title: New Zealand English and Te Reo Māori: A critical perspective on the loanword narrative using data from translingual picturebooks

authors: Barbour, Julie Renee

subjects: language contact

abstract: Aims/Purpose: New Zealand English has been characterised by the use of vocabulary ‘borrowed’ from the Indigenous Māori language since early contact between English and Māori speakers. In this paper, we consider the relevance of the ‘loanword narrative’ to New Zealand English, examining data from translingual picturebooks published in Aotearoa New Zealand.
Design/Data: We built a small corpus of 10 translingual picturebooks spanning a 30-year period beginning in the early years of Māori language revitalisation.
Analysis: We applied techniques of language analysis from descriptive linguistics, including studies of loanwords.
Findings: We find some evidence of linguistic ‘borrowing’.
Originality: However, in texts created by Māori content creators, with Māori cultural themes, a language practice akin to pedagogical code-switching or pedagogical translanguaging is observed. Māori content creators alternate between languages, treating Māori lexemes as distinct from NZE, preserving Māori orthographic traditions, and providing translation, explanation, or contextual support of Māori lexemes for NZE reader comprehension. Our observations find parallels in translanguaging studies in bilingual early childhood settings, and they are supported by new psycholinguistic research that has identified the development of substantial body of linguistic knowledge about the Māori language by non-Māori speakers through societal exposure.
Significance: We argue that the prevailing loanword narrative does not account for Māori language usage in translingual picturebooks developed by Māori content creators. Rather, we find a clear pattern of differentiation between Māori and NZE.

text: New Zealand English and Te Reo Māori: A critical perspective on the loanword narrative using data from translingual picturebooks Aims/Purpose: New Zealand English has been characterised by the use of vocabulary ‘borrowed’ from the Indigenous Māori language since early contact between English and Māori speakers. In this paper, we consider the relevance of the ‘loanword narrative’ to New Zealand English, examining data from translingual picturebooks published in Aotearoa New Zealand.
Design/Data: We built a small corpus of 10 translingual picturebooks spanning a 30-year period beginning in the early years of Māori language revitalisation.
Analysis: We applied techniques of language analysis from descriptive linguistics, including studies of loanwords.
Findings: We find some evidence of linguistic ‘borrowing’.
Originality: However, in texts created by Māori content creators, with Māori cultural themes, a language practice akin to pedagogical code-switching or pedagogical translanguaging is observed. Māori content creators alternate between languages, treating Māori lexemes as distinct from NZE, preserving Māori orthographic traditions, and providing translation, explanation, or contextual support of Māori lexemes for NZE reader comprehension. Our observations find parallels in translanguaging studies in bilingual early childhood settings, and they are supported by new psycholinguistic research that has identified the development of substantial body of linguistic knowledge about the Māori language by non-Māori speakers through societal exposure.
Significance: We argue that the prevailing loanword narrative does not account for Māori language usage in translingual picturebooks developed by Māori content creators. Rather, we find a clear pattern of differentiation between Māori and NZE.

year: 2025

title: !!!FR33D0M 0FF SP33CH!!!

authors: Smith, Hugh Lyal

subjects: Poetry

abstract: My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

text: !!!FR33D0M 0FF SP33CH!!! My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

year: 2021

title: Modelling post-earthquake building recovery under human resource constraints

authors: Li, Lianyan

abstract: Demand surge phenomenon as a result of shortages of human resources needed for post-disaster recovery and reconstruction can be detrimental to recovery outcomes. To quantify the impact of human resource constraints on the recovery of an urban environment, this research introduces a novel Dynamic Stochastic Queuing (DSQ) model, revealing such dynamic interplays over time. Central to this model is the incorporation of a spectrum of socioeconomic factors to formulate optimal recovery strategies under different dynamic resource mobilisation patterns. A recovery efficiency index is defined and employed as a proxy to facilitate comparisons across diverse recovery strategies. A case study is presented to illustrate the application of the model by simulating the building recovery of a portfolio of residential buildings in New Zealand following the 2010–2011 Canterbury Earthquake Sequence (CES). The findings indicate that proactive resource mobilisation strategies can significantly enhance both recovery efficiency and speed. It becomes possible to shorten the post-disaster recovery time significantly by strategically sequencing repairs of damaged structures while taking into account resource mobilisation strategies.

text: Modelling post-earthquake building recovery under human resource constraints Demand surge phenomenon as a result of shortages of human resources needed for post-disaster recovery and reconstruction can be detrimental to recovery outcomes. To quantify the impact of human resource constraints on the recovery of an urban environment, this research introduces a novel Dynamic Stochastic Queuing (DSQ) model, revealing such dynamic interplays over time. Central to this model is the incorporation of a spectrum of socioeconomic factors to formulate optimal recovery strategies under different dynamic resource mobilisation patterns. A recovery efficiency index is defined and employed as a proxy to facilitate comparisons across diverse recovery strategies. A case study is presented to illustrate the application of the model by simulating the building recovery of a portfolio of residential buildings in New Zealand following the 2010–2011 Canterbury Earthquake Sequence (CES). The findings indicate that proactive resource mobilisation strategies can significantly enhance both recovery efficiency and speed. It becomes possible to shorten the post-disaster recovery time significantly by strategically sequencing repairs of damaged structures while taking into account resource mobilisation strategies.

year: 2025