To see the other types of publications on this topic, follow the link: New Zealand Decorative arts.
Dissertations / Theses on the topic 'New Zealand Decorative arts'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'New Zealand Decorative arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Mansfield, Janet Elaine. "The arts in the New Zealand curriculum: from policy to practice." Thesis, University of Auckland, 2000. http://hdl.handle.net/2292/2585.
Full textAbstract:
In this thesis I portray through a history of music and art education in New Zealand the forms knowledge production took in these subject and the discourses within which they were embedded. This enables a more comprehensive understanding of curriculum and unearths connections with what Lyotard (1984) described as 'grand narrative' used to legitimate knowledge claims and practices at certain historical moments. Through such histories we may chart the progress of European civilization within the local context and provide the historical raison d'être for the present state of affairs in music and arts areas of the New Zealand curriculum. Curriculum and its 'reform' representing in part the distribution of public goods and services, has been embroiled in a market project. I seek to expose the politics of knowledge involved in the construction of the notion of The Arts within a neo-liberal policy environment. This environment has involved the deliberate construction of a 'culture of enterprise and competition' (Peters, 1995: 52) and, in the nurturing of conditions for trans-national capital's freedom of movement, a withdrawal from Keynesian economic and social policy, an assault on the welfare state. The thesis delves beyond the public face of policy-making. It follows and scrutinizes critically the birth of The Arts in the New Zealand Curriculum to the production of the first draft of the proposed policy presented by the Ministry of Education in 1999. I examine it as a site of the 'accumulation of meaning' (Derrida, 1981: 57) through a discussion of the history of meaning of 'art' and 'art' education. There is much of value in the Draft document. In particular, the arts have been invested with a new intellectual weight and the professionalism, passion and dedication of those involved in its writing shines through in each of the subject areas within the arts. However, through a process of analysis, I will show that there has been, in fact, a fashioning of a new container for the isolation of artistic knowledge. This is despite official sentiments mentioning possibilities within the document for flourishing separate Music, Art, Dance, and Drama education that implies increased curriculum space. The Draft Arts (1999) document both disguises and rehashes the 'master narrative' of universal rationality and artistic canons and is unlikely to work towards revitalising or protecting local cultural identities though not through lack of intention. I use Lyotard's notion of 'performativity' to critique notions of 'skills' and their 'development' which are implicitly and explicitly stated within the 'levels' of development articulated in the Draft Arts (1999) document. It is argued that this conflation works to enforce cultural homogeneity. There are clear dangers that the Draft Arts' (1999) conception of 'Arts Literacies' might operate as mere functional literacy in the service of the dominant culture's discourse of power and knowledge-one which celebrates the art-as-commodity ideal. It is argued that the Education Ministry's theoretical and epistemological construction of The Arts as one area of learning is unsound, and in fact represents a tightening of modernism's hierarchical notion of culture. New Zealand, now post-colonial or post-imperialist, both bi-cultural and multi-cultural, is situated on the south-western edge of the Pacific Rim. Culturally, it now includes Pacific Island, Asian, and new immigrants, as well as Maori and people of European descent. This therefore necessitates aesthetic practices which, far from promoting a set of universal principles for the appreciation of art - one canonical rule or 'standard' - recognise and reflect cultural difference. Merely admitting cultural difference is inadequate. By working away critically at the deeply held ethno-centric assumptions of modernism, its selective traditions concerned with 'practices, meanings, gender, "races", classes' (Pollock, 1999: 10), its universalising aesthetics of beauty, formal relations, individuality, authenticity or originality, and self-expression, of 'negativity and alienation, and abstraction' (Huyssens, 1986: 209), it is possible to begin to understand the theoretical task of articulating difference with regard to aesthetics. The development of the arts curriculum in New Zealand is placed within the modernism/postmodernism and modernity/postmodernity debates. These debates have generated a number of questions which are forcing us to re-examine the assumptions of modernism. The need for the culture of modernism to become self-critical of its own determining assumptions in order to come to understand its cultural practices, is becoming an urgent theoretical task, especially in disciplines and fields concerned with the transmission of acquired learning and the production of new knowledge. The culture of modernism is often taken as the historical succession of twentieth century avant-gardes (B. Smith, 1998) yet the culture of modernity, philosophically speaking, strictly begins with René Descartes several hundred years earlier, with a pre-history in the Florentine renaissance and the re-discovery of Graeco-Roman artistic and literary forms going back to the thirteenth century. Aesthetic modernism identifies with consumer capitalism and its major assumptions are rationalist, individualist and focus upon the autonomy of both the 'work of art' and the artist at the expense of the artwork, its reception and audience within its localised cultural context. The ideological features of humanism/liberalism - its privileging of the individual subject, the moral, epistemological and aesthetic privileging of the author/artist - are examined as forces contributing to modernism's major values (or aesthetic). Such approaches, it is argued, were limited for dealing with difference. The security and reproductive nature of modernistic approaches to curriculum in the arts areas are destabilized by thinking within the postmodern turn, and the effects of the changes questioning the basic epistemological and metaphysical assumptions in disciplinary fields including art/literature, artchitecture, philosophy and political theory, are registered here, within the field of the education in and through the arts. In a seminal description or report on knowledge, Jean-François Lyotard defines postmodernism as 'incredulity towards metanarratives' (1984: xxiv). Postmodernism, he argues, is 'undoubtedly part of the modern', 'not modernism at its end but in its nascent state and that state is constant (1984: 79). After Lyotard, postmodernism might be seen, therefore, not just as a mode or manner or attitude towards the past, but also as a materializing discourse comprising a dynamic reassessment and re-examination of modernism and modernity's culture. The thinking subject (the cogito) seen as the fount of all knowledge, its autonomy, and transparency, its consideration as the centre of artistic and aesthetic virtuosity and moral action, is subjected to intellectual scrutiny and suspicion. The need for an aesthetics of difference is contextualised through an