title: Prospectors’ working lives in general and at Te Aroha in particular

authors: Hart, Philip

abstract: The lure of gold attracted some men to suffer hardship in the hope of making their fortune by discovering a rich deposit. Prospecting was a skilled occupation, requiring an understanding of geology that many hopefuls lacked, and as the easy discoveries had been made by the twentieth century required increasingly systematic and scientific work. Although many who believed in the romance of gold hunting argued that prospectors were born not made, the amateurs often failed to understand what they discovered. Many examples can be given of enthusiastic but incompetent prospectors, who hastily marked out ground but equally hastily abandoned it once tests had proved any ore found was unpayable. 
Some men preferred the life of the prospector to that of the miner, feeling themselves free to come and go and always seeking a new find; it has been argued that for some the search was more important than the financial reward. The search involved very hard work tracing outcrops and reefs through burning the heavy bush or following streams or even probing for the lode with gum spears. When old workings existed, these would be checked as well. Samples had to be taken for later testing. Working far away from families and supplies was difficult and dangerous, requiring carrying heavy packs in usually rugged areas with few tracks and working in any weather. As an example of prospecting, a detailed case study is given of enthusiastic amateurs exploring Waiorongomai in the 1960s. 
Those who worked for themselves could spend years in isolation, sometimes with some success. By the twentieth century few young people wanted to follow their example, commonly seeing them as ‘hatters’ willing to live a hard life in hope of making their fortune; William Tregoweth was an example of one such ‘sanguine’ man. But they were genuine in their efforts to find gold, unlike many subsidized prospecting parties. When good finds were made, prospectors made little profit when they sold their discovery to investors, and overall they felt themselves to be badly treated despite their crucial role in developing new fields.

text: Prospectors’ working lives in general and at Te Aroha in particular The lure of gold attracted some men to suffer hardship in the hope of making their fortune by discovering a rich deposit. Prospecting was a skilled occupation, requiring an understanding of geology that many hopefuls lacked, and as the easy discoveries had been made by the twentieth century required increasingly systematic and scientific work. Although many who believed in the romance of gold hunting argued that prospectors were born not made, the amateurs often failed to understand what they discovered. Many examples can be given of enthusiastic but incompetent prospectors, who hastily marked out ground but equally hastily abandoned it once tests had proved any ore found was unpayable. 
Some men preferred the life of the prospector to that of the miner, feeling themselves free to come and go and always seeking a new find; it has been argued that for some the search was more important than the financial reward. The search involved very hard work tracing outcrops and reefs through burning the heavy bush or following streams or even probing for the lode with gum spears. When old workings existed, these would be checked as well. Samples had to be taken for later testing. Working far away from families and supplies was difficult and dangerous, requiring carrying heavy packs in usually rugged areas with few tracks and working in any weather. As an example of prospecting, a detailed case study is given of enthusiastic amateurs exploring Waiorongomai in the 1960s. 
Those who worked for themselves could spend years in isolation, sometimes with some success. By the twentieth century few young people wanted to follow their example, commonly seeing them as ‘hatters’ willing to live a hard life in hope of making their fortune; William Tregoweth was an example of one such ‘sanguine’ man. But they were genuine in their efforts to find gold, unlike many subsidized prospecting parties. When good finds were made, prospectors made little profit when they sold their discovery to investors, and overall they felt themselves to be badly treated despite their crucial role in developing new fields.

year: 2016

title: Greater Wellington-Socio-Demographic profile 1986-2031.

authors: Jackson, Natalie

abstract: A socio-demographic profile prepared for Greater Wellington regional council predicts.

text: Greater Wellington-Socio-Demographic profile 1986-2031. A socio-demographic profile prepared for Greater Wellington regional council predicts.

