title: Assisted heat transfer and shaft work targets for increased total site heat integration

authors: Walmsley, Timothy Gordon

abstract: Total Site Heat Integration (TSHI) provides a valuable framework for practical integration of multiple energy users. Previous studies have introduced the idea of utilising process heat recovery pockets to assist TSHI. However, these methods are shown to be effective for only some Total Site (TS) problems. As a result, this paper presents a new method for calculating assisted heat transfer and shaft work targets for an example TS problem. Analysis results show that assisted heat transfer increases TSHI only when a process heat recovery pocket spans the TS Pinch Region. The maximum assisted TSHI can be targeted by comparing each heat recovery pocket to the Site Utility Grand Composite Curve (SUGCC) using background/foreground analysis. Where heat recovery pockets span two steam pressure levels away from the TS Pinch Region (usually above), the example shows the potential for assisted shaft work production. In this case, the source segment of the heat recovery pocket generates steam (e.g. MPS), which replaces steam that would otherwise have been extracted from a steam turbine. The sink segment of the heat recovery pocket consumes lower pressure steam (e.g. LPS), which is extracted from the turbine. If a heat recovery pocket falls outside these two situations (assuming direct inter-process integration is disallowed), the entire pocket should be recovered internal to a process.

text: Assisted heat transfer and shaft work targets for increased total site heat integration Total Site Heat Integration (TSHI) provides a valuable framework for practical integration of multiple energy users. Previous studies have introduced the idea of utilising process heat recovery pockets to assist TSHI. However, these methods are shown to be effective for only some Total Site (TS) problems. As a result, this paper presents a new method for calculating assisted heat transfer and shaft work targets for an example TS problem. Analysis results show that assisted heat transfer increases TSHI only when a process heat recovery pocket spans the TS Pinch Region. The maximum assisted TSHI can be targeted by comparing each heat recovery pocket to the Site Utility Grand Composite Curve (SUGCC) using background/foreground analysis. Where heat recovery pockets span two steam pressure levels away from the TS Pinch Region (usually above), the example shows the potential for assisted shaft work production. In this case, the source segment of the heat recovery pocket generates steam (e.g. MPS), which replaces steam that would otherwise have been extracted from a steam turbine. The sink segment of the heat recovery pocket consumes lower pressure steam (e.g. LPS), which is extracted from the turbine. If a heat recovery pocket falls outside these two situations (assuming direct inter-process integration is disallowed), the entire pocket should be recovered internal to a process.

year: 2016

title: From Agincourt to the Avon: Ngaio Marsh and Henry V (1972)

authors: Houlahan, Mark

abstract: In the evening of October 1, 1972, the James Hay Theatre in the Christchurch Town Hall was officially launched with an impressively mounted production of Shakespeare’s Henry V, directed by Ngaio Marsh, internationally famous as one of the Queens of Crime fiction, and who had directed high quality Shakespeare productions in Ōtautahi/Christchuch since 1943. The production, using over 100 actors and featuring professional actors Marsh had trained who returned from England to perform, was a pinnacle of her production style, and each of the ten performances sold out. Marsh’s meticulously prepared promptbooks for the show, housed in the Turnbull Library, show every cut and move sketched by Marsh in advance. The Marsh archives also document reviewers’ reactions and recollections from the company, and contain a rich array of visual evidence: posters, production stills, and the official programme. In my paper I will use this data to evoke this lavish production. In 2019 the Town Hall re-opened after extensive restoration following the 2011 earthquakes, a process documented in The Christchurch Town Hall 1965-2019: a Dream Renewed (Canterbury UP, 2020), and the venue has begun presenting post-Covid entertainments. It is timely then to pivot back to 1972 and ask what we can learn from this production about the place of Marsh’s theatre in the development of performance culture in Aotearoa; and open out to the wider, ongoing questions as to the place of Shakespeare in our cultural fabric.

text: From Agincourt to the Avon: Ngaio Marsh and Henry V (1972) In the evening of October 1, 1972, the James Hay Theatre in the Christchurch Town Hall was officially launched with an impressively mounted production of Shakespeare’s Henry V, directed by Ngaio Marsh, internationally famous as one of the Queens of Crime fiction, and who had directed high quality Shakespeare productions in Ōtautahi/Christchuch since 1943. The production, using over 100 actors and featuring professional actors Marsh had trained who returned from England to perform, was a pinnacle of her production style, and each of the ten performances sold out. Marsh’s meticulously prepared promptbooks for the show, housed in the Turnbull Library, show every cut and move sketched by Marsh in advance. The Marsh archives also document reviewers’ reactions and recollections from the company, and contain a rich array of visual evidence: posters, production stills, and the official programme. In my paper I will use this data to evoke this lavish production. In 2019 the Town Hall re-opened after extensive restoration following the 2011 earthquakes, a process documented in The Christchurch Town Hall 1965-2019: a Dream Renewed (Canterbury UP, 2020), and the venue has begun presenting post-Covid entertainments. It is timely then to pivot back to 1972 and ask what we can learn from this production about the place of Marsh’s theatre in the development of performance culture in Aotearoa; and open out to the wider, ongoing questions as to the place of Shakespeare in our cultural fabric.