examination of western hierarchies of art and the aesthetics of marginalized groups. I use the theories of poststructuralist, Jacques Derrida and Jean-François Lyotard, to examine the concept of difference. These theoretical inspirations are used as methodological tools for offsetting the privileging of the liberal individual and individualism. Rather than the mere consideration of difference in curricula, I seek to insert and establish the principle of an aesthetics of difference into relations of pedagogy and curricula. The implications for professional practice resulting from a recognition of a politics of representation are examined and a politics of difference. I argue that art education in all its manifestations can no longer avoid the deeper implications of involvement with representation, including forms of gender, ethnicity and class representation as well as colonial representation. The Western canon's notion of 'artists' and their 'art', often based upon white bourgeois male representations and used in many primary school classrooms, are part and parcel of 'social and political investments in canonicity', a powerful 'element in the hegemony of dominant social groups and interests' (Pollock, 1999: 9). Difference is not appreciated in this context. School art, music, and drama classrooms can become sites for the postmodern questioning of representation of 'the other'. In this context, an aesthetics of difference insists upon too, the questioning of images supporting hegemonic discourses, images which have filled the spaces in the 'chinks and cracks of the power/knowledge-apparati' (Teresa de Lauretis, 1987 cited in Pollock, 1999: 7-8). What would an 'eccentric rereading', a rediscovery of what the canon's vicarly cloak disguises and reveals, mean for music, and for the individual arts areas of the curriculum? I hope to reveal the entanglements of the cultural dynamics of power through an examination of the traditions of Truth and Beauty in imagery which are to be disrupted by inserting into the canon the principle of the aesthetics of difference. Art education as a politics of representation embraces art's constitutive role in ideology. This is to be exposed as we seek to unravel and acknowledge which kinds of knowledges are legitimised and privileged by which kinds of representations. Which kinds of narratives, historical or otherwise, have resulted in which kinds of depictions through image? A recognition of the increasing specification of the subject demands also the careful investigation of colonial representation, the construction of dubious narratives about our history created through visual imaging and its provision of complex historical references. How have art, music, dance, drama been used in the service of particular political and economic narratives? Through revisioning the curriculum from a postmodern perspective, suggestions are made for an alternative pedagogy, which offsets the ideological features of humanism/liberalism, one in which an aesthetics of difference might pervade cultural practices - 'systems of signification', 'practices of representation' (Rizvi, 1994). I draw upon Lyotard's notion of 'small narratives' (1984), and present an investigation of what the democratic manifestation of 'the differend', and multiple meaning systems, might indicate in terms of 'differencing' music education as a site in which heterogenous value systems and expression may find form.<br>Whole document restricted, but available by request, use the feedback form to request access.
2
Franco, William. "Cross-cultural collaboration in New Zealand : a Chicano in Kiwi land." Massey University, 2008. http://hdl.handle.net/10179/878.
Full textAbstract:
In my exegesis, I will explore the different social, political, cultural and artistic themes, influences and methods that direct my art practice. I will dissect my current work, outlining these transformations and how they impact my work here at Massey, as well as how they will continue to inspire my art practice in the future.
3
Lile, Trudy. "Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand." New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.
Full textAbstract:
This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.
4
Joe, Damen. "Mapping the self-portrait navigating identity and autobiography in visual art : this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design) in the year 2005 /." Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/1341/.
Full textAbstract:
Thesis (MA--Art and Design) -- AUT University, 2005.<br>Cover title. Includes bibliographical references. Also held in print (xxii, 85 leaves : col. ill. ; 30 cm.) in City Campus Collection (T 707 JOE)
5
Leotta, Alfio. "Touring the screen : New Zealand film geographies and the textual tourist /." e-Thesis University of Auckland, 2009. http://hdl.handle.net/2292/5762.
Full textAbstract:
Thesis (PhD--Film, Television and Media Studies)--University of Auckland, 2009.<br>"A thesis submitted in fulfilment of the requirements for the degree of Dotor of Philosophy in Film, Television and media Studeis, the University of Auckland, 2009." Includes bibliographical references.
6
MacDonald, Margaret. "Elwyn Richardson and The Early World of Art Education in New Zealand." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2010. http://hdl.handle.net/10092/5114.
Full textAbstract:
This study examines the work of Elwyn Stuart Richardson, director and teacher of Oruaiti School between 1949 and 1962, an experimental school in Northland, New Zealand and places it with the context of the history of art education in New Zealand. After documenting the historical and educational reform contexts of the first half of the twentieth century, Richardson’s philosophy of art education is framed through an analysis of moments of his early life, schooling and teaching experiences.
Richardson (1925-) is best known for his book In the Early World published by the New Zealand Council of Educational Research in 1964. The book describes his work as a teacher at Oruaiti and highlights his pedagogical belief that the most powerful learning arises out of children’s own lives and experiences, that learning through the arts raises students’ potential for self-knowledge, critical discernment, imagination, understanding, awareness and empathy for others, and that the arts have an important role to play in the fostering of community and social reform.
The administration of art and craft education in the New Zealand primary school during Richardson’s years at Oruaiti was shaped by early advances in manual and technical education. The development of these reforms and the varied educational doctrines school officials used to advocate for the inclusion of these subjects in the curriculum are examined from 1885 to 1920. As well, significant educational policies and events in the 1920s provided exposure to progressive education ideology from abroad. These initiatives contributed to the great interest in child art which grew out of the New Education movement of the 1930s. New ideas about the development of artistic ability in children led to innovative policies in art and craft education that transformed teaching practices and the place of art and craft in New Zealand schools during the 1940s and 1950s. The newly formed Art and Craft Branch of the Department of Education in 1946 reorganised the administration of art education to change public perceptions of art, create contexts of art appreciation and develop community education in tandem with primary school art education.
