scholarly journals George French Angas and the Creation of Colonial Knowledge in New Zealand

2021 ◽  
Author(s):  
◽  
Catherine Falconer-Gray
Keyword(s):  
New Zealand ◽  
Vital Role ◽  
The Body ◽  
Middle Ground ◽  
Cultural Encounter ◽  
The Creation ◽  
The Aesthetic ◽  
Natural Historian ◽  
British Culture ◽  
New Zealanders

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

scholarly journals George French Angas and the Creation of Colonial Knowledge in New Zealand

2021 ◽  
Author(s):  
◽  
Catherine Falconer-Gray
Keyword(s):  
New Zealand ◽  
Vital Role ◽  
The Body ◽  
Middle Ground ◽  
Cultural Encounter ◽  
The Creation ◽  
The Aesthetic ◽  
Natural Historian ◽  
British Culture ◽  
New Zealanders

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

scholarly journals Unorthodox: An ancient tradition - A contemporary context

2021 ◽  
Author(s):  
◽  
Anne Isaac
Keyword(s):  
New Zealand ◽  
Large Scale ◽  
Vital Role ◽  
The Body ◽  
Small Scale ◽  
Migrant Communities ◽  
Close Relationship ◽  
Sense Of Identity ◽  
Church Design ◽  
The Impact

<p>For decades, New Zealand historians and architects have sought answers to the question: What is New Zealand architecture? New Zealand longs for a place in the architectural world, seeking the significance of our buildings in the wider realm of world architecture. In 2016, in a presentation based on his book Worship: a history of New Zealand church design, Bill McKay suggested that perhaps, “our most interesting architecture lies in the intersections of our cultures”.  An opportunity is offered by the current shifts of New Zealand society where the impact of immigration on society is one of the most pressing issues that currently needs addressing. This thesis endeavours to explore the specific relationship between the heritage and culture of the existing Assyrian community and its context of Wellington, with reference to McKay’s suggestion that our most interesting architecture is birthed from the intersection of different cultures.  Socially speaking, sense of identity and place attachment play a vital role in the integration of migrant communities into their new home country. Recalling and employing elements of not only tangible Assyrian heritage, but also the intangible qualities found in traditional Assyrian architecture, has the potential to create the connection and enhance the sense of identity which allows for the feeling of belonging in migrants in their host society. This thesis focuses on the space of worship.   This project of an Assyrian Orthodox church building in New Zealand might reflect the life of the migrants who occupy it. Is it a replica of the traditional building in its original context, unchanged and uninfluenced by the shift to a new place? Or is it influenced and integrated; a building which can identify with the soil it stands on? Furthermore, if one considers that architecture reflects society, it is hoped that this design led research will participate in the discussion about New Zealand architecture’s unique identity and emerging new societal makeup.  This design led research discovers that creating a sense of belonging relies on both keeping aspects of the traditional and gaining influence from its new context. As focus shifts from the design of the building at a large scale to details and objects at a small scale, it becomes more important to reflect and retain the traditional qualities of the architecture. At a large scale, the building may be influenced by its context so as to be integrated into its new place, as if it belongs within its new urban fabric. As we move into the smaller scale in design, we draw closer to the body. It is these elements of the design which an occupant experiences more intimately, and through sensory experience and triggering memories of home, can help to create a feeling of belonging. The main findings of this research express the close relationship between architectural scales of intervention and the effects of individual and collective memory.</p>

scholarly journals 'Some dozen raupo whares, and a few tents: remembering raupo houses in colonial New Zealand'

2014 ◽  
Author(s):  
Kristyn Harman
Keyword(s):  
Twentieth Century ◽  
New Zealand ◽  
Collective Memory ◽  
Census Data ◽  
Middle Ground ◽  
Health Concerns ◽  
Recent Scholarship ◽  
Century Health ◽  
New Zealanders

This article traces the genealogy of colonial raupo buildings in New Zealand, and also charts their decline. This decline was in part attributable to the passage of the colony’s earliest building legislation, ‘an ordinance for imposing a tax upon raupo houses’. It draws on census data and settler reminiscences to demonstrate that collective memory of raupo houses became essential to settler New Zealand as a benchmark against which to measure colonial progress. It also shows how, in the early decades of the twentieth century, health concerns were mobilized as the official rationale for both the removal from raupo houses of those few Pākehā who continued to occupy them, and the wholesale destruction of many Māori-occupied raupo homes. By the 1930s, few New Zealanders continued to occupy raupo houses, and their extensive use by early colonists was conveniently forgotten. Remembering raupo houses in colonial New Zealand contributes to recent scholarship theorising the existence of a ‘middle ground’ in the colony, at least until 1840 and potentially up to the 1860s.

