title: Hawke’s Bay forearc basin (eastern North Island, New Zealand): Stratigraphy, biostratigraphy, chronology, geological maps and paleogeography

authors: Bland, Kyle J.

abstract: This report documents the results of analysis of the late Neogene forearc basin in central Hawke’s Bay, eastern North Island (Hikurangi subduction margin), New Zealand. This analysis is based on new 1:50,000-scale geological maps of the succession exposed in outcrop in central Hawke’s Bay, which are reproduced here as six sheets (Enclosures 3 & 4). The analysis builds on detailed stratigraphic and facies descriptions of the Late Miocene (Tongaporutuan) to Pleistocene (Castlecliffian) basin fill (see also Bland et al. 2007; Kamp et al. 2008), its biostratigraphy and chronology, which are integrated here. The history of Late Neogene basin development is summarised in a series of paleogeographic maps.

text: Hawke’s Bay forearc basin (eastern North Island, New Zealand): Stratigraphy, biostratigraphy, chronology, geological maps and paleogeography This report documents the results of analysis of the late Neogene forearc basin in central Hawke’s Bay, eastern North Island (Hikurangi subduction margin), New Zealand. This analysis is based on new 1:50,000-scale geological maps of the succession exposed in outcrop in central Hawke’s Bay, which are reproduced here as six sheets (Enclosures 3 & 4). The analysis builds on detailed stratigraphic and facies descriptions of the Late Miocene (Tongaporutuan) to Pleistocene (Castlecliffian) basin fill (see also Bland et al. 2007; Kamp et al. 2008), its biostratigraphy and chronology, which are integrated here. The history of Late Neogene basin development is summarised in a series of paleogeographic maps.

year: 2014

title: "There is evil there that does not sleep": The construction of evil in American popular cinema from 1989 to 2002

authors: Bather, Neil Edward

subjects: Hollywood cinema

abstract: In The Lord of the Rings: The Fellowship of the Ring, Boromir refers to the lands of Mordor as the place where evil never sleeps. Cinematic evil itself never sleeps, always arising in new forms, to the extent that there exist as many types of evil as there are films. This thesis examines this constantly shifting construction of evil in American popular cinema between 1989 and 2002 - roughly, the period between the fall of the Berlin Wall and the attack on the World Trade Center - and how this cinema engaged with representations of enemies and of evil per se. The thesis uses content and thematic analysis on a sample of the 201 most successful films at the U.S. box office during the period. In these films, cinematic evil is constructed according to a visual aesthetic that attempts to engage with societal values, but fails to do so due to the emphasis on its visual construction and its commodification. As Baudrillard argues, evil has become a hollow concept devoid of meaning, and this is especially so for cinematic evil. It is recognised, and is recognisable, by the visual excessiveness of its violence (or potentiality for violence), and by certain codes that are created in reference to intertextual patterns and in relationship to discourses of paranoia and malaise. But cinema in this period failed to engage with the concept of evil itself in any meaningful way. Cinematic evil mirrors the descent into the chaos and disorder of a postmodern society. All cinematic evil can do is to connect with this sense of unease in which the 'reality of evil' cannot be represented. Instead, it draws on earlier icons and narratives of evil in a conflation of narrative and spectacle that produces a cinema of nostalgia. Moreover, stripped of narrative causality, these films express a belief, unproved and unprovable, that evil things and evil people may arise in any form, in any place and at any time: a cinema of paranoia. Together, these factors produce a cinema of malaise, perpetually confronting an evil it is unable to define or locate.

text: "There is evil there that does not sleep": The construction of evil in American popular cinema from 1989 to 2002 In The Lord of the Rings: The Fellowship of the Ring, Boromir refers to the lands of Mordor as the place where evil never sleeps. Cinematic evil itself never sleeps, always arising in new forms, to the extent that there exist as many types of evil as there are films. This thesis examines this constantly shifting construction of evil in American popular cinema between 1989 and 2002 - roughly, the period between the fall of the Berlin Wall and the attack on the World Trade Center - and how this cinema engaged with representations of enemies and of evil per se. The thesis uses content and thematic analysis on a sample of the 201 most successful films at the U.S. box office during the period. In these films, cinematic evil is constructed according to a visual aesthetic that attempts to engage with societal values, but fails to do so due to the emphasis on its visual construction and its commodification. As Baudrillard argues, evil has become a hollow concept devoid of meaning, and this is especially so for cinematic evil. It is recognised, and is recognisable, by the visual excessiveness of its violence (or potentiality for violence), and by certain codes that are created in reference to intertextual patterns and in relationship to discourses of paranoia and malaise. But cinema in this period failed to engage with the concept of evil itself in any meaningful way. Cinematic evil mirrors the descent into the chaos and disorder of a postmodern society. All cinematic evil can do is to connect with this sense of unease in which the 'reality of evil' cannot be represented. Instead, it draws on earlier icons and narratives of evil in a conflation of narrative and spectacle that produces a cinema of nostalgia. Moreover, stripped of narrative causality, these films express a belief, unproved and unprovable, that evil things and evil people may arise in any form, in any place and at any time: a cinema of paranoia. Together, these factors produce a cinema of malaise, perpetually confronting an evil it is unable to define or locate.