Examining Richardson’s educational biography is another lens used to understand his philosophy and pedagogy. Oruaiti's status as an experimental school is explored through the unique relationship of Oruaiti School to the Art and Craft Branch of the Department of Education. Further, Richardson’s developing educational philosophy, in particular his ideas about artistic ability in children and the growth of aesthetic standards, is explored relative to the teaching practices of his day.
The study also uncovers the critical role that science played in Richardson’s educational pedagogy and curriculum and the profound influence Richardson’s early educative experiences were to have on the development of his educational philosophy. Locating Richardson’s work within its historical context demonstrates both that he worked in an environment which was hospitable to educational experimentation in the field of art and crafts, and that, on many levels, he transcended the educational practices of his times.
7
Piper, Greg. "Memory to artefact [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design)], 2003." Full thesis. Abstract, 2003.
Find full text
8
Barbour, Kim Jaime. "Constructing Artistic Integrity: An Exploratory Study." The University of Waikato, 2006. http://hdl.handle.net/10289/2474.
Full textAbstract:
This thesis explores the concept of artistic integrity. A historical foundation for artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that the concept is used frequently both in the popular media, and in arts and creative industries policy and research. Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to investigate how artistic integrity is perceived by those working within the New Zealand arts environment. The multifaceted nature of the history of artistic integrity is mirrored in the complexity of the responses from the artists involved in this research. Key themes to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory. The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.
9
Ulenberg, Phillippa. "The Community Arts Service: History and Social Context." The University of Waikato, 2009. http://hdl.handle.net/10289/2802.
Full textAbstract:
The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia. As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities. Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country. Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.
10
Raerino, Kimiora. "He tirohanga a Ngāti Awa uri taone mo ngā ahuatanga Māori an urban Ngāti Awa perspective on identity and culture : a thesis submitted to the Auckland University of Technology in partial fulfilment of the requirements for the degree Master of Arts, 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/423.
Full textAbstract:
Thesis (MA--Maori Development) -- AUT University, 2007.<br>Includes bibliographical references. Also held in print (v, 105 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 305.899442 RAE)
11
Wohlfart, Irmengard. "Translation studies perspectives on Patricia Grace's Potiki the original work and the German translation : dissertation submitted to the University of Auckland in partial fulfilment of the degree of Professional Master of Arts in Translation Studies, 2007." Click here to access this resource online, 2007.
Find full text
12
Cody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers." Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.
Full textAbstract:
This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.
13
Algers, Maria. "Museums as tools for Cultural Citizenship: Two case studies in New Zealand." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21590.
Full textAbstract:
This thesis will explore the concept of cultural citizenship by researching visitor’s responses to five exhibitions across two museums in the Lower Hutt region of New Zealand. The thesis will also examine museum management and staff’s perspectives on these exhibits, and compare these to visitor’s. The aim of the thesis is to understand how museum visitors reflect upon and use museum exhibits as tools in relation to their cultural heritage and cultural citizenship. This approach provides a focus for reflection regarding the cultural importance of museum exhibitions. Stuart Hall’s encoding/decoding model will serve as an overall framework for the study, and the theoretical concepts of memory, rhetoric, meaning making and cultural citizenship will further inform the analysis. The results indicate that museum visitors reflect upon exhibits as tools for reminding, and also indicate that exhibits are seen important for learning and representation. Furthermore, the study finds that visitors do not find exhibits particularly challenging or personal. Museum staff provide other perspectives on the importance of museum exhibits, such as their art historical, representational and community-museum relationship building potential, but the study finds that these themes are seldom explicitly recognised by visitors. The concluding discussion reflects on these results, and suggests avenues for future research.
14
Campbell, Crystal Celena. "Novel objects and new practices an archaeological analysis of smoking pipes from Banda, Ghana /." Diss., Online access via UMI:, 2006.
Find full textAbstract:
Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2006.<br>"This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Adobe Acrobat"--ProQuest document view. Includes bibliographical references.
15
Duncan, Sandy. "Discussing the nature of painting through the poetics of transaction and experience an exegesis submitted to AUT University in partial fulfilment of the degree of Master of Arts (Art and Design), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/643.
Full textAbstract:
Exegesis (MA--Art and Design) -- AUT University, 2007.<br>Includes bibliographical references. Also held in print (viii, 51 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 759.993 DUN)
16
Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
Full textAbstract:
Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
17
Alkandari, Fahad A. H. H. "Islamic ceramic ornamentation and process : proposals for a new aesthetic vocabulary in contemporary architectural embellishment within kuwait." Thesis, University of Central Lancashire, 2011. http://clok.uclan.ac.uk/2800/.
