title: Isolation of cellulolytic anaerobic extreme thermophiles from New Zealand thermal sites

authors: Sissons, Christopher H.

subjects: biology

abstract: Avicel enrichment cultures from 47 thermal-pool sites in the New Zealand Rotorua-Taupo region were screened for growth and carboxymethyl cellulase activity at 75°C. Eight anaerobic cellulolytic cultures were obtained. The effect of temperature on carboxymethyl cellulase activity was measured, and bacteria were isolated from the five best cultures. Bacteria from two sources designated TP8 and TP10 grew at 75°C, accumulated reducing sugar in the growth medium and gave free cellulases with avicelase activity. Bacteria from sources designated Tok4, Tok8, and Wai21 grew at 75°C, accumulated no free sugars in the medium, and gave free carboxymethyl cellulases with virtually no avicelase activity. All were obligate anaerobic nonsporeforming rods which stained gram negative, grew on pentoses as well as hexoses, and gave ethanol and acetate as major fermentation end products. The isolated strain which produced the most active and stable cellulases (trivially designated TP8.T) had lower rates of free endocellulase accumulation at 75°C than did Clostridium thermocellum at 60°C, but its cellulase activity against avicel and filter paper in culture supernatants was comparable. Tested at 85°C, TP8.T carboxymethyl cellulases included components which were very stable, whereas C. thermocellum carboxymethyl cellulases were all rapidly inactivated. The TP8.T avicelase activity was relatively unaffected by Triton X-100, EDTA, and dithiothreitol. Evidence was obtained for the existence of unisolated, cellulolytic extreme thermophiles producing cellulases which were more stable and active than those from TP8.T.

text: Isolation of cellulolytic anaerobic extreme thermophiles from New Zealand thermal sites Avicel enrichment cultures from 47 thermal-pool sites in the New Zealand Rotorua-Taupo region were screened for growth and carboxymethyl cellulase activity at 75°C. Eight anaerobic cellulolytic cultures were obtained. The effect of temperature on carboxymethyl cellulase activity was measured, and bacteria were isolated from the five best cultures. Bacteria from two sources designated TP8 and TP10 grew at 75°C, accumulated reducing sugar in the growth medium and gave free cellulases with avicelase activity. Bacteria from sources designated Tok4, Tok8, and Wai21 grew at 75°C, accumulated no free sugars in the medium, and gave free carboxymethyl cellulases with virtually no avicelase activity. All were obligate anaerobic nonsporeforming rods which stained gram negative, grew on pentoses as well as hexoses, and gave ethanol and acetate as major fermentation end products. The isolated strain which produced the most active and stable cellulases (trivially designated TP8.T) had lower rates of free endocellulase accumulation at 75°C than did Clostridium thermocellum at 60°C, but its cellulase activity against avicel and filter paper in culture supernatants was comparable. Tested at 85°C, TP8.T carboxymethyl cellulases included components which were very stable, whereas C. thermocellum carboxymethyl cellulases were all rapidly inactivated. The TP8.T avicelase activity was relatively unaffected by Triton X-100, EDTA, and dithiothreitol. Evidence was obtained for the existence of unisolated, cellulolytic extreme thermophiles producing cellulases which were more stable and active than those from TP8.T.

year: 1987

title: William Dibsell: one of the first settlers in the Te Aroha district

authors: Hart, Philip

abstract: A baker, William Dibsell arrived in New Zealand in 1862, settling in Thames in 1868. Later he moved to the Waihou district to run a hotel and store at Te Kawana, near the future Te Aroha, transferring to the latter settlement in 1884 because his business had become isolated from the developing township. A baker and grocer, as at Thames he acquired small interests in Te Aroha’s mines, which would not have provided any profit unless he sold them speedily. He was so successful financially that he could become a moneylender, a rapacious one in the case of one man who became indebted to him. Concentrating on making money, he had only a limited involvement in the community.

text: William Dibsell: one of the first settlers in the Te Aroha district A baker, William Dibsell arrived in New Zealand in 1862, settling in Thames in 1868. Later he moved to the Waihou district to run a hotel and store at Te Kawana, near the future Te Aroha, transferring to the latter settlement in 1884 because his business had become isolated from the developing township. A baker and grocer, as at Thames he acquired small interests in Te Aroha’s mines, which would not have provided any profit unless he sold them speedily. He was so successful financially that he could become a moneylender, a rapacious one in the case of one man who became indebted to him. Concentrating on making money, he had only a limited involvement in the community.

year: 2016

title: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media

authors: Mataira, Kelvin

abstract: This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

text: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

year: 2000