge levels of awareness, engagement and perception. Nearly all of the respondents were unaware of the availability of these interfaces but most indicated they would prefer to use the Māori-language versions. In terms of engagement and usability, users initially engaged using Māori but switched to English when they wanted to quickly complete the task at hand. Few remained fully engaged with the Māori-language interfaces. High levels of language switching were reported and some frustration as the participants encountered new and unfamiliar uses of words. At face value the feedback suggests the translated interfaces contained unnecessary complications and that better design and content might have enhanced the user experience. However, there is evidence that extended use would enable users to become more familiar with the interfaces alluding to initial barriers created by a previous competence in another language -- in this case English. With this previous competence in mind it might be more useful to employ design concepts that would alleviate initial difficulties and serve to keep the user engaged in the target language for longer periods of time.

year: 2015

title: 'We turned it into a play': Transmedial adaptations in contemporary theatre

authors: Simes, David Edward John

subjects: Adaptation

abstract: Adaptation is an ever-expanding field of study, with new trends and terms established in response to the proliferation of media. This thesis investigates how theatrical adaptation fits into emerging adaptation discourses, particularly the idea of transmediality. Although theatre is often side-lined in adaptation studies, this thesis argues that theatrical adaptation embodies various historical and contemporary adaptation trends. This thesis also contends that, in line with current understandings of media specific qualities, and media theory, adapting from any form of media to the stage is inherently transmedial. Investigating contemporary theatrical adaptation adapted from differing forms of media (novel, picturebook, comic), this thesis will highlight the processes of adaptation, in both creation, and reception. Focusing on the narrative in three adaptive stages – the original text, the script adaptation, and then the productions of that script – this thesis will highlight the key adaptation concepts utilised in three adaptations. Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time (2003) forms the basis of Simon Stephens’ play of the same name (2012), which in turn resulted in productions directed by Marianne Elliott and Sara Brodie. Kit Williams’ picturebook Masquerade (1979) is expanded and reworked by Kate Mulvany in her play Masquerade (2015), which was given life on the stage in a production directed by Lee Lewis and Sam Armstrong. Mulvany interweaves song into her script, and this awareness of the musicality of theatre is amplified in Lisa Kron and Jeanine Tesori’s libretto Fun Home (2015), an adaptation of Alison Bechdel’s graphic memoir Fun Home: A Family Tragicomic (2006). By considering the play text, and each individual production, as an adaptation in its own right, the research presented here aims to foreground the place of theatrical adaptation in adaptation studies.

text: 'We turned it into a play': Transmedial adaptations in contemporary theatre Adaptation is an ever-expanding field of study, with new trends and terms established in response to the proliferation of media. This thesis investigates how theatrical adaptation fits into emerging adaptation discourses, particularly the idea of transmediality. Although theatre is often side-lined in adaptation studies, this thesis argues that theatrical adaptation embodies various historical and contemporary adaptation trends. This thesis also contends that, in line with current understandings of media specific qualities, and media theory, adapting from any form of media to the stage is inherently transmedial. Investigating contemporary theatrical adaptation adapted from differing forms of media (novel, picturebook, comic), this thesis will highlight the processes of adaptation, in both creation, and reception. Focusing on the narrative in three adaptive stages – the original text, the script adaptation, and then the productions of that script – this thesis will highlight the key adaptation concepts utilised in three adaptations. Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time (2003) forms the basis of Simon Stephens’ play of the same name (2012), which in turn resulted in productions directed by Marianne Elliott and Sara Brodie. Kit Williams’ picturebook Masquerade (1979) is expanded and reworked by Kate Mulvany in her play Masquerade (2015), which was given life on the stage in a production directed by Lee Lewis and Sam Armstrong. Mulvany interweaves song into her script, and this awareness of the musicality of theatre is amplified in Lisa Kron and Jeanine Tesori’s libretto Fun Home (2015), an adaptation of Alison Bechdel’s graphic memoir Fun Home: A Family Tragicomic (2006). By considering the play text, and each individual production, as an adaptation in its own right, the research presented here aims to foreground the place of theatrical adaptation in adaptation studies.

year: 2022