Full textAbstract:
Islamic architecture is arguably one of the greatest manifestations of Islamic visual culture. One of the defining aspects of the unique, aesthetic richness of traditional Islamic architecture has been the application of ceramic ornamentation or embellishment. There is a growing concern, however, that this legacy is being eroded. The diminishing identity of Islamic visual culture is particularly evident through current architectural developments occurring in the Arab states. The building revolution in the Gulf countries has dramatically increased momentum since the onset of the ‗oil economy‘, echoing the phenomena of globalization. This research project explores these concerns, discussing the erosion of Islamic ‗identity‘ within contemporary architecture in the Gulf States and in particularly Kuwait, as well as the ensuing decline in the use of ceramics as a defining embellishment material. The research compares the aesthetics of traditional and contemporary Islamic architectural design, whilst also examining the reasons behind this erosion in traditional design style. The diminishing identity of Islamic visual culture is investigated by combining studies in the fields of art, aesthetics, design, architecture, and the social sciences, in order to understand the nature of the research problem. A series of case-studies demonstrates how ceramics may be used to re-introduce a sense of Islamic identity within contemporary architecture. This offers design proposals, new materials and technical processes that acknowledge the rich traditions of Islamic Ceramics while also being appropriate for application within the context of contemporary Islamic architecture detailing; blending contemporary aesthetics and technical thinking with traditional Islamic design. The aim of the case-studies is to offer proposals for a new aesthetic vocabulary of architectural embellishment that is both appropriate to and innovative within, the context of contemporary Islamic architecture. This new aesthetic vocabulary III specifically blends contemporary design principals, new materials and technical processes, whilst acknowledging the rich traditions of Islamic ceramics. The PhD project, applies two types of research methodology: theoretical research and practice-based research. The former focused on social sciences and applied quantitative and qualitative research approaches, including surveys and interviews undertaken within Kuwait. The findings obtained from these surveys verified the emergence of a new cultural style of contemporary architecture and shaped the practice-based element of the project; proposals for ceramic embellishment that are contemporary, while still reflecting many recognizable aspects of traditional Islamic design. The new architectural style can be attributed to factors such as globalization, the adoption of international building styles, and a seeming unwillingness to incorporate traditional styles into new building design, all of which contribute to the currently weak identity of Arabic / Islamic ceramics within Kuwait. Despite of this, the survey revealed that Kuwaiti society maintains a strong relationship and affiliation with Islamic culture, although many seemed unaware of their own rich culture and its past legacy. The practice-based research involved two distinct phases. The first phase involved the development of a large number (172) of new glazes. The glazes were intended to reflect the palette of colours used over generations of Islamic Ceramic culture, while still being appropriate for integration within the contemporary Islamic architectural environment. The second phase of practice involved a series of case studies, embracing a wide range of contemporary architectural ceramic design processes (including 2 and 3 Dimensional geometrical patterns and interpretations of contemporary calligraphic design). The case studies utilised a number of modern technologies, such as 3D Solid modelling, CNC Rapid Prototyping and Laser-cutting, to prove that modern design and manufacturing technologies can be integrated within traditional ceramic processes. The aim being to both provide ceramic products that architects and designers can use to enhance the modern IV architectural environment of Kuwait and re-establish the creative status of ceramics.
18
Jennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.
Full textAbstract:
This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the secondary school context identified as significant in shaping the perceptions of the participants: approaching the context in a multi-layered way enabled coherent synthesis and appraisal of the relevant literature. Chapters Four to Seven comprise the four action research music composition projects. Each action research project focuses on a music score composed by the composer-teacher/researcher for a specific group of students at Macleans College, Auckland. The composition, production, and performance processes are investigated from the perspectives of all the participants. Each music project comprises a four part progression - plan (composition process), data (music score), data analysis (recordings of performances, surveys, and interviews with all participants) and reflection (feedback, and feedforward into the next project). Each phase of the research generated significant outcomes, such as the four original music scores. Chapter Eight summarizes the themes, issues, and patterns that emerged, and makes recommendations for further research. A model of co-constructive practice emerges from this research: teacher and students co-construct artistic worlds through performance. The model is not new (it is common practice, adopted by generations of musician-teachers) but is rarely acknowledged and currently un-researched. This research demonstrates the validity of the practice from both musical, and teaching and learning perspectives, and examines the strengths and limitations of the model. At its best, the creative processes co-constructed by a teacher with her students are shown to provide a crucible within which intense and creative learning experiences occur. Students of all levels of ability are shown to gain confidence in this context, and subsequently develop skills with apparent ease. The co-constructive model is limited in that it cannot meet the musical needs of all students: co-construction should be considered as one model of practice, appropriate for use in association with many others. This research provides 'virtual access' to a particular world of performance practice, revealing the secondary school context as a realm of authentic and valid musical practice.
19
Boniface, Emma Jane. "Promoting sociability : staff perceptions of music therapy as a way to enhance social skills : a project presented in partial fulfilment of the requirements for the degree of Master of Music in Music Therapy, New Zealand School of Music, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1172.
Full textAbstract:
This thesis is the result of working with nine students and one teacher aide in group music therapy in special education. Through opportunities to learn about music and sound, the students were invited to use descriptive language to express emotions and thoughts about their music therapy experience. This research used a qualitative research design, where the purpose was to learn about the perceptions that staff may have of music therapy and to highlight how music therapy can promote sociability in an educative setting. The data collected mainly through research journal entries and two interviews (as well as material from a discussion group) offer evidence about how improvisational group music therapy can help create a positive social environment in the classroom and complement socialisation goals in education.
20
Feeney, Warren, and n/a. "The Canterbury Society of Arts 1880-1996 : conformity and dissension revisited." University of Otago. Department of History, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090226.135746.
Full textAbstract:
Established in 1880 the Canterbury Society of Arts (CSA) dominated the arts in Canterbury for nearly a century and was the most significant art society in New Zealand. This thesis examines the CSA�s history from 1880 to its change in trading name to the Centre of Contemporary Art (COCA) in 1996 when the Society sought to redefine its role. Chapter One considers its origins, comprising a discussion of the period from 1850 to 1880 in which it was founded as part of an educational complex that reflected Edward Gibbon Wakefield�s ideal for the systematic settlement of Canterbury. A discussion of the Society�s permanent collection from 1881 to 1932 in the following chapter draws attention to how the CSA was guided by its founding ambitions to promote the development of New Zealand art and accompanying responsibilities for art education. Chapter Three considers the premises and art galleries utilised by the Society from 1881 to 1932, revealing that its objectives to advance the arts remained visionary and often demanding. In Chapter Four the period between the Depression and the end of the Second World War is examined and economic and aesthetic challenges, evident in the Society�s limited capacity to purchase works for its collection, alongside the emergence of new art organisations such as the Group are discussed. This is followed by a consideration of the post-war period from the perspective of the CSA�s remarkable secretary from 1943 to 1959, William Sykes Baverstock. His response to an emerging modern movement provides a context to examine significant changes in the arts which initially posed a challenge to the CSA. Consideration of the 1960s to mid-1970s in Chapter Six reveals the vital role played by the CSA in supporting the development of contemporary New Zealand art and includes discussion of significant events and exhibitions such as the Hay�s Art Prize and the expansion of the Society�s programme to include international shows and solo exhibitions of contemporary sculpture, craft, design, and painting. It argues that these activities represented the CSA�s most ambitious and successful period in its history, symbolised by its new modernist-styled gallery which opened at 66 Gloucester Street in 1968. An examination of the late 1970s to mid-1980s in Chapter Seven demonstrates that the CSA continued to maintain its influence as a centre for contemporary arts practice. However, the demands of a greater arts professionalism championed by the Queen Elizabeth II Arts Council and accompanied by a growth in dealer galleries, meant that the CSA also became subjected to criticism and this despite its continuing capacity to expose large audiences to new and challenging arts practices. The close and long-standing relationship between the CSA and the Canterbury College School of Art is considered in Chapter Eight and the way in which this contributed to the Society�s cultural supremacy is acknowledged. The deaccession of 42 important historical works from the CSA�s permanent collection in 1995 discussed in Chapter Nine reveals the extent to which its stature had substantially changed by the 1990s. Its essentially nineteenth-century infrastructure was ultimately inappropriate for addressing new levels of arts professionalism. Chapter Ten concludes that the CSA was a visionary, and sometimes radical, arts organisation that deserves to be more carefully and generously considered. Indeed, its long history reveals a vital arts and educational institution that has made an essential but hitherto hugely underrated contribution to New Zealand�s cultural development.
