title: Arbitrary functions in group theory

authors: Hawthorn, Ian

abstract: Two measures of how near an arbitrary function between groups is to being a homomorphism are considered. These have properties similar to conjugates and commutators. The authors show that there is a rich theory based on these structures, and that this theory can be used to unify disparate approaches such as group cohomology and the transfer and to prove theorems. The proof of the Schur-Zassenhaus theorem is recast in this context. We also present yet another proof of Cauchy’s theorem and a very quick approach to Sylow’s theorem.

text: Arbitrary functions in group theory Two measures of how near an arbitrary function between groups is to being a homomorphism are considered. These have properties similar to conjugates and commutators. The authors show that there is a rich theory based on these structures, and that this theory can be used to unify disparate approaches such as group cohomology and the transfer and to prove theorems. The proof of the Schur-Zassenhaus theorem is recast in this context. We also present yet another proof of Cauchy’s theorem and a very quick approach to Sylow’s theorem.

year: 2015

title: A bag of oranges and a communal lunch: Intra-action of matter and becoming

authors: Kotzé, Elmarie

abstract: In the chapter the author draws on new materialism and poststructuralism to write about becoming-subject. The author uses the notions of fluidity of the self, the (im)possibility of writing self and, at the same time, productive self-writing in the spaces between humans and between humans and nonhumans. She uses two encounters from her childhood to illustrate entanglements that highlight the ongoing production of becoming in the intra-relations between children and adults and between humans and the more-than-human vehicle-food-trees-snuffbox. The discursive Bmaterial encounters fold into and diffract out of her teaching and supervision practices in a counselling program in Aotearoa, New Zealand.

text: A bag of oranges and a communal lunch: Intra-action of matter and becoming In the chapter the author draws on new materialism and poststructuralism to write about becoming-subject. The author uses the notions of fluidity of the self, the (im)possibility of writing self and, at the same time, productive self-writing in the spaces between humans and between humans and nonhumans. She uses two encounters from her childhood to illustrate entanglements that highlight the ongoing production of becoming in the intra-relations between children and adults and between humans and the more-than-human vehicle-food-trees-snuffbox. The discursive Bmaterial encounters fold into and diffract out of her teaching and supervision practices in a counselling program in Aotearoa, New Zealand.

year: 2018

title: The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory.

authors: Perrott, Lisa

subjects: Television Documentary

abstract: The 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative. 

Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation. 

While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series. 

The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action. 

These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series.

text: The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory. The 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative. 

Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation. 

While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series. 

The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action. 

These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series.

year: 2007