year: 2012

title: “On and On It Goes”: Representations of the New Zealand Wars in novels, film, and theatre

authors: Sheridan, Brendan Daniel

subjects: History

abstract: This thesis considers fictional representations of the New Zealand Wars. Through the media of novels, feature films, and drama with links to Shakespeare, it explores common features between representations. It examines how these representations change in tone or style over time and how different representations negotiate the complex issues of race, gender, and colonialism.
	I examine key representations ranging from 1861 to 2017 in terms of genre. I begin with the nineteenth-century novel as many of the key tropes used in representations of the New Zealand Wars emerge in this period. I then look at the twentieth-century novel, before concentrating specifically on Maurice Shadbolt and Witi Ihimaera. My discussion then turns to the genres of film and theatre. In all of these diverse representations there are recurring tropes and motifs. Many of the fictions feature stock characters such as the European traveller, the imperial official, and the Māori maiden and bear the imprint of historical romance conventions, popularised by Sir Walter Scott’s Waverly and James Fenimore Cooper’s The Last of the Mohicans. The vast majority of stories take place in the North Island between 1860 and 1870. Variations in the depiction of historical events are shaped by the historical scholarship and dominant ideologies of the time, such as the post-colonial tonal shift that emerges following the publication of work by James Belich and Ranginui Walker. I contextualise representations with their point in history, and how they treat the New Zealand Wars in terms of events, characters, and historical figures. 
	Through this approach, my thesis argues that representations of the New Zealand Wars do not form themselves in isolation and do not occur in isolated clusters. This thesis seeks to demonstrate that representations of the New Zealand Wars occur on a steady continuum. Representations of the conflict exist in parallel to one another (intentional or not) and are affected by the social climate, dominant ideologies, and published histories available to the author at the time of writing. The variety of representations—novel, feature film, stage play—share many core tropes. Even so, chronologically this continuum also features shifts in tone, ideologies, and sympathies. A novel of the 1980s has a very different perspective regarding settlers compared to a novel from the 1860s. In the same manner, a play staged in the 2000s shows a different attitude towards the conflict compared to a film from the 1940s. This thesis demonstrates that while representations of the New Zealand Wars share a common subject, how they approach the material is constantly evolving.

text: “On and On It Goes”: Representations of the New Zealand Wars in novels, film, and theatre This thesis considers fictional representations of the New Zealand Wars. Through the media of novels, feature films, and drama with links to Shakespeare, it explores common features between representations. It examines how these representations change in tone or style over time and how different representations negotiate the complex issues of race, gender, and colonialism.
	I examine key representations ranging from 1861 to 2017 in terms of genre. I begin with the nineteenth-century novel as many of the key tropes used in representations of the New Zealand Wars emerge in this period. I then look at the twentieth-century novel, before concentrating specifically on Maurice Shadbolt and Witi Ihimaera. My discussion then turns to the genres of film and theatre. In all of these diverse representations there are recurring tropes and motifs. Many of the fictions feature stock characters such as the European traveller, the imperial official, and the Māori maiden and bear the imprint of historical romance conventions, popularised by Sir Walter Scott’s Waverly and James Fenimore Cooper’s The Last of the Mohicans. The vast majority of stories take place in the North Island between 1860 and 1870. Variations in the depiction of historical events are shaped by the historical scholarship and dominant ideologies of the time, such as the post-colonial tonal shift that emerges following the publication of work by James Belich and Ranginui Walker. I contextualise representations with their point in history, and how they treat the New Zealand Wars in terms of events, characters, and historical figures. 
	Through this approach, my thesis argues that representations of the New Zealand Wars do not form themselves in isolation and do not occur in isolated clusters. This thesis seeks to demonstrate that representations of the New Zealand Wars occur on a steady continuum. Representations of the conflict exist in parallel to one another (intentional or not) and are affected by the social climate, dominant ideologies, and published histories available to the author at the time of writing. The variety of representations—novel, feature film, stage play—share many core tropes. Even so, chronologically this continuum also features shifts in tone, ideologies, and sympathies. A novel of the 1980s has a very different perspective regarding settlers compared to a novel from the 1860s. In the same manner, a play staged in the 2000s shows a different attitude towards the conflict compared to a film from the 1940s. This thesis demonstrates that while representations of the New Zealand Wars share a common subject, how they approach the material is constantly evolving.

year: 2019