21
Davies, Michael Daniel John. "'An island story'? Maritime heritage in Aotearoa/ New Zealand: A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Geography in the University of Canterbury." Thesis, University of Canterbury. Geography, 2006. http://hdl.handle.net/10092/1277.
Full textAbstract:
This thesis explores the concept of heritage within the context of the maritime environment of Aotearoa/ New Zealand. Three case studies, The New Zealand National Maritime Museum in Auckland, TSS Earnslaw which operates on Lake Wakatipu from a base in Queenstown and the Port of Lyttelton, Canterbury, are used to investigate the relationship between the international literature of heritage and the expression of maritime heritage in Aotearoa/ New Zealand. The research is focussed through the investigation of the presentation, and management of maritime heritage. The relationship between the concept of heritage as a global phenomenon and its expression in relation to the maritime heritage of Aotearoa/ New Zealand is discussed using the information obtained through fieldwork. The themes of mobility and conflict are identified as significant in the explanation of the role played by maritime heritage in the interaction between society and its maritime past.
22
Park, Yaeun Kyung. "Improving understanding of music therapy with a non-verbal child: sharing perceptions with other professionals : a research presented in partial fulfilment of the requirements for the Master of Music Therapy at New Zealand School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/999.
Full textAbstract:
This study explored the value of music therapy practice with a non-verbal child conducted by the author, a Music Therapy Student (MTS), as seen through the eyes of two music therapists and the child’s mother, as well as the improvement achieved in the MTS’s understanding of music therapy practice through sharing the three professionals’ insights. The paper addresses two research questions: (1) How is music therapy with a non-verbal child perceived by music therapy professionals? (2) How does sharing these professionals’ understanding of music therapy improve the MTS’s understanding of this therapeutic process? The MTS’s self-reflections were treated as part of the data in this research, as was the non-verbal communication within the music therapy intervention to support the findings. The qualitative research, ‘Naturalistic inquiry’ was used for this research. Data was collected by interviewing these three professionals individually about their perceptions of music therapy after watching three video extracts of normal music therapy sessions with the child. The video extracts were selected from the significant moments of non-verbal communication. Through this process of sharing the professionals’ perceptions, the MTS gained a deeper understanding of both the child and the music therapy practice administered, confirming and extending her understanding of the musical and therapeutic skills and techniques of the three professionals, which they had gained in their varied experiences and which had been shaped by their varied backgrounds. The MTS was thus engaged in a learning process which hoped would enhance the quality of therapy provided by her in the future.
23
Donovan, Maria Merzenaida. "Telecom selling beyond telephony : a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies, Auckland University of Technology, 2003." Full thesis. Abstract, 2003.
Find full textAbstract:
Thesis (MA--Communication Studies) -- Auckland University of Technology, 2003.<br>Glossary and appendices not included in e-thesis. Also held in print (192 leaves, ill., 30 cm.) in Wellesley Theses Collection (T 384.041 DON)
24
Stephenson, Iain James. "Techno-futurism and the knowledge economy in New Zealand a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2003." Full thesis. Abstract, 2003.
Find full text
25
Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.
Full textAbstract:
This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit.
The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge.
In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?
26
Wilkinson, Catherine Joy. "Reflections and analysis to improve clinical practice : a student music therapist's journey with a preschool child with special needs : a dissertation presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/858.
Full textAbstract:
This qualitative study critically examines the researcher’s music therapy clinical practice with a preschool child with global developmental delay. The researcher/student music therapist critically examined and refined her clinical practice using an action research model. Each cycle consisted of a plan, action, data collection, reflection, and analysis. The researcher was the main participant. The child, his mother and a speech-language therapist were co-participants with different roles. The child and his mother participated in the sessions. The speech-language therapist observed three sessions through a window. Feedback from the child’s mother and the speech-language therapist contributed to the reflective data. Important issues that developed through the cycles related to early intervention techniques (having fun, being playful and spontaneous, and being in close proximity). Other important issues that developed were, the use of the voice and guitar; confidence; professionalism with parents and other health professionals; self-awareness; and the understanding of early childhood development (especially in the area of communication). Related literature on aspects of music therapy practice, music therapy in early intervention, music therapy and communication, and action research are described. These results cannot be generalised. However, they may firstly, illustrate relevant trends in early intervention, and secondly, enable the researcher to adapt skills learnt to use in future practice in early intervention
27
Richards, Alison 1951. "Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.
