title: Radicals of 0-regular algebras

authors: McConnell, N. R.

subjects: mathematics

abstract: We consider a generalisation of the Kurosh--Amitsur radical theory for rings (and more generally multi-operator groups) which applies to 0-regular varieties in which all operations preserve 0. We obtain results for subvarieties, quasivarieties and element-wise equationally defined classes. A number of examples of radical and semisimple classes in particular varieties are given, including hoops, loops and similar structures. In the first section, we introduce 0-normal varieties (0-regular varieties in which all operations preserve 0), and show that a key isomorphism theorem holds in a 0-normal variety if it is subtractive, a property more general than congruence permutability. We then define our notion of a radical class in the second section. A number of basic results and characterisations of radical and semisimple classes are then obtained, largely based on the more general categorical framework of L. M\'arki, R. Mlitz and R. Wiegandt as in [13]. We consider the subtractive case separately. In the third section, we obtain results concerning subvarieties and quasivarieties based on the results of the previous section, and also generalise to subtractive varieties some results for multi-operator group radicals defined by simple equational rules. Several examples of radical and semisimple classes are given for a range of fairly natural 0-normal varieties of algebras, most of which are subtractive.

text: Radicals of 0-regular algebras We consider a generalisation of the Kurosh--Amitsur radical theory for rings (and more generally multi-operator groups) which applies to 0-regular varieties in which all operations preserve 0. We obtain results for subvarieties, quasivarieties and element-wise equationally defined classes. A number of examples of radical and semisimple classes in particular varieties are given, including hoops, loops and similar structures. In the first section, we introduce 0-normal varieties (0-regular varieties in which all operations preserve 0), and show that a key isomorphism theorem holds in a 0-normal variety if it is subtractive, a property more general than congruence permutability. We then define our notion of a radical class in the second section. A number of basic results and characterisations of radical and semisimple classes are then obtained, largely based on the more general categorical framework of L. M\'arki, R. Mlitz and R. Wiegandt as in [13]. We consider the subtractive case separately. In the third section, we obtain results concerning subvarieties and quasivarieties based on the results of the previous section, and also generalise to subtractive varieties some results for multi-operator group radicals defined by simple equational rules. Several examples of radical and semisimple classes are given for a range of fairly natural 0-normal varieties of algebras, most of which are subtractive.

year: 2006

title: Revitalising the representation of Iranian women: A critical and creative exploration of gendered identity in the contemporary art of Iran.

authors: Nourmohammadi, Neda

abstract: Iranian women have been at the centre of many socio-political changes and challenges during the long history of their country. During those changes, the actualisation of their roles has nevertheless been constrained by religiously-based traditions: both ancient and recently-developed. The representation of women’s lives, whether carried out by artists within or outside Iran, has also been a factor that mis-represents what the lives and aspirations of Iranian women, particularly contemporary Iranian women, are like. They have frequently been depicted in stereotypical ways, covered with ‘the veil’, evoking connotations of oppression, segregation, and victimisation. The global media’s circulation of a small range of images of Iranian society, coupled with Iranian artistic and cultural producers choosing to represent Iranian women by using the same motifs as Islamic propagandists, arguably produces the impression of a lack of subjectivity and dynamicity in female identities in particular. These burdensome representational practices frustrate many Iranians but can only be discussed explicitly once an individual, such as myself, is outside the context of Iran. 
This qualitative research project includes a creative practice component and is set out within the theoretical and methodological framework of an autoethnographic approach. This approach draws on my personal experiences and points of view on different subjects raised from the research data. The practical component of this research involves an exhibition of my art-making practice engaging with the themes that emerged from my research data. Theoretically and practically, my research project is inspired by real events in the everyday life of Iranian society and my own life experience. I hoped to revitalise the representations of Iranian women with dynamic and subjective aspects of identities. 
The data in this research were collected in four stages. Firstly, I interviewed a number of Iranian women artists based inside and outside Iran to understand the main influences on my participant artists’ productions, and the ways in which these artists engage with social, political, ethnic, and gendered themes. Secondly, I asked the artists to provide me with one of their works they thought best exemplified their practice. I analysed these works using a Social Semiotic approach to understand how the participant artists represented identities in Iranian society, particularly those of women. Thirdly, I showed my participant artists’ works to different focus-groups to understand how they developed narratives about them that were sometimes similar to mine and sometimes different. And finally, I created a series of artworks to explore ways to associate expressions of a diasporic Iranian female identity with a more of subjective sense of ‘self’. 
The interview data revealed that the artists in my research sample and I share similar viewpoints about Iranian women’s identities in relation to social and political subjects; however, our strategies in approaching these subjects through art differ in some cases. Using Social Semiotics, my analysis of the visual data showed the complexity of the ways in which artists in my sample approached female subjects through their works; subsequently, the focus-group data also revealed complex interpretations of the artworks of my research sample among the members of different groups. Nevertheless, the combined findings from these stages showed significant parallels between the veil as an Islamic religious sign and discourses around ‘Muslim Women’ as being oppressed and obedient in patriarchal societies.  
By critically reviewing the analysis of my research data and relating them to my theoretical framework, I build the conceptual structure of my autoethnographic practice. Inspired by the works of artists in my sample, in my practice, I explored progressive ways to construct female subjects as having agency in relation to political themes and alternative positions. Ultimately, this research project suggests that the logical framework of an academic context offers a ground for conceptualising progressive strategies for representing gendered Iranian identity.

