title: Taxonomic, biological, population dynamics and behavioural studies on sod webworms (Lepidoptera : pyralidae: crambinae and scopariinae) of some Waikato (New Zealand) hill country pastures

authors: Cowley, Jocelyn Marie

abstract: New Zealand has a rich fauna of sod webworms (Lepidoptera: Pyralidae: Crambinae and Scopariinae) which have been implicated in sporadic outbreaks of pasture damage. This study investigates sod webworms of south facing hill country slopes of some Waikato pastures. Four aspects are considered: taxonomy of the species present; some features of their biology; population dynamics of Eudonia sabulosella (Walker) (the most common species); and adult behaviour, especially flight.

Taxonomy is detailed for male and female adults (with accompanying genitalia figures) and for eggs, larvae and pupae where available. Nine species are involved: Orocrambus flexuosellus (Doubleday), and O. vitellus (Doubleday) (Crambinae); Eudonia psammitis (Meyrick), E. sabulosella (Walker), “Scoparia” bisinualis Hudson, “S”. Diphtheralis Walker, “S”. halopis Meyrick, “S”. philerga Meyrick and “S”. submariginalis (Walker).

A summary of meteorological data including soil moisture content, soil temperature, air temperature, relative humidity and rainfall is given for the main study sites. 

Life cycles and generation times with information on the duration of adult seasons are presented for each species. Habitats of eggs, larvae, pupae and adults are defined and selection of oviposition sites by female Eudonia sabulosella is investigated. Studies are made on food types, larval growth rates and adult reproductive maturity. Longevity of adults, mating frequencies and female fecundity (taken as the number of eggs found in dissected field collected females) are measured. Egg fertility and viability as well as egg incubation times are investigated.

Life tables are presented for Eudonia sabulosella on hill country pasture. Key factor analysis is undertaken to identify major mortality factors. Parasitism by Aucklandella geiri (Ichneumonidae) and arthropod and avian predation on sod webworm larvae are studied. Pathogen infection of E. sabulosella by nematodes (some of which were Steinernema bibionis Wouts et al.) and a neogregarine protozoan (Mattesia sp.) is investigated. Effects of the protozoan on host size (body weight and length) and female fecundity are measured. Median lethal doses of pathogen are presented for larvae and pupae. Methods of protozoan transmission are discussed. 

Adult flight activity is interpreted in relation to air temperature, humidity, rainfall, barometric pressure, wind speed and direction, cloud cover, lunar cycle, reproductive state of the adult, time of day, species and sex. Susceptible pastures are indicated. An understanding of some of the factors affecting the sporadic (temporal and spatial) occurrence of sod webworm infestations has been gained.

text: Taxonomic, biological, population dynamics and behavioural studies on sod webworms (Lepidoptera : pyralidae: crambinae and scopariinae) of some Waikato (New Zealand) hill country pastures New Zealand has a rich fauna of sod webworms (Lepidoptera: Pyralidae: Crambinae and Scopariinae) which have been implicated in sporadic outbreaks of pasture damage. This study investigates sod webworms of south facing hill country slopes of some Waikato pastures. Four aspects are considered: taxonomy of the species present; some features of their biology; population dynamics of Eudonia sabulosella (Walker) (the most common species); and adult behaviour, especially flight.

Taxonomy is detailed for male and female adults (with accompanying genitalia figures) and for eggs, larvae and pupae where available. Nine species are involved: Orocrambus flexuosellus (Doubleday), and O. vitellus (Doubleday) (Crambinae); Eudonia psammitis (Meyrick), E. sabulosella (Walker), “Scoparia” bisinualis Hudson, “S”. Diphtheralis Walker, “S”. halopis Meyrick, “S”. philerga Meyrick and “S”. submariginalis (Walker).

A summary of meteorological data including soil moisture content, soil temperature, air temperature, relative humidity and rainfall is given for the main study sites. 

Life cycles and generation times with information on the duration of adult seasons are presented for each species. Habitats of eggs, larvae, pupae and adults are defined and selection of oviposition sites by female Eudonia sabulosella is investigated. Studies are made on food types, larval growth rates and adult reproductive maturity. Longevity of adults, mating frequencies and female fecundity (taken as the number of eggs found in dissected field collected females) are measured. Egg fertility and viability as well as egg incubation times are investigated.

Life tables are presented for Eudonia sabulosella on hill country pasture. Key factor analysis is undertaken to identify major mortality factors. Parasitism by Aucklandella geiri (Ichneumonidae) and arthropod and avian predation on sod webworm larvae are studied. Pathogen infection of E. sabulosella by nematodes (some of which were Steinernema bibionis Wouts et al.) and a neogregarine protozoan (Mattesia sp.) is investigated. Effects of the protozoan on host size (body weight and length) and female fecundity are measured. Median lethal doses of pathogen are presented for larvae and pupae. Methods of protozoan transmission are discussed. 

Adult flight activity is interpreted in relation to air temperature, humidity, rainfall, barometric pressure, wind speed and direction, cloud cover, lunar cycle, reproductive state of the adult, time of day, species and sex. Susceptible pastures are indicated. An understanding of some of the factors affecting the sporadic (temporal and spatial) occurrence of sod webworm infestations has been gained.

year: 1982

title: 'Riot', 'Revolution' and 'Rape': The theatre relationship and performance breakdown

authors: Aitken, Vivienne Jane

subjects: Audience

abstract: This thesis considers theories about the relationship between theatre makers and audience members in theatre – how this relationship is established and how it can break down. The thesis posits that the breakdown of a theatre relationship is manifested in audience behaviour which, when it is severe enough, can lead to interventions in performance and, potentially, the breakdown of that performance. The thesis argues that audience intervention in a performance constitutes a seizure of ‘performance power’ from the theatre makers, which is sufficiently difficult to achieve that successful and sustained interventions can only be carried out by groups of audience members and, probably, organized in advance. Further, the thesis suggests that in its most extreme form, such interventions may bring about a transfer of roles and power between audience members and theatre makers such that a new quasi-theatrical ‘performance of protest’ is created.