Full text
28
Teoh, Elna. "Television New Zealand's Charter the struggle between social responsibilities and commercial imperatives : a thesis submitted in partial fulfilment of the requirements for the degree of Masters of Arts (Communication Studies), Auckland University of Technology, 2003." Full thesis. Abstract, 2003.
Find full text
29
James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.<br>Doctor of Philosophy (PhD)
30
Benbow, Hannah-Lee. "'I like New Zealand best' : London correspondents for New Zealand newspapers, 1884-1942 : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in History in the University of Canterbury /." Thesis, University of Canterbury. Humanities, 2009. http://hdl.handle.net/10092/3047.
Full textAbstract:
This thesis addresses the roles and experiences of fourteen London correspondents for New Zealand newspapers, 1884-1942. It argues that these correspondents made a small but significant contribution to news flow into New Zealand and that the importance of London’s role as an imperial, cultural and news-flow metropole make it central to studies of the New Zealand press during this period. However, correspondents identities as New Zealanders and the unique requirements of the New Zealand press system were also important, meaning that correspondents and their correspondence need to be addressed in terms of layered identity and of both imperial and domestic press systems.
31
James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
Full textAbstract:
Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
32
Schuler, Annabel. "Michael King, journalist : a study of the influence of journalism on King's later writing : a thesis submitted in fulfilment of the requirements for the degree of Master of Arts in Mass Communication in the University of Canterbury /." Thesis, University of Canterbury. Political Science and Communication, 2006. http://hdl.handle.net/10092/913.
Full textAbstract:
Michael King is an acclaimed writer, author and communicator. When he died in a car accident he was eulogised as one of New Zealand's leading citizens for his literary contribution. He is celebrated as a writer who communicated history in a way that was palatable and comprehensible to all New Zealanders. He is also remembered for his commentary on New Zealand as a bi-cultural society. This thesis debates whether his years as a journalist gave him the skills to write, argue and communicate better. King was not a journalist for long and then he taught journalism, but those years served as a bridge between academia and a life in everyday New Zealand. Good writing and good journalistic writing have been analysed and refined down to basic rules which are then measured against King's work. Drivers to good writing have also been identified and these relate to the emotional and psychological characteristics of a good writer. Anecdotal evidence about King's work as a journalist and then as a writer has been gathered and tested against the rules and drivers. Two key themes have emerged. One that King was born with a natural ability to write and this was fuelled by strong reading and writing habits early in his life. The second is that King worked at being a good journalist, he learned rules and disciplines which improved his writing and these stayed with him throughout his literary career. The issue of objectivity is a moot point for journalists and there is debate about how objective journalists can realistically be. One of the reasons King left daily journalism was because he became frustrated with the constraints of objectivity. The thesis debates how this impacted on his writing and the direction of his later work.
33
Kahui, Dennis Jon. "A cultural approach to music therapy in New Zealand : a Maori perspective : a dissertation presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at Massey University, NZ School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/898.
Full textAbstract:
The main theme of this study is to form a culturally appropriate approach to music therapy concepts from a Maori perspective that could be inclusive and accommodate both Maori and Tauiwi (non-Maori) Rangatahi (adolescents) in health care settings. In order to provide a descriptive account of the holistic aspects of introducing Maori musical concepts in a music therapy setting a qualitative design was employed. The study draws on my personal journal entries, an interview with Kaumatua (Maori respected elders) regarding the appropriateness of introducing and altering traditional Maori musicality to accommodate the patient’s needs and a case study involving the Haka as a music therapy intervention strategy with a young Maori patient diagnosed with schizophrenia. My findings show that as a music therapist consultation with Kaumatua regarding anything related to Maori cultural aspects was essential. I also found that when working with a Maori Rangatahi who is immersed in Maori culture, it created an atmosphere of containment, familiarity, enjoyment, engagement and an environment that facilitated the achievement of therapeutic goals. Te Whare Tapa Wha Maori mental health model is well suited as a music therapy assessment tool to the characteristics of the physical, emotional, spiritual and family context of the Haka. I also found that Tauiwi music therapists wishing to introduce cultural elements must first learn about Maori culture and the people in order to confidently understand the music. Tauiwi Rangatahi may also benefit from the introduction of Maori musicality as a therapeutic means by being an inclusive member of the community and the positive psychological effects. For example, Rangatahi benefited from learning the proper pronunciation and meaning of the Haka, which in turn gave them a sense of achievement. I also found that some Maori protocols fit well with the protocols of music therapy, such as the beginning and endings with a hello and goodbye song.
34
Moon, Paul. "The application of modernisation theory to phases in Maori development since 1800 a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Maori Development, at Te Ara Poutama, Faculty of Maori Development, Auckland University of Technology, 2004 /." Full thesis. Abstract, 2004.
Find full text
35
Wilson, Andrew Charles Bruce. "Popular geographies: celebrating the nation in Canadian Geographic, Australian Geographic and New Zealand Geographic, 1995-2004 : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Geography at Massey University, Palmerston North, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/1090.
Full textAbstract:
Popular geography magazines like National Geographic (NG) provide readers with a lens of the world around them. Yet sadly they often only serve a limited utilitarian purpose as dust collectors on coffee tables of hospital waiting rooms or doctors’ practices. It should be of little surprise then that the relative importance of geographic magazines as a representational forum has been underestimated historically. The importance of geographic magazines as an outlet for creating and disseminating preconceived visions of what may be termed ‘popular geographies’ has only become the subject of scrutiny in the last two decades. Authors including Lutz and Collins (1993) and Rothenberg (1994, 2007) have reflected critically upon the place of NG as a powerful ideological institution for legitimating particular visions of the world in the wider corpus of the discipline of geography. Yet while there has been a substantial volume of work dedicated to unravelling the situated lens of NG there has been no research devoted to deciphering the lenses of other geography magazines such as Canadian Geographic (CG), Australian Geographic (AG) or New Zealand Geographic (NZG). These magazines also embody the ideals of adventure, discovery and nature made famous by NG but purvey geography through distinctively national narratives. Through discourse analysis the thesis examines these three magazines in order to unravel geographic imaginations of nationalism in CG, AG and NZG and in the process challenge divergent conceptions of geography itself as both an academic discipline and popular subject.
