title: Last resting place and legacy of Charles Heaphy, VC

authors: Lowe, David J.

subjects: Charles Heaphy

abstract: Charles Heaphy is now recognised as a significant figure in the early European settlement of New Zealand and he also has an interesting geological connection that deserves wider recognition. Heaphy arrived in New Zealand on the Tory together with Ern(e)st Dieffenbach on 18th August, 1839, aged around 19. Employed then by Wakefield's New Zealand Company as a draughtsman, Heaphy was described by Sharp (2008. p. 25) as being a "general roustabout, explorer, surveyor, assistant naturalist, courier and verbal as well as visual propagandist". He went on to become best known as an excellent watercolour landscape artist (his early work showing "sensitivity to the clarity of the New Zealand light") (Sharp, 2008, p. 205), an explorer and surveyor, a parliamentarian, and for winning the Victoria Cross for his actions in the New Zealand (Maori land) wars.

text: Last resting place and legacy of Charles Heaphy, VC Charles Heaphy is now recognised as a significant figure in the early European settlement of New Zealand and he also has an interesting geological connection that deserves wider recognition. Heaphy arrived in New Zealand on the Tory together with Ern(e)st Dieffenbach on 18th August, 1839, aged around 19. Employed then by Wakefield's New Zealand Company as a draughtsman, Heaphy was described by Sharp (2008. p. 25) as being a "general roustabout, explorer, surveyor, assistant naturalist, courier and verbal as well as visual propagandist". He went on to become best known as an excellent watercolour landscape artist (his early work showing "sensitivity to the clarity of the New Zealand light") (Sharp, 2008, p. 205), an explorer and surveyor, a parliamentarian, and for winning the Victoria Cross for his actions in the New Zealand (Maori land) wars.

year: 2010

title: The girl on the bus or the spider in the bathroom? Students’ enduring memories of learning experiences outside the classroom in technology education

authors: Milne, Louise

abstract: This paper explores the planning and management of Education Outside the Classroom (EOTC) as it relates to curriculum-based learning and teaching in schools and in this instance specifically to teaching technology education in the primary and secondary classroom. These types of experience away from the four walls of the classroom often evoke very strong memories for all of us, but frequently it is of the social context rather than the intent of the learning experience. This paper looks at Falk and Dierking’s (2000) Contextual Model of Learning and how consideration of the four over- lapping contexts of this planning model, can enhance the quality of student experiences and their learning opportunities. It will look at examples of long-term achievement and retention of student learning, the impact of an experience on student learning, and the characteristics of a successful EOTC experience.

text: The girl on the bus or the spider in the bathroom? Students’ enduring memories of learning experiences outside the classroom in technology education This paper explores the planning and management of Education Outside the Classroom (EOTC) as it relates to curriculum-based learning and teaching in schools and in this instance specifically to teaching technology education in the primary and secondary classroom. These types of experience away from the four walls of the classroom often evoke very strong memories for all of us, but frequently it is of the social context rather than the intent of the learning experience. This paper looks at Falk and Dierking’s (2000) Contextual Model of Learning and how consideration of the four over- lapping contexts of this planning model, can enhance the quality of student experiences and their learning opportunities. It will look at examples of long-term achievement and retention of student learning, the impact of an experience on student learning, and the characteristics of a successful EOTC experience.

year: 2017

title: Formulaic Discourse Patterning in Mōteatea

authors: Roa, Te Raukura o Te Rangimarie

subjects: mōteatea

abstract: Oral formulaic composition, which involves the use of communally owned formulae of various kinds, is a common feature of verbal arts produced in many different languages. It is particularly associated with pre-literate cultures and tends to be gradually replaced by more individualistic verbal art forms when societies become literate. There are very few publications in which the analysis of mōteatea (Māori laments) is linked explicitly to oral formulaic theory. Nevertheless, there is, I believe, sufficient evidence in published sources to indicate that traditional mōteatea (defined here as mōteatea that are not fundamentally influenced by European cultural beliefs and practices) exhibit evidence of regularly recurring, conventional themes (such as death, separation, loss and travel) and motifs (such as the setting sun, the presence of rain or mist and sleeplessness).  There is, however, considerably less evidence that traditional mōteatea make extensive use of verbal formulae, that is, of the same or very similar groups of words derived from a common store of poetic resources. Although there are references in the literature to the conventionalized use of language in mōteatea, and although it has been claimed that there are at least some commonly recurring verbal expressions, this is by no means evidence of reliance on a common stock of verbal formulae. Indeed, no attempt has hitherto been made to define precisely what might be meant by the term 'oral formula' in the context of compositions in te reo Māori, something that is clearly required in view, in particular, of the fact that the phrasal structure of the language means that certain groupings (e.g. i te X; ki te X) are very likely to occur in certain contexts irrespective of genre. Furthermore, in the literature on oral formulaic composition, oral formulae are generally linked to particular metrical conditions and there is, it is argued here, no convincing empirically-based evidence that mōteatea conform to any common metrical structure or structures (see Chapters 2 and 4).

