Creativity, care and ‘messy’ drug use: A collective history of the early days of peer-led needle exchange in Dunedin, New Zealand

Author(s):  
Magdalena Harris
2014 ◽  
Vol 76 ◽  
pp. 25-28
Author(s):  
D.R. Stevens ◽  
J.P. Garden

The Central Otago region, with its cold winters and hot summers, and valley floors with uplift mountains is definitely "a world of difference". At the NZGA conference in Alexandra in 1966 John Hercus stated "Central Otago has a lure which sets it apart from the rest of New Zealand. Its characteristics of geology, topography and climate, its history of occupation and exploitation, its scenery at once forbidding and yet strangely fascinating - these features combine to cast a spell which few who have been exposed, can ever fully escape" (Hercus 1966). The region and its high country have an iconic status epitomised by the "Southern Man" stereotype. This places Central Otago deep in the psyche of the nation. With this goes a unique and significant set of conditions under which farming must take place. Not only does the region have the biophysical challenges of soils, water and climate to contend with, but a wider set of values, often imposed from elsewhere. Fifty years after that first conference we remain challenged. What are the opportunities in front of us and how should we best accommodate the challenge of maintaining a viable enterprise and at the same time, respecting the intense public and customer interest in our use of land and livestock? Central Otago and the associated high country of the Lakes district and McKenzie basin can be divided into three farming types. These are the valley floor irrigable type, the flat and downland dryland regions, and the high country. Each of these has challenges that are at times unique, but often overlap with problems faced in other regions.


1997 ◽  
Vol 24 (3) ◽  
pp. 397-421 ◽  
Author(s):  
JOHN C. YALDWYN ◽  
GARRY J. TEE ◽  
ALAN P. MASON

A worn Iguanodon tooth from Cuckfield, Sussex, illustrated by Mantell in 1827, 1839, 1848 and 1851, was labelled by Mantell as the first tooth sent to Baron Cuvier in 1823 and acknowledged as such by Sir Charles Lyell. The labelled tooth was taken to New Zealand by Gideon's son Walter in 1859. It was deposited in a forerunner of the Museum of New Zealand, Wellington in 1865 and is still in the Museum, mounted on a card bearing annotations by both Gideon Mantell and Lyell. The history of the Gideon and Walter Mantell collection in the Museum of New Zealand is outlined, and the Iguanodon tooth and its labels are described and illustrated. This is the very tooth which Baron Cuvier first identified as a rhinoceros incisor on the evening of 28 June 1823.


Perfect Beat ◽  
2015 ◽  
Vol 1 (4) ◽  
pp. 111-121
Author(s):  
Bruce Sheridan ◽  
Philip Hayward
Keyword(s):  

Author(s):  
James Meffan

This chapter discusses the history of multicultural and transnational novels in New Zealand. A novel set in New Zealand will have to deal with questions about cultural access rights on the one hand and cultural coverage on the other. The term ‘transnational novel’ gains its relevance from questions about cultural and national identity, questions that have particularly exercised nations formed from colonial history. The chapter considers novels that demonstrate and respond to perceived deficiencies in wider discourses of cultural and national identity by way of comparison between New Zealand and somewhere else. These include Amelia Batistich's Another Mountain, Another Song (1981), Albert Wendt's Sons for the Return Home (1973) and Black Rainbow (1992), James McNeish's Penelope's Island (1990), Stephanie Johnson's The Heart's Wild Surf (2003), and Lloyd Jones's Mister Pip (2006).


Author(s):  
Jennifer Lawn

This chapter discusses the history of genre fiction in New Zealand since 1950. Crime writers such as Vanda Symon and Paul Cleave exploit the phenomenon of ‘glocalization’ by locating an international genre in distinctively local settings. Others, like Nalini Singh and Phillip Mann, embrace the alternative worlds of science fiction and fantasy without any sense that a local referent is necessary or desirable. The chapter first considers how New Zealand crime writers add distinctively Kiwi twists to their work before turning to crime thrillers by Paul Thomas and others. It also examines fiction featuring female detectives, including those written by Vanda Symon, as well as genre hybrids such as historical crime and domestic fiction. Finally, it analyses examples of literary noir by Charlotte Grimshaw, Carl Nixon, and Chad Taylor and political dystopias from C. K. Stead to Bernard Beckett.


1965 ◽  
Vol 37 (2) ◽  
pp. 261-262
Author(s):  
Peter J. Coleman
Keyword(s):  

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