36
Horrell, Barbara Mary. "Talking about end-of-life care for older people in a rural New Zealand community : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Psychology at Massey University, Palmerston North, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1158.
Full textAbstract:
Rural experiences are under-represented in the end-of-life care literature. In addition, population projections indicate that the numbers of older rural people are increasing. In an attempt to better understand their needs, this study considers how older people experience end-of-life (EOL) care in a rural New Zealand setting. Having responded to local media and community notices, seven participants, who in the last eighteen months had cared for someone over the age of 65 with a terminal illness, spoke about their experience of rural EOL care. Their stories were then transcribed and analysed, using narrative analysis. Participants spoke about similar issues, but from different, sometimes conflicting, perspectives. Positioning themselves primarily as carers, rather than as rural people, the participants’ stories nevertheless reflected their social location for caring, as they talked about exhaustion and needing 24 hour support; limited access to specialist palliative care services; and the difficulties of caring for people with complex needs. At the same time they spoke of the joys and rewards of caring. The ambivalence and conflict evident in the stories indicates the participants’ location in a particular place and time in the history of dying. Caught between two paradigms of care, these participants vacillate between the desire for the empathic, compassionate care of yesteryear and the best that modern medical technology can offer. Discussing when to continue and when to stop medical intervention produced the most conflicting perspectives. However, all agreed that having time to form therapeutic relationships is a key component of EOL care. Overall, the stories demonstrate that the multiple and complex experiences of older rural people render stereotypical assumptions about rural life and dying at home problematic. However, as this study demonstrates, simply talking with people provides access to and understanding of their lived realities. Incorporating this kind of approach in future rural EOL care planning will move us closer to achieving contemporary goals of positive ageing and dying well.
37
Clement, Julie. "Un i form "consisting of one" : a written component presented in partial fulfilment of the requirements for the degree of Master of Design at Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/1035.
Full textAbstract:
Uni form is an exploration into the act of getting dressed. The act of dressing or assemblage of dress is negotiated and explores how personal identity is constructed. My design research contributes to a current understanding of self, dress and social identity. I begin with an analysis of wardrobe as a personal collection and I propose that, in our everyday dress, much of what we choose to wear constitutes a uni form of one sort or another. Focusing on the shirt dress as an ‘ordinary’ everyday style of generic dress, I set out to experience the wearing of a personal uniform. What emerges from this research is a proposal that a uni form – a metaphoric garment – can meet the needs of everyday life in the postmodern urban metropolis.
38
Mitchell, Moana Erika. ""All we got to see were factories." : scoping Maori transitions from secondary school : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Arts in Education /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1244.
Full text
39
Jacobson, Shelley. "Temporal landscapes : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/907.
Full textAbstract:
Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.
40
Smith, Philippa Karen. "Desperately seeking a national identity an examination of narrative in the Heartland television series and its influence in defining New Zealanders : a thesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Communication Studies), 2003 /." Full thesis. Abstract, 2003.
Find full text
41
McDaniels, Ivy. ""Beautiful external life to watch and ponder" : Katherine Mansfield confronting the material : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1295.
Full text
42
Leleisi'uao, Andy. "My Samoan accent an investigation discussing issues that emanate out of my identity as a New Zealand born Samoan artist : [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2004.]." Full thesis. Abstract, 2004.
Find full text
43
Trevelyan, Peter Ross. "Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/867.
Full textAbstract:
This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.
44
McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
Full textAbstract:
This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
45
Doody, Brendan J. "Riccarton Bush and the natural and social realities of native trees in Christchurch, New Zealand." Lincoln University, 2008. http://hdl.handle.net/10182/865.
Full textAbstract:
Urbanization has destroyed and fragmented previously large areas of natural habitat. Small remnants that still exist in numerous cities will be unable to sustain many viable wild plant populations if they do not expand into the surrounding urban matrix. Residential gardens surrounding such remnants, and which form a significant component of urban green space in many cities, could play a role in redressing this problem. Riccarton Bush, a 7.8 hectare forest remnant, and its surrounding suburban residential area, in Christchurch, New Zealand, is a good example. Over 125 years the reported number of native vascular plants in the bush has declined by a third. My study was an attempt to understand: 1) the ecological, social and cultural factors influencing the dispersal and regeneration of 12 native bird-dispersed woody species from Riccarton Bush, into surrounding residential properties; and 2) the potential role residential properties could play in the future of the bush. To examine these diverse factors I adopted an interdisciplinary research approach combining methodologies, concepts and theories from ecology and the social sciences. In a broader context my work was an attempt to demonstrate how urban ecology can further develop and strengthen by adopting and integrating new methodologies, theories and concepts. The ecological component involved recording individuals of the study species found on 90 randomly selected properties within a 1.4 km radius of the bush. Soil samples were also collected from 31 of those properties and placed in a glasshouse and the study species that germinated were recorded. Results showed some species, particularly kahikatea (Dacrycarpus dacrydioides), the most abundant species in the bush, are being dispersed and establishing on properties predominantly within 250 m of the forest margin. These juveniles are not reaching maturity as most gardeners tend to remove all non-planted woody species. Qualitative interviews with 16 residents and a quantitative survey of the residents of 85 of the properties provided insights into the social context which these natural processes were operating. Using notions of place and performance I argue that gardens are continuously created and recreated by humans and non-humans. Residents attempt to create and maintain a garden that fulfils their individual and familial needs and desires (e.g., aesthetics, leisure and privacy), and public responsibilities such as ensuring they have a ‘neat’ and ‘tidy’ garden. This involves selecting plants for colour, shape and the care they require, and encouraging certain performances (e.g., flowering) while controlling other undesirable plants and performances (e.g. growth, spread and shading). While people make connections between native plants, belonging and identity; the ‘scientific’ demarcation between native and exotic species often becomes obscured as the garden is co-created by people and plants. Some plants become more significant than others but usually this is attributable to their performances rather than whether they are native or exotic. Residential gardens have the potential to play a major role in the conservation of species restricted to urban remnants. My research suggests that although the potential exists for woody species restricted to Riccarton Bush to naturally regenerate in nearby gardens, this will not happen without human intervention. Plants will need to be eco-sourced and propagated to avoid detrimental impacts on the genetic health of remnant populations, and then actively planted in gardens. The success of such planting initiatives will be increased by providing residents with information about the plants that are suitable for their performative needs and desires (e.g., the size, colour, and maintenance requirements of plants) and, most importantly, control over the location of plantings. In concluding, I argue that by adopting new concepts, theories and methodologies, the productivity, creativity and relevance of urban ecology can be significantly enhanced.