In the context of a critical review of selected literature on oral formulaic theory (Chapter 2) and mōteatea (Chapter 3), this thesis sets out to test the hypothesis that traditional mōteatea were composed, in whole or in large part, from a common stock of oral formulae. The conclusion, based on analysis of a selection of mōteatea included in Ngā mōteatea, a collection initially established by Sir Apirana Ngata, is that this hypothesis must be rejected (Chapter 4). However, a model derived from a review of selected literature on discourse structure (Chapter 5) was also applied to the analysis of a sample of these mōteatea (Chapter 6). On the basis of this analysis, it is concluded that they exhibit one of two very similar discourse prototypes, each of which involves a particular combination of discourse elements. What distinguishes the two prototypes is the fact that only one of them is characterized by the inclusion of hortatory sections in which the poet urges one or more of the protagonists to undergo one or more steps or stages required to achieve a particular outcome, such as entry into the spirit world or vengeance for death and/ or humiliation.

text: Formulaic Discourse Patterning in Mōteatea Oral formulaic composition, which involves the use of communally owned formulae of various kinds, is a common feature of verbal arts produced in many different languages. It is particularly associated with pre-literate cultures and tends to be gradually replaced by more individualistic verbal art forms when societies become literate. There are very few publications in which the analysis of mōteatea (Māori laments) is linked explicitly to oral formulaic theory. Nevertheless, there is, I believe, sufficient evidence in published sources to indicate that traditional mōteatea (defined here as mōteatea that are not fundamentally influenced by European cultural beliefs and practices) exhibit evidence of regularly recurring, conventional themes (such as death, separation, loss and travel) and motifs (such as the setting sun, the presence of rain or mist and sleeplessness).  There is, however, considerably less evidence that traditional mōteatea make extensive use of verbal formulae, that is, of the same or very similar groups of words derived from a common store of poetic resources. Although there are references in the literature to the conventionalized use of language in mōteatea, and although it has been claimed that there are at least some commonly recurring verbal expressions, this is by no means evidence of reliance on a common stock of verbal formulae. Indeed, no attempt has hitherto been made to define precisely what might be meant by the term 'oral formula' in the context of compositions in te reo Māori, something that is clearly required in view, in particular, of the fact that the phrasal structure of the language means that certain groupings (e.g. i te X; ki te X) are very likely to occur in certain contexts irrespective of genre. Furthermore, in the literature on oral formulaic composition, oral formulae are generally linked to particular metrical conditions and there is, it is argued here, no convincing empirically-based evidence that mōteatea conform to any common metrical structure or structures (see Chapters 2 and 4).

In the context of a critical review of selected literature on oral formulaic theory (Chapter 2) and mōteatea (Chapter 3), this thesis sets out to test the hypothesis that traditional mōteatea were composed, in whole or in large part, from a common stock of oral formulae. The conclusion, based on analysis of a selection of mōteatea included in Ngā mōteatea, a collection initially established by Sir Apirana Ngata, is that this hypothesis must be rejected (Chapter 4). However, a model derived from a review of selected literature on discourse structure (Chapter 5) was also applied to the analysis of a sample of these mōteatea (Chapter 6). On the basis of this analysis, it is concluded that they exhibit one of two very similar discourse prototypes, each of which involves a particular combination of discourse elements. What distinguishes the two prototypes is the fact that only one of them is characterized by the inclusion of hortatory sections in which the poet urges one or more of the protagonists to undergo one or more steps or stages required to achieve a particular outcome, such as entry into the spirit world or vengeance for death and/ or humiliation.

year: 2008