title: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming

authors: Dellow, Delwyn Rae

subjects: Grotesque Theatre

abstract: Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

text: Grotesque Inversions On Stage, In Film: Horrid Yet Curious, Fascinating Yet Alarming Grotesque theatre is not a genre but a style of theatre made up of many strands which has been employed over many centuries beginning in Ancient Greece, particularly with Aristophanes and moving through time to the present.  François Rabelais recognised the grotesque in Church Feasts, Festivals, Guild performances, sotties and farces.  This thesis investigates through theatre and film the seven strands Bakhtin identifies:  grotesque image, abusive language, grotesque madness, scatalogical humour, light, reversals and the lower bodily stratum (1984, pp. 24-41).  In particular the thesis traces inversions in both theatre and film.  These two mediums have been selected to compare and contrast the use of the grotesque in each, as they share two strong commonalities in acting and the requirement of scripts.  

	Each chapter of this thesis deals with a script, and the last two chapters  incorporate the use of a movie for contrast.  The Introduction introduces the grotesque, offering an explanation of the styles of the grotesque as defined by Mikhail Bakhtin and Philip Thomson.  Examples are shown in pictures.  Chapter one explores two plays written by Eugene Ionesco:   Amedée or How to Get Rid of It, and Rhinoceros.  Chapter two moves back through time to Aristophanes' Lysistrata and explores the power women's bodies might have when men are in need.  The third chapter investigates The Roaring Girl, written by Middleton and Dekker.  This delves into the life of the character Moll Cutpurse and shows why Moll chose to dress as a man.  Chapters four and five deal with the fantasy and the gothic elements in Frankenstein and Dracula respectively:  focusing on bodily transformations; as well as the treatment of the monster and Dracula by society,  and their treatment in turn of society.  

	The grotesque is an intriguing style of theatre because it deals essentially with human nature and the human body in its imperfect and ever-changing form.  The grotesque therefore lends itself to horror, comedy and exaggeration making it a style which does not have to be limited by strict parameters.  The grotesque can be successfully woven into other genres such as the gothic or the absurd giving it even greater dimensions in storytelling, staging and special effects.  Human beings are often torn between the gory or visually disturbing whilst needing the safety of the normal and acceptable.  The grotesque offers both, which can make a scintillating piece of entertainment by fulfilling our needs at both ends of the emotional spectrum.  Grotesque theatre therefore by its very nature is a style which will continue to exist so long as it keeps its patrons in suspense.

year: 2012

title: Harry and Charles: Henry Ernest Whitaker and Charles Stanislaus Stafford at Te Aroha

authors: Hart, Philip

abstract: Harry Whitaker was a member of a prominent political family, and Charles Stanislaus Stafford came from an Anglo-Irish landowning family. They both invested in mines in the Te Aroha district, Whitaker being particularly active in promoting the interests of the mining industry. But he was also seen as manipulating the share market to benefit himself and as assisting Josiah Clifton Firth’s ‘clique’ to control the field, meaning that for many residents some of his actions were deeply unpopular. 
Both men acquired and traded in land both within and outside the settlements, and developed their Wairakau estate, all profitably. Whitaker also established the Te Aroha News, and in a variety of ways was a leading member of the community. As a member of the county council he tried to help the district, but once again was seen as working too closely with Firth for their mutual benefit. Stafford also tried to assist local development.
Both men were prominent socially, notably in horse races and various sports. Whitaker in particular was renowned for his lively personality, personal charm, and elegant attire, but unusually did not marry nor, apparently, flirt with the opposite sex, which may or may not be significant.
Whitaker left Te Aroha for Auckland and, later, Africa before returning to Auckland in 1918 for one last involvement with mining. After farming at Whakatane, Stafford became prominent in Kalgoorlie during the mining boom of the 1890s before retiring to London and making a late marriage. Unlike Whitaker, he ended his life a prosperous man.

text: Harry and Charles: Henry Ernest Whitaker and Charles Stanislaus Stafford at Te Aroha Harry Whitaker was a member of a prominent political family, and Charles Stanislaus Stafford came from an Anglo-Irish landowning family. They both invested in mines in the Te Aroha district, Whitaker being particularly active in promoting the interests of the mining industry. But he was also seen as manipulating the share market to benefit himself and as assisting Josiah Clifton Firth’s ‘clique’ to control the field, meaning that for many residents some of his actions were deeply unpopular. 
Both men acquired and traded in land both within and outside the settlements, and developed their Wairakau estate, all profitably. Whitaker also established the Te Aroha News, and in a variety of ways was a leading member of the community. As a member of the county council he tried to help the district, but once again was seen as working too closely with Firth for their mutual benefit. Stafford also tried to assist local development.
Both men were prominent socially, notably in horse races and various sports. Whitaker in particular was renowned for his lively personality, personal charm, and elegant attire, but unusually did not marry nor, apparently, flirt with the opposite sex, which may or may not be significant.
Whitaker left Te Aroha for Auckland and, later, Africa before returning to Auckland in 1918 for one last involvement with mining. After farming at Whakatane, Stafford became prominent in Kalgoorlie during the mining boom of the 1890s before retiring to London and making a late marriage. Unlike Whitaker, he ended his life a prosperous man.

year: 2016

title: Ngā Whanaketanga: Minimising contradictions and maximising opportunities for teacher learning.

authors: Hohepa, Margie Kahukura

subjects: Māori medium teacher professional development

abstract: In 2010 the assessment of student progress and achievement against National Standards became mandatory in English medium schooling in Aotearoa New Zealand. In that same year information gathering and revision work was carried out on the then draft Whanaketanga, developed in 2009. The Whanaketanga are deemed to be the equivalent to National Standards for classrooms implementing Te Marautanga o Aotearoa, the curriculum for immersion Māori medium settings. The information gathering and revision work was carried out in readiness for mandatory implementation of the Whanaketanga in 2011. The work also provided important opportunities for Māori medium teacher professional learning and development. The introduction of National Standards has been controversial. The development of Whanaketanga has also been controversial and challenging in nature. The first half of this paper provides an overview of Whanaketanga development and the challenges its developers worked hard to address. The second part discusses implications for Māori medium teacher professional learning and development, drawn from findings from research case studies of the information gathering and revision work.

text: Ngā Whanaketanga: Minimising contradictions and maximising opportunities for teacher learning. In 2010 the assessment of student progress and achievement against National Standards became mandatory in English medium schooling in Aotearoa New Zealand. In that same year information gathering and revision work was carried out on the then draft Whanaketanga, developed in 2009. The Whanaketanga are deemed to be the equivalent to National Standards for classrooms implementing Te Marautanga o Aotearoa, the curriculum for immersion Māori medium settings. The information gathering and revision work was carried out in readiness for mandatory implementation of the Whanaketanga in 2011. The work also provided important opportunities for Māori medium teacher professional learning and development. The introduction of National Standards has been controversial. The development of Whanaketanga has also been controversial and challenging in nature. The first half of this paper provides an overview of Whanaketanga development and the challenges its developers worked hard to address. The second part discusses implications for Māori medium teacher professional learning and development, drawn from findings from research case studies of the information gathering and revision work.

year: 2012