46
Linton, Rachael. "Sound Vision: patterns of vibration in sound, symbols and the body : a thesis submitted in partial fulfilment of the Master of Design, Institute of Communication Design, Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/1018.
Full textAbstract:
Historical and contemporary views such as those held within Buddhist and Hindu religion support the idea that sound, colour and form in motion have the ability to alter physiological and psychological aspects of human function. Within these, religions, distinctive singing and meditation techniques can be used to aid concentration, calm and balance the mind, and soothe the body. A meditative technique adopted by Hindu and Buddhist practitioners is to draw the mind into a centred point of focus, blocking out external distractions that inhibit concentration. The sound based meditation Om, for example, is a most powerful mantra, capable of healing and elevating consciousness (Beck, 1995). Vocal sounding and chant as well as gazing at or visualising images are techniques that have been utilised in ancient religious practice to aid people to develop their natural capabilities to shift energy within body and mind. Contemporary neuroscientists are interested in the states of mind that Buddhist monks claim to enter into while sounding. Equipped with technology for analysing brainwave activity, experiments have revealed that electromagnetic stimuli such as sound, light and colour can have physical affect upon the practitioner’s brain. Researchers have developed new therapeutic tools and techniques to benefit the health and well-being of individuals from these findings. This thesis traces the therapeutic use of sound, light, colour and form in motion from ancient Hindu and Buddhist religion into its use in complementary therapy. Sound Vision is the name of the film which fulfils the practical component of this research. Inspired by the visual form and motion of sound, this thesis contemplates: if we could see sound, what would it look like and could those images function as a healing art form? Sound Vision translates ancient and contemporary techniques of therapy into a digital audio/visual medium to function as visual therapy and aid for meditation. The themes of this research are foremost to visualise sound and secondly to deduce aspects of sound and vision that have therapeutic qualities. Chapter Three of this thesis thematically outlines qualities of sound that have been found to be capable of exciting or calming its listener. The same process has been applied for vision, specifically how light and colour affect the viewer as well as for form in motion. An interim presentation of the preliminary film, Dance of Light, was exhibited in November 2008 and here formative feedback was gained through unobtrusive observation and discussions with viewers toward the development of Sound Vision. Aspects of the film were found to provoke feelings of unease and tension while other aspects incited focus and calm. Sound Vision, serves as a prototype apply healing using light therapy to create positive physical and psychological outcomes. From the research presented within this thesis, Sound Vision employs various digital methods and techniques which are recognised with ability towards healing. Explorations to further this thesis’ research may include Neurological brainwave analysis and patient testing to determine which kinds of video footage produce particular desirable results.
47
van, Beek Hanne. "Picnic in paradise : blootstelling van een onschuldig plekje : an exegesis presented in partial fulfilment of the requirement for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/949.
Full textAbstract:
The picnic blanket, as a textile object, is infused with meaning by its colonial history and its inherent use. Its purpose goes beyond providing a soft and dry surface to sit on. By putting down your picnic blanket you can temporarily stake your claim on that piece of land. We might consider the picnic blanket as a private haven in a public space. The cross-over between private and public space is a dynamic environment that is established by continually interacting and adapting. By collaborating with others in a space everyone can gain some ownership of that space. Using the picnic blanket as vehicle for investigation, I explore the boundaries of private and public space. Through linking the history of picnicking with the Sublime and particularly the Female Sublime, I establish its significance and the fact that it provides a gendered space. With the help of Marcuse’s ideas on the ‘natural state’ I define the private sphere as a state of mind. I then look at that notion in relation to public space. The appropriation of public pace as described by De Certeau and the appropriation of mind space as described by Foucault set up a dynamic field by which private space is surrounded. The social navigation of our environment is the constant consideration of willingness to collaborate. It is something we are all part of, some readily, some trying to resist. Returning to Marcuse, I examine ways in which the private mind space can be preserved. It is the notion of innocence, a state of mind from before ‘the fall’, that Marcuse and others indicate as providing a barrier against surplus repression of societal judgement. The question is how to maintain this innocence. My personal investigation of innocence, which is presented in this exegesis through narrative, runs parallel to my practice.
48
Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
Full textAbstract:
Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
49
Edmunds, Hannah. "Perversion of the reel : a thesis presented in partial fulfilment of the requirements for the completion of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1271.
Full textAbstract:
Through the use of masculinity as a visual language this research aims to unravel the divide between the role of the act and the acted. French actor Julien Boisselier operates as the male manifestation of the actor in question and functions on multiple levels of performance, both as male and as an actor. Boisseliers depictions of major, medium and minor acted characters offer another level to the performance variable. The aim to highlight the visible triggers of a ‘pure performance’ (a performance where the actor may slip or falter out of acted character and into default human performance) as shown through the choreography of his physiognomy is the experience underpinning this thesis.
50
Woods-Jack, Virginia. "The empty portrait : encounters with a photographer : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Arts, Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/963.
Full textAbstract:
The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.