title: In search of well-being in the workplace: Exploring the emancipatory potential of participatory action research

authors: Twiname, Linda J.

abstract: The co-optation of employee empowerment discourses by organisations seeking to maximise performance have been argued to contribute to the intensification of control rather than enhancing real employee participation in employment decisions. I challenge the inevitability of such co-option and set out to achieve genuine participation and empowerment. 
Through a participatory action research (PAR) programme in a medium-sized, internationally-owned manufacturing firm located in New Zealand, employees and I sought to transform aspects of their workplace lives that they believed would enhance their well-being. The participants and I generated PAR processes that attempted to reflect a Habermasian notion of communicative action. In communicative action Habermas calls for commitment to trustworthy engagement in the achievement of a just society by striving towards ideal speech acts. An uncritical approach to these purportedly empowering processes might contribute to the exacerbation of exploitative processes, the value of participant 'doubt' in analytic processes is consequently discussed. I assess PAR' s potential to assist participants to identify and address management attempts to control through instrumental action and its ability to assist participants to engage in emancipatory actions toward communicative action. 
In keeping with the emancipatory aspirations of critical theorists, I committed to an 'affirmative agenda' through which we sought to transform the firm's processes toward more employee inclusiveness in decision making. This transformation required a challenge to the embedded and obfuscating discourses of unitarism that deflect attention from the unequal power relations endemic in contemporary capitalism and the strengthening of processes that respect and reconcile fairly the pluralist interests that are the focus of critical theory. The various projects in the programme were intended as a forum through which different groups within the firm might transform the hegemonic forces acting upon them in order to contribute more equally to decisions that influenced their lives. 
Through the projects we were able to achieve some specific changes participants believed would improve their workplace well-being. The research process proved to be a useful method of enquiry and change. The processes we experienced did shine light on hegemony for some of the participants and for myself. We did not, however, arrive at the level of mutual trust, sincerity and legitimacy that I had hoped for. Habermas speaks of movement towards the ideal. In this thesis I offer hope for such movement towards workplace practices that enhance employee well-being and through which the wealth creation potential of enterprise may serve all humanity well.

text: In search of well-being in the workplace: Exploring the emancipatory potential of participatory action research The co-optation of employee empowerment discourses by organisations seeking to maximise performance have been argued to contribute to the intensification of control rather than enhancing real employee participation in employment decisions. I challenge the inevitability of such co-option and set out to achieve genuine participation and empowerment. 
Through a participatory action research (PAR) programme in a medium-sized, internationally-owned manufacturing firm located in New Zealand, employees and I sought to transform aspects of their workplace lives that they believed would enhance their well-being. The participants and I generated PAR processes that attempted to reflect a Habermasian notion of communicative action. In communicative action Habermas calls for commitment to trustworthy engagement in the achievement of a just society by striving towards ideal speech acts. An uncritical approach to these purportedly empowering processes might contribute to the exacerbation of exploitative processes, the value of participant 'doubt' in analytic processes is consequently discussed. I assess PAR' s potential to assist participants to identify and address management attempts to control through instrumental action and its ability to assist participants to engage in emancipatory actions toward communicative action. 
In keeping with the emancipatory aspirations of critical theorists, I committed to an 'affirmative agenda' through which we sought to transform the firm's processes toward more employee inclusiveness in decision making. This transformation required a challenge to the embedded and obfuscating discourses of unitarism that deflect attention from the unequal power relations endemic in contemporary capitalism and the strengthening of processes that respect and reconcile fairly the pluralist interests that are the focus of critical theory. The various projects in the programme were intended as a forum through which different groups within the firm might transform the hegemonic forces acting upon them in order to contribute more equally to decisions that influenced their lives. 
Through the projects we were able to achieve some specific changes participants believed would improve their workplace well-being. The research process proved to be a useful method of enquiry and change. The processes we experienced did shine light on hegemony for some of the participants and for myself. We did not, however, arrive at the level of mutual trust, sincerity and legitimacy that I had hoped for. Habermas speaks of movement towards the ideal. In this thesis I offer hope for such movement towards workplace practices that enhance employee well-being and through which the wealth creation potential of enterprise may serve all humanity well.

year: 2005

title: Bubbles and lockdown in Aotearoa New Zealand: the language of self-isolation in #Covid19NZ tweets.

authors: Burnette, Jessie

subjects: COVID-19

abstract: In March 2020, as cases of COVID-19 were found in Aotearoa New Zealand, the government moved to eliminate community transmission of the virus through self-isolation. During this month, as the population discussed if, when and how households would be asked to stay at home, terms such as lockdown-the state of (national) closure-and bubble-the household isolating together-became common parts of everyday conversation.In this article, we blend quantitative and qualitative research methodologies from corpus linguistics, literary studies and the medical humanities to compare the affective range of the terms lockdown and bubble as they were used in tweets containing the hashtag #Covid19NZ. Both lockdown and bubble are metaphors of containment that provided different ways of understanding and engaging with government stay-at-home measures by highlighting and minimising different aspects of the event. We found that while the strong, prison connotations of lockdown were reflected in discussions of the measure as a tough form of control exercised from above, the lighter associations of the term bubble led to the perception of this measure as more malleable and conducive to exertion of individual control. Yet, although the seemingly restrictive range of lockdown made it a useful term for the expression of negative affect, the term was actually more frequently used with neutral or unclear affect to share information. Conversely, while bubble tweets expressed more positive sentiment, humour and support towards government stay-at-home measures, this rendered the term surprisingly restrictive in its potential uses: its lightness makes it an effective way to limit the expression of antilockdown sentiment. As Kiwi Twitter users faced the uncertainty of the first COVID-19 lockdown, the pre-existing connotations of the metaphors used to frame stay-at-home measures also helped frame their own experiences of these measures.

text: Bubbles and lockdown in Aotearoa New Zealand: the language of self-isolation in #Covid19NZ tweets. In March 2020, as cases of COVID-19 were found in Aotearoa New Zealand, the government moved to eliminate community transmission of the virus through self-isolation. During this month, as the population discussed if, when and how households would be asked to stay at home, terms such as lockdown-the state of (national) closure-and bubble-the household isolating together-became common parts of everyday conversation.In this article, we blend quantitative and qualitative research methodologies from corpus linguistics, literary studies and the medical humanities to compare the affective range of the terms lockdown and bubble as they were used in tweets containing the hashtag #Covid19NZ. Both lockdown and bubble are metaphors of containment that provided different ways of understanding and engaging with government stay-at-home measures by highlighting and minimising different aspects of the event. We found that while the strong, prison connotations of lockdown were reflected in discussions of the measure as a tough form of control exercised from above, the lighter associations of the term bubble led to the perception of this measure as more malleable and conducive to exertion of individual control. Yet, although the seemingly restrictive range of lockdown made it a useful term for the expression of negative affect, the term was actually more frequently used with neutral or unclear affect to share information. Conversely, while bubble tweets expressed more positive sentiment, humour and support towards government stay-at-home measures, this rendered the term surprisingly restrictive in its potential uses: its lightness makes it an effective way to limit the expression of antilockdown sentiment. As Kiwi Twitter users faced the uncertainty of the first COVID-19 lockdown, the pre-existing connotations of the metaphors used to frame stay-at-home measures also helped frame their own experiences of these measures.

year: 2022-07-27

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016