title: Te rima tekau ngahurutanga o Te Whare Wānanga o Waikato

authors: Dixon, Ngahuia

subjects: Tohu mātauranga

abstract: E te Whare Wānanga o Waikato – te tohu o te mātauranga, tēnā koe.  Tēnā koe i roto i tō rima tekau tau ngahurutanga.  Kua pakeke haere koe.  Kua tau atu koe ki tērā kaumātuatanga nō reira me mihi ka tika.  He hōnore nui tēnei mōu ake i te mea nāu te moana o mātauranga i roto o Waikato i tuku kia rere, kia pari, ka rere anō.  He wai marino ēnei i ētehi wā, he rehutai i ētehi atu,  he wā anō ka karekare, ka haruru rānei i te pai o te rere o āu mahi.  Ahakoa ēnei huringa o ngā awa o te wā, kei te rere tonu te moana nei, me ōna pikonga ki uru, ki rāwhiti, ki tonga, ki raki rānei, arā ki ngā pito katoa o te ao.  He mātauranga ēnei i tukuna e koe kia pīoioi i te ao.  Hei aha - hei whakawhānui ki te mātatoru o te tangata, he aha kei ō whare kōrero, hei whakakīkī haere i ā rātou kete mātauranga, ahakoa Māori, tauiwi huri noa.  Koinei ngā korowai mō ngā manu i kai i te mātauranga nāu i rumaki.   Ināianei arā te kōrero:

Nō rātou, nō mātou, nō tātou te ao 

E kore e mimiti ēnei huarahi tautoko āu, - nā mēnā ka tūwhera tonu tō ngākau ki ngā kete kōrero, mātauranga āku ake a ngāi-Māori, kei hea mai tō mana.

text: Te rima tekau ngahurutanga o Te Whare Wānanga o Waikato E te Whare Wānanga o Waikato – te tohu o te mātauranga, tēnā koe.  Tēnā koe i roto i tō rima tekau tau ngahurutanga.  Kua pakeke haere koe.  Kua tau atu koe ki tērā kaumātuatanga nō reira me mihi ka tika.  He hōnore nui tēnei mōu ake i te mea nāu te moana o mātauranga i roto o Waikato i tuku kia rere, kia pari, ka rere anō.  He wai marino ēnei i ētehi wā, he rehutai i ētehi atu,  he wā anō ka karekare, ka haruru rānei i te pai o te rere o āu mahi.  Ahakoa ēnei huringa o ngā awa o te wā, kei te rere tonu te moana nei, me ōna pikonga ki uru, ki rāwhiti, ki tonga, ki raki rānei, arā ki ngā pito katoa o te ao.  He mātauranga ēnei i tukuna e koe kia pīoioi i te ao.  Hei aha - hei whakawhānui ki te mātatoru o te tangata, he aha kei ō whare kōrero, hei whakakīkī haere i ā rātou kete mātauranga, ahakoa Māori, tauiwi huri noa.  Koinei ngā korowai mō ngā manu i kai i te mātauranga nāu i rumaki.   Ināianei arā te kōrero:

Nō rātou, nō mātou, nō tātou te ao 

E kore e mimiti ēnei huarahi tautoko āu, - nā mēnā ka tūwhera tonu tō ngākau ki ngā kete kōrero, mātauranga āku ake a ngāi-Māori, kei hea mai tō mana.

year: 2016

title: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media

authors: Mataira, Kelvin

abstract: This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

text: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

year: 2000

title: The physical and biological function of wood in New Zealand's forested stream ecosystems

authors: Baillie, Brenda Robin

subjects: wood

abstract: Since the arrival of humans approximately 1000 years before present (B. P.), New Zealand has lost approximately 80% of its forest cover and along with it, the contribution of wood to our aquatic ecosystems. The aim of this thesis was to undertake a large catchment-scale assessment of LW loadings, spatial distribution and morphological influence in an old-growth indigenous forest to provide some understanding on the natural characteristics of wood that would have been present in many river systems of New Zealand prior to human settlement. The second component of the thesis involved the experimental removal of wood from three small streams in order to provide some insight into what that loss of wood may have meant for fish and aquatic invertebrate communities. In the first part of the study, a catchment scale survey of large wood (LW) was completed in a 5thorder, old-growth forest river system. LW volumes ranged from 59-503 m³ ha⁻¹ and declined down the river system along with the number of LW pieces suspended across the channel and LW influence on channel morphology, whereas piece frequency, number of pieces in debris dams and length increased. Nearly half the pieces were influencing channel morphology, particularly wood accumulation, sediment storage, bank armouring, and pool formation. These key pieces were larger, longer and more stable than average. LW contribution to habitat complexity was highest in the middle to upper sections of the river system. Four key zones of wood distribution and influence were identified in the river system. Zonal boundaries were influenced by changes in transport capacity, fluvial processes and channel morphology. In the second part of the study, a field trial was established in three small forested streams to measure the influence of wood and its experimental removal on channel morphology, and indigenous fish and aquatic invertebrate communities. Prior to wood removal there were no significant differences in the total density of fish between wood pools (pools with wood cover), open pools and riffles. Total fish biomass was marginally significant with most of the fish biomass located in wood pools. At the species level, the density and biomass of banded kokopu (Galaxias fasciatus) and the weights of longfin eels (Anguilla dieffenbachii) were significantly higher in wood pools. Species richness, density and biomass of bluegill bullies (Gobiomorphus hubbsi), torrentfish (Cheimarrichthys fosteri) and the density of redfin bullies (Gobiomorphus huttoni) was highest in riffles. Differences in fish community composition were greatest between riffles and pools, whereas there was considerable overlap between the two pool types. Total invertebrate density was 70% higher in debris dams than riffles prior to wood removal, but this difference was not significant. Densities of Trichoptera (caddisfly) and Plecoptera (stonefly), and five aquatic invertebrate taxa were significantly higher in debris dams which also contained greater numbers of less common taxa (< 1% total catch) than riffles. Only Deleatidium sp. (Ephemeroptera) densities were significantly higher in riffles than in debris dams. Aquatic invertebrate communities in debris dams differed significantly from those in riffles and season had a significant influence on aquatic invertebrate community structure. Removal of wood and associated debris dams from the treatment sections in each of the three streams resulted in a simplified channel morphology, significantly increasing the length and area in riffles and reducing the area of pools. The impact on the fish community was greatest for the two larger fish, banded kokopu and large longfin eels, whose abundance declined in the treatment sections. At the reach scale, only banded kokopu biomass showed a significant decline following wood removal. Invertebrates were less affected by wood removal and associated loss of debris dams. Invertebrate composition in the remaining riffles in the treatment sections had a higher proportion of Ephemeroptera and lower proportions of Trichoptera, Plecoptera and Diptera with fewer rare species than remaining debris dams in the control sections, but there were no discernable effects on invertebrate densities and functional feeding groups at the reach scale. Public perception of wood in waterways is mainly negative and wood is managed primarily to reduce flood damage in New Zealand’s streams. With continued research and advocacy on the environmental benefits, careful planning and judicial use, there is the potential to make better use of wood to rehabilitate and enhance New Zealand’s stream environments. This thesis provides some insight into the contribution of wood to forested stream ecosystems in New Zealand and the implicit losses associated with forest removal. It also contributes to our global understanding on the role of wood, its contribution to habitat heterogeneity and influence on biological communities.

