title: Further comments-Waihi Terrace and Hamilton Ash Ages

authors: Kear, David

abstract: The authors of the previous paper (Selby et al. 1971) kindly allowed us to see their manuscript, prior to publication. They have made a significant contribution to Bay of Plenty late Quaternary stratigraphy in recognising established ash beds in the coastal terrace sequence at Waihi Beach (Kear & Waterhouse, 1961). This brief note acknowledges their work, and uses their data to produce an alternative age interpretation, that implies broad dates for the formation of each of the coastal terraces and for the Hamilton Ash.

text: Further comments-Waihi Terrace and Hamilton Ash Ages The authors of the previous paper (Selby et al. 1971) kindly allowed us to see their manuscript, prior to publication. They have made a significant contribution to Bay of Plenty late Quaternary stratigraphy in recognising established ash beds in the coastal terrace sequence at Waihi Beach (Kear & Waterhouse, 1961). This brief note acknowledges their work, and uses their data to produce an alternative age interpretation, that implies broad dates for the formation of each of the coastal terraces and for the Hamilton Ash.

year: 1971

title: Steampunk: The Inner Workings

authors: Smith, Garth Michael Parker

subjects: Steampunk

abstract: Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

text: Steampunk: The Inner Workings Steampunk, as a literary genre and cultural phenomena, is a relatively recent innovation that is increasingly receiving critical attention. From the proto-steampunk of Jules Verne and H.G. Wells, through the novels of its acknowledged founding fathers K.W. Jeter, Tim Powers and James Blaylock, to contemporary works by China Miéville, Cherie Priest and Paul Di Filipo, steampunk has been plagued by the lack of a unifying definition. Every author, academic and critic has their own definition of it, which may share similarities with others, but none of them can agree on the core ingredients of the genre.

Related to the important task of defining steampunk is the need to answer the question: 'Is steampunk a literary genre?' In many respects, steampunk has moved beyond the literary world. Fashion, art and sub-cultures have all embraced steampunk as a style, an aesthetic, a way of life and even a philosophy. This could be the reason for the inability to find a single unifying definition of steampunk.

This thesis will argue that, rather than a genre, steampunk is best understood as an aesthetic which can be applied, like any aesthetic, to any literary genre to produce a work that is steampunk-inflected, such as science fiction steampunk, alternate history steampunk, steampunk fantasy, historical steampunk, steampunk romance or gothic steampunk. After evaluating both scholarly and popular definitions of steampunk I will explore four key aspects of the steampunk aesthetic: the neo-Victorian tropes which dominate steampunk texts; the relationship between magic and science in the steampunk universe; the places and people who inhabit steampunk worlds; and the revolutionary message of most steampunk creations. Throughout my discussion will focus primarily on a range of texts acknowledged as steampunk: Michael Moorcock’s The Warlord of the Air (1971), K. W. Jeter’s Infernal Devices (1987), Tim Powers’ The Anubis Gates (1983), William Gibson and Bruce Sterling’s The Difference Engine (1991), Paul Di Filippo’s The Steampunk Trilogy (1995), Neal Stephenson’s The Diamond Age (1995), Gail Carriger’s ‘Parasol Protectorate’ series (2009 – current), Mark Hodder’s ‘Burton and Swinburne’ series (2010 – current), Arcanum: Of Steamworks and Magick Obscura by Troika Games and Runic Games’ Torchlight (2009) and Torchlight 2 (2011).

year: 2013

title: Caught in the cross-fire: the realities of being Māori at a bicultural law school

authors: Papuni-Ball, Makere

abstract: This thesis examines the first Waikato Māori Law Graduates’ experiences at law school and our employment choices. It has been written as a result of a research project which was conducted in 1994. The paper begins with establishing the importance of other Māori the guidelines on this project. In this discussion, my role as the researcher is explained together with how the original research project impacted upon this thesis.