The thesis surveys three historical cases in which theatre performances were disrupted by deliberate audience interventions. In each case the nature of the intervention was slightly different and the effect upon the performance was also different. In the first example, the Plough and the Stars riots (Dublin, 1926) a preplanned protest occurred in the playhouse and, despite interruption, the performance continued. In the second instance, the audience at Living Theatre’s Paradise Now (California 1969) erupted in spontaneous protest within the theatre and the performance was almost entirely subsumed. In the final study, the Mervyn Thompson case (Auckland 1984) the protest took two forms: first there was a vigilante-style attack on Thompson himself which took place well away from any theatre event but had strong theatrical references; then several of his performances were affected by organized lobbying, pickets and interruptions. The thesis asks why the rupture in the theatre relationship occurred in each case and considers what these instances have to tell us about the breakdown of theatre performance as a social phenomenon.
The thesis finds that in all three cases the audience members carrying out the interventions belonged to pre-existing groups with prior experience in protest action. The thesis also finds that the protesters had all had direct experience of some other ‘dramatic’ or ‘theatrical’ event in their own lives; experiences that made the performance seem less relevant. Given this, the thesis argues that, in these cases, the propensity to disrupt was brought to the theatre relationship by the audience members rather than being a direct response to the performance, even where that performance was confrontational.
These findings have implications for theatre study and practice: in particular, the thesis raises questions about how we look at performance breakdown. Rather than assuming audience protest is a simple response to the performance, the findings suggest that such events must be considered in the light of the wider social and political context of the performance, most particularly the audience members’ pre-occupations. Finally, the thesis asks whether audience protest, however theatrical it appears, can ever become substitute theatre in the true sense of that word.

text: 'Riot', 'Revolution' and 'Rape': The theatre relationship and performance breakdown This thesis considers theories about the relationship between theatre makers and audience members in theatre – how this relationship is established and how it can break down. The thesis posits that the breakdown of a theatre relationship is manifested in audience behaviour which, when it is severe enough, can lead to interventions in performance and, potentially, the breakdown of that performance. The thesis argues that audience intervention in a performance constitutes a seizure of ‘performance power’ from the theatre makers, which is sufficiently difficult to achieve that successful and sustained interventions can only be carried out by groups of audience members and, probably, organized in advance. Further, the thesis suggests that in its most extreme form, such interventions may bring about a transfer of roles and power between audience members and theatre makers such that a new quasi-theatrical ‘performance of protest’ is created.

The thesis surveys three historical cases in which theatre performances were disrupted by deliberate audience interventions. In each case the nature of the intervention was slightly different and the effect upon the performance was also different. In the first example, the Plough and the Stars riots (Dublin, 1926) a preplanned protest occurred in the playhouse and, despite interruption, the performance continued. In the second instance, the audience at Living Theatre’s Paradise Now (California 1969) erupted in spontaneous protest within the theatre and the performance was almost entirely subsumed. In the final study, the Mervyn Thompson case (Auckland 1984) the protest took two forms: first there was a vigilante-style attack on Thompson himself which took place well away from any theatre event but had strong theatrical references; then several of his performances were affected by organized lobbying, pickets and interruptions. The thesis asks why the rupture in the theatre relationship occurred in each case and considers what these instances have to tell us about the breakdown of theatre performance as a social phenomenon.
The thesis finds that in all three cases the audience members carrying out the interventions belonged to pre-existing groups with prior experience in protest action. The thesis also finds that the protesters had all had direct experience of some other ‘dramatic’ or ‘theatrical’ event in their own lives; experiences that made the performance seem less relevant. Given this, the thesis argues that, in these cases, the propensity to disrupt was brought to the theatre relationship by the audience members rather than being a direct response to the performance, even where that performance was confrontational.
These findings have implications for theatre study and practice: in particular, the thesis raises questions about how we look at performance breakdown. Rather than assuming audience protest is a simple response to the performance, the findings suggest that such events must be considered in the light of the wider social and political context of the performance, most particularly the audience members’ pre-occupations. Finally, the thesis asks whether audience protest, however theatrical it appears, can ever become substitute theatre in the true sense of that word.

year: 2005

title: A literary and linguistic critique of a Māori lullaby

authors: August, Tipene

subjects: waiata Māori

abstract: Māori song poems surviving from pre-colonial times can provide a valuable source of information about the artistic and cultural heritage of Māoridom. However, they present a number of challenges for the contemporary analyst. On the basis of a stylistic analysis of a Māori lullaby, a number of hypotheses about Māori song poems in general, and the lullaby in particular, are put forward and it is suggested that these hypotheses could be tested in relation to a corpus of song poems. It is hoped that the approach to stylistic analysis adopted here will be of use to scholars of Māori song poems and, perhaps, also to others who are interested in indigenous art forms more generally.

text: A literary and linguistic critique of a Māori lullaby Māori song poems surviving from pre-colonial times can provide a valuable source of information about the artistic and cultural heritage of Māoridom. However, they present a number of challenges for the contemporary analyst. On the basis of a stylistic analysis of a Māori lullaby, a number of hypotheses about Māori song poems in general, and the lullaby in particular, are put forward and it is suggested that these hypotheses could be tested in relation to a corpus of song poems. It is hoped that the approach to stylistic analysis adopted here will be of use to scholars of Māori song poems and, perhaps, also to others who are interested in indigenous art forms more generally.

year: 2001-02