text: The physical and biological function of wood in New Zealand's forested stream ecosystems Since the arrival of humans approximately 1000 years before present (B. P.), New Zealand has lost approximately 80% of its forest cover and along with it, the contribution of wood to our aquatic ecosystems. The aim of this thesis was to undertake a large catchment-scale assessment of LW loadings, spatial distribution and morphological influence in an old-growth indigenous forest to provide some understanding on the natural characteristics of wood that would have been present in many river systems of New Zealand prior to human settlement. The second component of the thesis involved the experimental removal of wood from three small streams in order to provide some insight into what that loss of wood may have meant for fish and aquatic invertebrate communities. In the first part of the study, a catchment scale survey of large wood (LW) was completed in a 5thorder, old-growth forest river system. LW volumes ranged from 59-503 m³ ha⁻¹ and declined down the river system along with the number of LW pieces suspended across the channel and LW influence on channel morphology, whereas piece frequency, number of pieces in debris dams and length increased. Nearly half the pieces were influencing channel morphology, particularly wood accumulation, sediment storage, bank armouring, and pool formation. These key pieces were larger, longer and more stable than average. LW contribution to habitat complexity was highest in the middle to upper sections of the river system. Four key zones of wood distribution and influence were identified in the river system. Zonal boundaries were influenced by changes in transport capacity, fluvial processes and channel morphology. In the second part of the study, a field trial was established in three small forested streams to measure the influence of wood and its experimental removal on channel morphology, and indigenous fish and aquatic invertebrate communities. Prior to wood removal there were no significant differences in the total density of fish between wood pools (pools with wood cover), open pools and riffles. Total fish biomass was marginally significant with most of the fish biomass located in wood pools. At the species level, the density and biomass of banded kokopu (Galaxias fasciatus) and the weights of longfin eels (Anguilla dieffenbachii) were significantly higher in wood pools. Species richness, density and biomass of bluegill bullies (Gobiomorphus hubbsi), torrentfish (Cheimarrichthys fosteri) and the density of redfin bullies (Gobiomorphus huttoni) was highest in riffles. Differences in fish community composition were greatest between riffles and pools, whereas there was considerable overlap between the two pool types. Total invertebrate density was 70% higher in debris dams than riffles prior to wood removal, but this difference was not significant. Densities of Trichoptera (caddisfly) and Plecoptera (stonefly), and five aquatic invertebrate taxa were significantly higher in debris dams which also contained greater numbers of less common taxa (< 1% total catch) than riffles. Only Deleatidium sp. (Ephemeroptera) densities were significantly higher in riffles than in debris dams. Aquatic invertebrate communities in debris dams differed significantly from those in riffles and season had a significant influence on aquatic invertebrate community structure. Removal of wood and associated debris dams from the treatment sections in each of the three streams resulted in a simplified channel morphology, significantly increasing the length and area in riffles and reducing the area of pools. The impact on the fish community was greatest for the two larger fish, banded kokopu and large longfin eels, whose abundance declined in the treatment sections. At the reach scale, only banded kokopu biomass showed a significant decline following wood removal. Invertebrates were less affected by wood removal and associated loss of debris dams. Invertebrate composition in the remaining riffles in the treatment sections had a higher proportion of Ephemeroptera and lower proportions of Trichoptera, Plecoptera and Diptera with fewer rare species than remaining debris dams in the control sections, but there were no discernable effects on invertebrate densities and functional feeding groups at the reach scale. Public perception of wood in waterways is mainly negative and wood is managed primarily to reduce flood damage in New Zealand’s streams. With continued research and advocacy on the environmental benefits, careful planning and judicial use, there is the potential to make better use of wood to rehabilitate and enhance New Zealand’s stream environments. This thesis provides some insight into the contribution of wood to forested stream ecosystems in New Zealand and the implicit losses associated with forest removal. It also contributes to our global understanding on the role of wood, its contribution to habitat heterogeneity and influence on biological communities.

year: 2011