title: Shakespeare/Nation/NZ - Paper for: SAA 2021: Henry V Seminar

authors: Houlahan, Mark

abstract: Theatre/Nation/NZ Mark Houlahan University of Waikato SAA 2021: Henry V Seminar Since its first performances at the Globe in Southwark in 1559, audiences have been drawn to Henry V’s irresistible use of tropes of theatre and nation. Those tropes have been used at times not just as generic meta-theatre but also to celebrate the specific theatre in which the play was staged. That was clearly the case in 1599. In 1997, when Shakespeare’s Globe premiered with its own, much discussed version of Henry V, those tropes came to life again. Again this was London come to life on stage. Again the stage was shiny with wood, from the Thane of Cawdor’s estate. Yet, as the play travels the Globe (as when for example Propeller Theatre took their all-male Henry V around the globe nearly ten year ago) what sense can we make of these English theatre/nation tropes? Can the play speak as far from London as Aotearoa/New Zealand? The prime objective of my paper is to answer this question by describing a specific production in 1972, which launched the James Hay Theatre in the Christchurch Town Hall a noted postmodern, world class performance venue. This was directed by Ngaio Marsh, famous as one of the Queens of Crime fiction and who in New Zealand directed high quality Shakespeares for several decades. The production, using 60 actors and featuring professional actors Marsh had trained who returned from England to perform , was a pinnacle of her production style . Marsh’s meticulously prepared promptbooks, housed in the National Library of New Zealand, show every cut and in some scenes, every move sketched by Marsh in advance. The Marsh archives also document reviewers reactions and recollections from the company. None of these have been digitised, though Marsh’s script for her 1943 modern dress Hamlet (the first such performance in New Zealand) has recently been published. My paper will show how useful these materials might be to calibrate the resonance of theatre and nation in the play. Reading List: Agee, James. “Laurence Olivier’s Henry V.” Shakespeare in America: An Anthology from the Revolution to Now, edited by James Shapiro, Library of America, 2014, pp. 459-474. [wonderful analysis of the film, and really attentive to culture/nation contexts.] Flaherty, Kate. “Lest We Remember: Henry V and the Play of Commemorative Rhetoric on the Australian Stage.” Antipodal Shakespeare:Remembering and Forgetting in Britain, Australia and New Zealand, 1916-2016, edited by Gordon McMullan and Philip Mead, Bloomsbury, 2018, pp. 145–73.

text: Shakespeare/Nation/NZ - Paper for: SAA 2021: Henry V Seminar Theatre/Nation/NZ Mark Houlahan University of Waikato SAA 2021: Henry V Seminar Since its first performances at the Globe in Southwark in 1559, audiences have been drawn to Henry V’s irresistible use of tropes of theatre and nation. Those tropes have been used at times not just as generic meta-theatre but also to celebrate the specific theatre in which the play was staged. That was clearly the case in 1599. In 1997, when Shakespeare’s Globe premiered with its own, much discussed version of Henry V, those tropes came to life again. Again this was London come to life on stage. Again the stage was shiny with wood, from the Thane of Cawdor’s estate. Yet, as the play travels the Globe (as when for example Propeller Theatre took their all-male Henry V around the globe nearly ten year ago) what sense can we make of these English theatre/nation tropes? Can the play speak as far from London as Aotearoa/New Zealand? The prime objective of my paper is to answer this question by describing a specific production in 1972, which launched the James Hay Theatre in the Christchurch Town Hall a noted postmodern, world class performance venue. This was directed by Ngaio Marsh, famous as one of the Queens of Crime fiction and who in New Zealand directed high quality Shakespeares for several decades. The production, using 60 actors and featuring professional actors Marsh had trained who returned from England to perform , was a pinnacle of her production style . Marsh’s meticulously prepared promptbooks, housed in the National Library of New Zealand, show every cut and in some scenes, every move sketched by Marsh in advance. The Marsh archives also document reviewers reactions and recollections from the company. None of these have been digitised, though Marsh’s script for her 1943 modern dress Hamlet (the first such performance in New Zealand) has recently been published. My paper will show how useful these materials might be to calibrate the resonance of theatre and nation in the play. Reading List: Agee, James. “Laurence Olivier’s Henry V.” Shakespeare in America: An Anthology from the Revolution to Now, edited by James Shapiro, Library of America, 2014, pp. 459-474. [wonderful analysis of the film, and really attentive to culture/nation contexts.] Flaherty, Kate. “Lest We Remember: Henry V and the Play of Commemorative Rhetoric on the Australian Stage.” Antipodal Shakespeare:Remembering and Forgetting in Britain, Australia and New Zealand, 1916-2016, edited by Gordon McMullan and Philip Mead, Bloomsbury, 2018, pp. 145–73.