Enacted Example in the Spiritual Life

2020 ◽  
pp. 98-133
Author(s):  
Mark R. Wynn
Keyword(s):  
The Body ◽  
Spiritual Life ◽  
Middle Ground ◽  
The Aesthetic

This chapter discusses another domain within which hybrid goods may be realized, again seeking to extend the range of such goods beyond what is envisaged in Aquinas’s account. This time, we examine the contribution of bodily demeanour to the spiritual life, distinguishing the phenomenon that is of interest for us from behaviour that is theologically appropriate because morally efficacious. We also explore the idea that the hybrid goods that arise in this context have an aesthetic character. We consider the novelty of this proposal by introducing two other accounts of the aesthetic significance of the body for the spiritual life, here drawing on the work of Jeremy Begbie and George Pattison. The approach developed in this volume occupies a middle ground, by affirming that there are distinctively theological aesthetic goods, while at the same time retaining, and extending, conventional measures of aesthetic excellence.

scholarly journals Unorthodox: An ancient tradition - A contemporary context

2021 ◽  
Author(s):  
◽  
Anne Isaac
Keyword(s):  
New Zealand ◽  
Large Scale ◽  
Vital Role ◽  
The Body ◽  
Small Scale ◽  
Migrant Communities ◽  
Close Relationship ◽  
Sense Of Identity ◽  
Church Design ◽  
The Impact

<p>For decades, New Zealand historians and architects have sought answers to the question: What is New Zealand architecture? New Zealand longs for a place in the architectural world, seeking the significance of our buildings in the wider realm of world architecture. In 2016, in a presentation based on his book Worship: a history of New Zealand church design, Bill McKay suggested that perhaps, “our most interesting architecture lies in the intersections of our cultures”.  An opportunity is offered by the current shifts of New Zealand society where the impact of immigration on society is one of the most pressing issues that currently needs addressing. This thesis endeavours to explore the specific relationship between the heritage and culture of the existing Assyrian community and its context of Wellington, with reference to McKay’s suggestion that our most interesting architecture is birthed from the intersection of different cultures.  Socially speaking, sense of identity and place attachment play a vital role in the integration of migrant communities into their new home country. Recalling and employing elements of not only tangible Assyrian heritage, but also the intangible qualities found in traditional Assyrian architecture, has the potential to create the connection and enhance the sense of identity which allows for the feeling of belonging in migrants in their host society. This thesis focuses on the space of worship.   This project of an Assyrian Orthodox church building in New Zealand might reflect the life of the migrants who occupy it. Is it a replica of the traditional building in its original context, unchanged and uninfluenced by the shift to a new place? Or is it influenced and integrated; a building which can identify with the soil it stands on? Furthermore, if one considers that architecture reflects society, it is hoped that this design led research will participate in the discussion about New Zealand architecture’s unique identity and emerging new societal makeup.  This design led research discovers that creating a sense of belonging relies on both keeping aspects of the traditional and gaining influence from its new context. As focus shifts from the design of the building at a large scale to details and objects at a small scale, it becomes more important to reflect and retain the traditional qualities of the architecture. At a large scale, the building may be influenced by its context so as to be integrated into its new place, as if it belongs within its new urban fabric. As we move into the smaller scale in design, we draw closer to the body. It is these elements of the design which an occupant experiences more intimately, and through sensory experience and triggering memories of home, can help to create a feeling of belonging. The main findings of this research express the close relationship between architectural scales of intervention and the effects of individual and collective memory.</p>

Editorial

2017 ◽  
pp. 2-3
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
New Technologies ◽  
Editorial Team ◽  
Local Market ◽  
Design History ◽  
Recorded Sound ◽  
The Arts ◽  
The World ◽  
1960S And 1970S ◽  
New Zealanders

Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

A Rapture of the Nerds? A Comparison between Transhumanist Eschatology and Christian Parousia

2019 ◽  
Vol 24 (2) ◽  
pp. 343-367
Author(s):  
Roberto Paura
Keyword(s):  
Human Brain ◽  
Point Theory ◽  
The Body ◽  
Christian Theology ◽  
Human Beings ◽  
Human Species ◽  
The Future ◽  
The Creation ◽  
The Universe