year: 2007

title: Indigenous Language Usage in a Digital Library: He Hautoa Kia Ora Tonu Ai.

authors: Keegan, Te Taka Adrian Gregory

subjects: indigenous language

abstract: The research described in this thesis examines indigenous language usage in a digital library environment that has been accessed via the Internet.

By examining discretionary use of the Māori Niupepa and Hawaiian Nūpepa digital libraries this research investigates how indigenous languages were used in these electronic environments in 2005. The results provide encouragement and optimism to people who are striving to retain, revitalise and develop the use of indigenous languages in information technologies. The Transaction Log Analysis (TLA) methods used in this research serve as an example of how web logs can be used to provide significant information about language usage in a bilingual online information system. Combining the TLA with user feedback has provided insights into how and why clients use indigenous languages in their information retrieval activities. These insights in turn, show good practice that is relevant not only to those working with indigenous languages, indigenous peoples or multilingual environments, but to all information technology designers who strive for universal usability.
This thesis begins by describing the importance of using indigenous languages in electronic environments and suggests that digital libraries can provide an environment to support and encourage the use of such languages. TLA is explained in the context of this study and is then used to analyse aspects of te reo Māori usage in the Niupepa digital library environment in 2005. TLA also indicates that te reo Māori was used by international clients and this usage differed to te reo Māori usage by national (Aotearoa) clients. Findings further reveal that the default language setting of the Niupepa digital library had a considerable impact on te reo Māori usage. When the default language was set to te reo Māori not only were there more requests in te reo Māori but there was also a higher usage of te reo Māori in the information retrieval activities. TLA of the Hawaiian Nūpepa digital library indicated that the Hawaiian language was also used in a digital library. These results confirm that indigenous languages were used in digital library environments. 
Feedback from clients suggests reasons why indigenous languages were used in this environment. These reasons include the indigenous language content of the digital library, the indigenous language default language setting of the digital library and a stated desire by the clients to use the indigenous language. The key findings raise some interface design issues and support the claim that digital libraries can provide an environment to support the use of indigenous languages.

text: Indigenous Language Usage in a Digital Library: He Hautoa Kia Ora Tonu Ai. The research described in this thesis examines indigenous language usage in a digital library environment that has been accessed via the Internet.

By examining discretionary use of the Māori Niupepa and Hawaiian Nūpepa digital libraries this research investigates how indigenous languages were used in these electronic environments in 2005. The results provide encouragement and optimism to people who are striving to retain, revitalise and develop the use of indigenous languages in information technologies. The Transaction Log Analysis (TLA) methods used in this research serve as an example of how web logs can be used to provide significant information about language usage in a bilingual online information system. Combining the TLA with user feedback has provided insights into how and why clients use indigenous languages in their information retrieval activities. These insights in turn, show good practice that is relevant not only to those working with indigenous languages, indigenous peoples or multilingual environments, but to all information technology designers who strive for universal usability.
This thesis begins by describing the importance of using indigenous languages in electronic environments and suggests that digital libraries can provide an environment to support and encourage the use of such languages. TLA is explained in the context of this study and is then used to analyse aspects of te reo Māori usage in the Niupepa digital library environment in 2005. TLA also indicates that te reo Māori was used by international clients and this usage differed to te reo Māori usage by national (Aotearoa) clients. Findings further reveal that the default language setting of the Niupepa digital library had a considerable impact on te reo Māori usage. When the default language was set to te reo Māori not only were there more requests in te reo Māori but there was also a higher usage of te reo Māori in the information retrieval activities. TLA of the Hawaiian Nūpepa digital library indicated that the Hawaiian language was also used in a digital library. These results confirm that indigenous languages were used in digital library environments. 
Feedback from clients suggests reasons why indigenous languages were used in this environment. These reasons include the indigenous language content of the digital library, the indigenous language default language setting of the digital library and a stated desire by the clients to use the indigenous language. The key findings raise some interface design issues and support the claim that digital libraries can provide an environment to support the use of indigenous languages.

year: 2007