text: Revitalising the representation of Iranian women: A critical and creative exploration of gendered identity in the contemporary art of Iran. Iranian women have been at the centre of many socio-political changes and challenges during the long history of their country. During those changes, the actualisation of their roles has nevertheless been constrained by religiously-based traditions: both ancient and recently-developed. The representation of women’s lives, whether carried out by artists within or outside Iran, has also been a factor that mis-represents what the lives and aspirations of Iranian women, particularly contemporary Iranian women, are like. They have frequently been depicted in stereotypical ways, covered with ‘the veil’, evoking connotations of oppression, segregation, and victimisation. The global media’s circulation of a small range of images of Iranian society, coupled with Iranian artistic and cultural producers choosing to represent Iranian women by using the same motifs as Islamic propagandists, arguably produces the impression of a lack of subjectivity and dynamicity in female identities in particular. These burdensome representational practices frustrate many Iranians but can only be discussed explicitly once an individual, such as myself, is outside the context of Iran. 
This qualitative research project includes a creative practice component and is set out within the theoretical and methodological framework of an autoethnographic approach. This approach draws on my personal experiences and points of view on different subjects raised from the research data. The practical component of this research involves an exhibition of my art-making practice engaging with the themes that emerged from my research data. Theoretically and practically, my research project is inspired by real events in the everyday life of Iranian society and my own life experience. I hoped to revitalise the representations of Iranian women with dynamic and subjective aspects of identities. 
The data in this research were collected in four stages. Firstly, I interviewed a number of Iranian women artists based inside and outside Iran to understand the main influences on my participant artists’ productions, and the ways in which these artists engage with social, political, ethnic, and gendered themes. Secondly, I asked the artists to provide me with one of their works they thought best exemplified their practice. I analysed these works using a Social Semiotic approach to understand how the participant artists represented identities in Iranian society, particularly those of women. Thirdly, I showed my participant artists’ works to different focus-groups to understand how they developed narratives about them that were sometimes similar to mine and sometimes different. And finally, I created a series of artworks to explore ways to associate expressions of a diasporic Iranian female identity with a more of subjective sense of ‘self’. 
The interview data revealed that the artists in my research sample and I share similar viewpoints about Iranian women’s identities in relation to social and political subjects; however, our strategies in approaching these subjects through art differ in some cases. Using Social Semiotics, my analysis of the visual data showed the complexity of the ways in which artists in my sample approached female subjects through their works; subsequently, the focus-group data also revealed complex interpretations of the artworks of my research sample among the members of different groups. Nevertheless, the combined findings from these stages showed significant parallels between the veil as an Islamic religious sign and discourses around ‘Muslim Women’ as being oppressed and obedient in patriarchal societies.  
By critically reviewing the analysis of my research data and relating them to my theoretical framework, I build the conceptual structure of my autoethnographic practice. Inspired by the works of artists in my sample, in my practice, I explored progressive ways to construct female subjects as having agency in relation to political themes and alternative positions. Ultimately, this research project suggests that the logical framework of an academic context offers a ground for conceptualising progressive strategies for representing gendered Iranian identity.

year: 2019

title: The legacy of Ngatoroirangi: Maori customary use of geothermal resources

authors: Stokes, Evelyn

subjects: geothermal resources

abstract: Geothermal activity has always been regarded as a significant traditional resource among Maori communities of the Bay of Plenty, Rotorua and Taupo districts. The principal settlements of the tribes of Te Arawa, Ngati Tahu and Ngati Tuwharetoa were associated with geothermal areas. Outside the Taupo Volcanic Zone there were numerous other hot springs which were also highly valued by Maori. Areas of surface geothermal activity all have some traditions, cultural and historical associations for local tribes. Geothermal resources were used in various ways.

text: The legacy of Ngatoroirangi: Maori customary use of geothermal resources Geothermal activity has always been regarded as a significant traditional resource among Maori communities of the Bay of Plenty, Rotorua and Taupo districts. The principal settlements of the tribes of Te Arawa, Ngati Tahu and Ngati Tuwharetoa were associated with geothermal areas. Outside the Taupo Volcanic Zone there were numerous other hot springs which were also highly valued by Maori. Areas of surface geothermal activity all have some traditions, cultural and historical associations for local tribes. Geothermal resources were used in various ways.

year: 2000