year: 2021-11-10

title: Contextualising Māori writing: a study of prose fiction written in English by Witi Ihimaera, Patricia Grace, Keri Hulme and Alan Duff

authors: Calvert, Julia Helen

abstract: All prose fiction written in English by Māori is political on one level or another. The authors considered in this thesis, Witi Ihimaera, Patricia Grace, Keri Hulme and Alan Duff, choose to identify as Māori, but for each writer exactly what this entails implies something different. The diverse range of Māori characters represented in their work illustrates the heterogeneity of contemporary Māori identity. Whilst bearing in mind that there is no fixed Māori identity, this thesis proposes that all fiction written in English by Māori is motivated by a belief that Māori are a disadvantaged group within New Zealand society. 

Three of the four writers, Ihimaera, Grace and Hulme, write against a background of colonisation. Their fiction confronts grievances based on perceived injustices committed against Māori in the past by European colonists and is concerned with the restoration of Māori rights pertaining to land, language, identity and political voice. While all three engage with these issues in their fiction, this thesis specifically considers the way in which Ihimaera treats the theme of land, Grace focuses on issues of education and Hulme explores Māori mythology.

Alan Duff stands apart from the other three writers in his belief that colonisation is not to blame for contemporary Māori disadvantage. Rather, Duff considers the situation to be the result of inherent flaws within Māori society. Through his often didactic writing he proposes that improved Māori socioeconomic levels can only be achieved through a radical structural and economic re-evaluation of Māori culture.

This thesis contextualises the work of the four authors and explores the ways in which their fiction engages with historical and contemporary issues of “race relations” and cultural identity in New Zealand. A sociological approach has been applied to the texts. This approach derives from the Māori writers’ own insistent reading of contemporary Māori identity as the product of historical encounter between Māori and Pākehā. The authors work in a dialectical relationship to previous Pākehā representations of Māori in literature, are historically revisionist, and are frequently adversarial. 

Despite the differences in personal and political perspectives held by the authors, their fictions share a common goal in their search for Māori pathways to empowerment. This thesis argues that prose fiction written in English by Māori writers contributes to the political activism of the Māori people and helps to foster an environment in which new perspectives on Māori culture and bicultural relations can be articulated.

text: Contextualising Māori writing: a study of prose fiction written in English by Witi Ihimaera, Patricia Grace, Keri Hulme and Alan Duff All prose fiction written in English by Māori is political on one level or another. The authors considered in this thesis, Witi Ihimaera, Patricia Grace, Keri Hulme and Alan Duff, choose to identify as Māori, but for each writer exactly what this entails implies something different. The diverse range of Māori characters represented in their work illustrates the heterogeneity of contemporary Māori identity. Whilst bearing in mind that there is no fixed Māori identity, this thesis proposes that all fiction written in English by Māori is motivated by a belief that Māori are a disadvantaged group within New Zealand society. 

Three of the four writers, Ihimaera, Grace and Hulme, write against a background of colonisation. Their fiction confronts grievances based on perceived injustices committed against Māori in the past by European colonists and is concerned with the restoration of Māori rights pertaining to land, language, identity and political voice. While all three engage with these issues in their fiction, this thesis specifically considers the way in which Ihimaera treats the theme of land, Grace focuses on issues of education and Hulme explores Māori mythology.

Alan Duff stands apart from the other three writers in his belief that colonisation is not to blame for contemporary Māori disadvantage. Rather, Duff considers the situation to be the result of inherent flaws within Māori society. Through his often didactic writing he proposes that improved Māori socioeconomic levels can only be achieved through a radical structural and economic re-evaluation of Māori culture.

This thesis contextualises the work of the four authors and explores the ways in which their fiction engages with historical and contemporary issues of “race relations” and cultural identity in New Zealand. A sociological approach has been applied to the texts. This approach derives from the Māori writers’ own insistent reading of contemporary Māori identity as the product of historical encounter between Māori and Pākehā. The authors work in a dialectical relationship to previous Pākehā representations of Māori in literature, are historically revisionist, and are frequently adversarial. 

Despite the differences in personal and political perspectives held by the authors, their fictions share a common goal in their search for Māori pathways to empowerment. This thesis argues that prose fiction written in English by Māori writers contributes to the political activism of the Māori people and helps to foster an environment in which new perspectives on Māori culture and bicultural relations can be articulated.

year: 2002