year: 2021-04-02

title: The predictive accuracy of risk factors in the Sexual Violence Risk–20 (Svr-20)

authors: Rettenberger, Martin

subjects: risk assessment

abstract: The Sexual Violence Risk–20 (SVR-20) is the most commonly used structured professional judgment guideline for sexual offender risk assessment and risk management planning. Using a prospective longitudinal research design the authors evaluated the predictive accuracy of the SVR-20, of its subscales, and of the individual items in relation to different recidivism criteria and offender subgroups by analyzing a total sample of 493 sexual offenders released from the Austrian Prison System. Findings indicate good predictive accuracy for the prediction of sexual recidivism for the total sample (area under the receiver operating characteristic curve [AUC] = .72) as well as for the rapist subgroup (n = 221, AUC = .71) and the child molester subsample (n = 249, AUC = .77). However, the results also revealed some inconsistency in the predictive power of the SVR-20 depending on recidivism criterion and offender subgroup. Furthermore, it can be pointed out that the subscales and individual items substantially differ in their association with future sexual and nonsexual violence.

text: The predictive accuracy of risk factors in the Sexual Violence Risk–20 (Svr-20) The Sexual Violence Risk–20 (SVR-20) is the most commonly used structured professional judgment guideline for sexual offender risk assessment and risk management planning. Using a prospective longitudinal research design the authors evaluated the predictive accuracy of the SVR-20, of its subscales, and of the individual items in relation to different recidivism criteria and offender subgroups by analyzing a total sample of 493 sexual offenders released from the Austrian Prison System. Findings indicate good predictive accuracy for the prediction of sexual recidivism for the total sample (area under the receiver operating characteristic curve [AUC] = .72) as well as for the rapist subgroup (n = 221, AUC = .71) and the child molester subsample (n = 249, AUC = .77). However, the results also revealed some inconsistency in the predictive power of the SVR-20 depending on recidivism criterion and offender subgroup. Furthermore, it can be pointed out that the subscales and individual items substantially differ in their association with future sexual and nonsexual violence.

year: 2011-10

title: Donna Awatere on Whiteness in New Zealand: Theoretical Contributions and Contemporary Relevance

authors: Norris, Adele N.

abstract: In June 2022, Prime Minister Jacinda Ardern designated the US-based neofascist groups The Base and the Proud Boys as terrorist organisations. This designation marks one of the few times white supremacy entered the national political discourse in New Zealand. Discourses of whiteness are mostly theorised in the North American context. However, Donna Awatere’s 1984 examination of White Cultural Imperialism (WCI) in her book Māori Sovereignty advanced an analysis of whiteness in New Zealand that has received limited scholarly attention and is essentially unexplored. This paper reintroduces Awatere’s conceptualisation of WCI. It offers core tenets of WCI and theoretical insights into contemporary discussions of white supremacy that move beyond the focus of individuals and groups to a broader national framework of New Zealand. Two interrelated features of WCI, as defined by Awatere, are the minimisation and normalisation of whiteness and white racial hostility –  inherent features that maintain, protect, and reproduce the white institutionalised body as the primary beneficiary of Western European domination that will always thwart Indigenous sovereignty and equality. This paper concludes that Awatere’s articulation of WCI links whiteness in the New Zealand context to the broader network of global white supremacy that offers insight into contemporary criminal justice scholarship.

text: Donna Awatere on Whiteness in New Zealand: Theoretical Contributions and Contemporary Relevance In June 2022, Prime Minister Jacinda Ardern designated the US-based neofascist groups The Base and the Proud Boys as terrorist organisations. This designation marks one of the few times white supremacy entered the national political discourse in New Zealand. Discourses of whiteness are mostly theorised in the North American context. However, Donna Awatere’s 1984 examination of White Cultural Imperialism (WCI) in her book Māori Sovereignty advanced an analysis of whiteness in New Zealand that has received limited scholarly attention and is essentially unexplored. This paper reintroduces Awatere’s conceptualisation of WCI. It offers core tenets of WCI and theoretical insights into contemporary discussions of white supremacy that move beyond the focus of individuals and groups to a broader national framework of New Zealand. Two interrelated features of WCI, as defined by Awatere, are the minimisation and normalisation of whiteness and white racial hostility –  inherent features that maintain, protect, and reproduce the white institutionalised body as the primary beneficiary of Western European domination that will always thwart Indigenous sovereignty and equality. This paper concludes that Awatere’s articulation of WCI links whiteness in the New Zealand context to the broader network of global white supremacy that offers insight into contemporary criminal justice scholarship.

year: 2023-07-27