Waikato School of Law was established in an era of socio-political changes in our society. Te Matahauariki Report supported its establishment based upon proven demand for law graduates. It also envisaged the School as being a meeting place for all who attended, an institution which might encourage relationships between Māori and Pakeha societies. The Council of Legal Education supported the need to have at least one law school which would not reflect the traditional legal education system and acknowledged the need to incorporate a Māori perspective. Tainui as tangata whenua hoped the school would provide opportunities for Māori students, including Māori in the curriculum and assist in promoting research ensuring the recognition of Māori lore/law.

Amongst this backdrop, the most important reason why we came to law school was because of our whānau expectations. It is the accountability and responsibility we have as Māori to our whānau and the wider Māori community that is a major theme throughout this thesis. As students we were expected to utilise our skills to benefit our wider Māori networks.

We had expected that the School would provide us with a legal education which would be enriched in Māori kaupapa. Our experiences tell another story. Instead of being educated in Māori tikanga and the true discourse of the law as a tool of oppression, we were exposed to continual suppression of our cultural heritage. In class we had become the teachers of the Māori content.

The School, although admiral in its aims, was not prepared in structure, staff or mental processes for biculturalism. The consequences for the Māori students who were exposed to this structure was devastating. Our experiences of being discriminated against and made to justify our Māori perspective against the backdrop of the dominant Pakeha legal culture have affected our perceptions of the law. The myths of one law for all and the neutrality of the justice system have resulted in our choosing to work in jobs that will continue to benefit Māori.

It is suggested that our legal education has influenced our choices to work in areas which focus on benefiting the Māori community. In those monocultural work areas which have few Māori practising, this is because such places repel those of us who know that such work places perpetuate the dominant Pakeha culture. Māori struggle against the oppressive presence of the dominant culture.

This thesis calls upon my own experiences and the experiences of my fellow Māori law graduates. It is a starting point for other Māori to write about their experiences and to reassert Māori rangatiratanga not only in law school, but in the wider community.

text: Caught in the cross-fire: the realities of being Māori at a bicultural law school This thesis examines the first Waikato Māori Law Graduates’ experiences at law school and our employment choices. It has been written as a result of a research project which was conducted in 1994. The paper begins with establishing the importance of other Māori the guidelines on this project. In this discussion, my role as the researcher is explained together with how the original research project impacted upon this thesis.

Waikato School of Law was established in an era of socio-political changes in our society. Te Matahauariki Report supported its establishment based upon proven demand for law graduates. It also envisaged the School as being a meeting place for all who attended, an institution which might encourage relationships between Māori and Pakeha societies. The Council of Legal Education supported the need to have at least one law school which would not reflect the traditional legal education system and acknowledged the need to incorporate a Māori perspective. Tainui as tangata whenua hoped the school would provide opportunities for Māori students, including Māori in the curriculum and assist in promoting research ensuring the recognition of Māori lore/law.

Amongst this backdrop, the most important reason why we came to law school was because of our whānau expectations. It is the accountability and responsibility we have as Māori to our whānau and the wider Māori community that is a major theme throughout this thesis. As students we were expected to utilise our skills to benefit our wider Māori networks.

We had expected that the School would provide us with a legal education which would be enriched in Māori kaupapa. Our experiences tell another story. Instead of being educated in Māori tikanga and the true discourse of the law as a tool of oppression, we were exposed to continual suppression of our cultural heritage. In class we had become the teachers of the Māori content.

The School, although admiral in its aims, was not prepared in structure, staff or mental processes for biculturalism. The consequences for the Māori students who were exposed to this structure was devastating. Our experiences of being discriminated against and made to justify our Māori perspective against the backdrop of the dominant Pakeha legal culture have affected our perceptions of the law. The myths of one law for all and the neutrality of the justice system have resulted in our choosing to work in jobs that will continue to benefit Māori.

It is suggested that our legal education has influenced our choices to work in areas which focus on benefiting the Māori community. In those monocultural work areas which have few Māori practising, this is because such places repel those of us who know that such work places perpetuate the dominant Pakeha culture. Māori struggle against the oppressive presence of the dominant culture.

This thesis calls upon my own experiences and the experiences of my fellow Māori law graduates. It is a starting point for other Māori to write about their experiences and to reassert Māori rangatiratanga not only in law school, but in the wider community.

year: 1996