Transhumanism is one of the main “ideologies of the future” that has emerged in recent decades. Its program for the enhancement of the human species during this century pursues the ultimate goal of immortality, through the creation of human brain emulations. Therefore, transhumanism offers its fol- lowers an explicit eschatology, a vision of the ultimate future of our civilization that in some cases coincides with the ultimate future of the universe, as in Frank Tipler’s Omega Point theory. The essay aims to analyze the points of comparison and opposition between transhumanist and Christian eschatologies, in particular considering the “incarnationist” view of Parousia. After an introduction concern- ing the problems posed by new scientific and cosmological theories to traditional Christian eschatology, causing the debate between “incarnationists” and “escha- tologists,” the article analyzes the transhumanist idea of mind-uploading through the possibility of making emulations of the human brain and perfect simulations of the reality we live in. In the last section the problems raised by these theories are analyzed from the point of Christian theology, in particular the proposal of a transhuman species through the emulation of the body and mind of human beings. The possibility of a transhumanist eschatology in line with the incarnationist view of Parousia is refused.

scholarly journals The Mechanism of Secretion and Metabolism of Gut-Derived 5-Hydroxytryptamine

2021 ◽  
Vol 22 (15) ◽  
pp. 7931
Author(s):  
Ning Liu ◽  
Shiqiang Sun ◽  
Pengjie Wang ◽  
Yanan Sun ◽  
Qingjuan Hu ◽  
...  
Keyword(s):  
Cell Metabolism ◽  
Circulatory System ◽  
Vital Role ◽  
The Body ◽  
Neuroendocrine Cells ◽  
Intestinal Lumen ◽  
Paracrine Signaling ◽  
Inflammatory Conditions ◽  
Epithelial Development ◽  
Ec Cells

Serotonin, also known as 5-hydroxytryptamine (5-HT), is a metabolite of tryptophan and is reported to modulate the development and neurogenesis of the enteric nervous system, gut motility, secretion, inflammation, sensation, and epithelial development. Approximately 95% of 5-HT in the body is synthesized and secreted by enterochromaffin (EC) cells, the most common type of neuroendocrine cells in the gastrointestinal (GI) tract, through sensing signals from the intestinal lumen and the circulatory system. Gut microbiota, nutrients, and hormones are the main factors that play a vital role in regulating 5-HT secretion by EC cells. Apart from being an important neurotransmitter and a paracrine signaling molecule in the gut, gut-derived 5-HT was also shown to exert other biological functions (in autism and depression) far beyond the gut. Moreover, studies conducted on the regulation of 5-HT in the immune system demonstrated that 5-HT exerts anti-inflammatory and proinflammatory effects on the gut by binding to different receptors under intestinal inflammatory conditions. Understanding the regulatory mechanisms through which 5-HT participates in cell metabolism and physiology can provide potential therapeutic strategies for treating intestinal diseases. Herein, we review recent evidence to recapitulate the mechanisms of synthesis, secretion, regulation, and biofunction of 5-HT to improve the nutrition and health of humans.

Racism and silencing in the media in Aotearoa New Zealand

2021 ◽  
pp. 117718012110154
Author(s):  
Liana MacDonald ◽  
Adreanne Ormond
Keyword(s):  
New Zealand ◽  
Indigenous Peoples ◽  
Media Industry ◽  
Racial Discourse ◽  
European Descent ◽  
Aotearoa New Zealand ◽  
The Media ◽  
The Subject ◽  
New Zealanders

Racism in the Aotearoa New Zealand media is the subject of scholarly debate that examines how Māori (Indigenous Peoples of New Zealand) are broadcast in a negative and demeaning light. Literature demonstrates evolving understandings of how the industry places Pākehā (New Zealanders primarily of European descent) interests at the heart of broadcasting. We offer new insights by arguing that the media industry propagates a racial discourse of silencing that sustains widespread ignorance of the ways that Pākehā sensibilities mediate society. We draw attention to a silencing discourse through one televised story in 2018. On-screen interactions reproduce and safeguard a harmonious narrative of settler–Indigenous relations that support ignorance and denial of the structuring force of colonisation, and the Television Code of Broadcasting Practice upholds colour-blind perceptions of discrimination and injustice through liberal rhetoric. These processes ensure that the media industry is complicit in racism and the ongoing oppression of Indigenous peoples.

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