scholarly journals Books as social currency: Robert Coupland Harding and the field of book collecting in New Zealand 1880-1920

2021 ◽  
Author(s):  
◽  
M.A. Hughes
Keyword(s):  
New Zealand ◽  
Cultural Production ◽  
Social Practice ◽  
Trade Journal ◽  
Jean Baudrillard ◽  
Highly Active ◽  
The Social ◽  
Book Collecting ◽  
Social Currency ◽  
Book Collectors

<p>“Here, indeed, lies the whole miracle of collecting,” Jean Baudrillard asserted, “it is invariably oneself that one collects” (“Systems of Collecting” 12). If Baudrillard's premise that a collection is itself a representation of the collector, then how can we read a person through his/her private library? There have been several large and important studies produced on the three preeminent figures in New Zealand book collecting: Sir George Grey, Dr Thomas Hocken and Alexander Turnbull. However, to understand book collecting as a whole during the highly active period at the turn of the twentieth century, it is vital that we investigate 'minor' book collectors alongside our esteemed 'major three'.  This thesis explores the private library of Robert Coupland Harding (1849-1916), an internationally recognised expert on printing and typography, whose trade journal Typo: A Monthly Newspaper and Literary Review (1887-1897) was celebrated as a remarkable achievement. Very little documentation of Harding's life exists. However, one tantalising artefact discovered in a Wellington antiquarian bookshop is the basis for this research: the auction catalogue of Harding's extensive private library. Focusing on the New Zealand-related section of the catalogue, this thesis examines the book collecting field in New Zealand 1880-1920. Applying Bourdieu's theories of capital, habitus and the field of cultural production, the thesis examines the social practice of book collecting during this period. Three case studies from Harding's library illustrate some key trends in the book collecting market, and help to build a picture of Harding's social networks and the influence this had on his collecting habits. The thesis also describes the collecting identity of Robert Coupland Harding, placing him in his circle of fellow book collectors. Describing a model of book collecting practise and presenting a method for categorising book collectors, this thesis argues for the recognition of lesser known book collectors and the contribution that they made to the field of New Zealand book collecting.</p>

scholarly journals Books as social currency: Robert Coupland Harding and the field of book collecting in New Zealand 1880-1920

2021 ◽  
Author(s):  
◽  
M.A. Hughes
Keyword(s):  
New Zealand ◽  
Cultural Production ◽  
Social Practice ◽  
Trade Journal ◽  
Jean Baudrillard ◽  
Highly Active ◽  
The Social ◽  
Book Collecting ◽  
Social Currency ◽  
Book Collectors

<p>“Here, indeed, lies the whole miracle of collecting,” Jean Baudrillard asserted, “it is invariably oneself that one collects” (“Systems of Collecting” 12). If Baudrillard's premise that a collection is itself a representation of the collector, then how can we read a person through his/her private library? There have been several large and important studies produced on the three preeminent figures in New Zealand book collecting: Sir George Grey, Dr Thomas Hocken and Alexander Turnbull. However, to understand book collecting as a whole during the highly active period at the turn of the twentieth century, it is vital that we investigate 'minor' book collectors alongside our esteemed 'major three'.  This thesis explores the private library of Robert Coupland Harding (1849-1916), an internationally recognised expert on printing and typography, whose trade journal Typo: A Monthly Newspaper and Literary Review (1887-1897) was celebrated as a remarkable achievement. Very little documentation of Harding's life exists. However, one tantalising artefact discovered in a Wellington antiquarian bookshop is the basis for this research: the auction catalogue of Harding's extensive private library. Focusing on the New Zealand-related section of the catalogue, this thesis examines the book collecting field in New Zealand 1880-1920. Applying Bourdieu's theories of capital, habitus and the field of cultural production, the thesis examines the social practice of book collecting during this period. Three case studies from Harding's library illustrate some key trends in the book collecting market, and help to build a picture of Harding's social networks and the influence this had on his collecting habits. The thesis also describes the collecting identity of Robert Coupland Harding, placing him in his circle of fellow book collectors. Describing a model of book collecting practise and presenting a method for categorising book collectors, this thesis argues for the recognition of lesser known book collectors and the contribution that they made to the field of New Zealand book collecting.</p>

scholarly journals The social practice of sustainable agriculture under audit discipline: Initial insights from the ARGOS project in New Zealand

2012 ◽  
Vol 28 (1) ◽  
pp. 129-141 ◽  
Author(s):  
Hugh Campbell ◽  
Christopher Rosin ◽  
Lesley Hunt ◽  
John Fairweather
Keyword(s):  
New Zealand ◽  
Sustainable Agriculture ◽  
Social Practice ◽  
The Social

scholarly journals Women Album Makers from the Canterbury Region of New Zealand, 1890-1910, and Their Photographic Practices

2021 ◽  
Author(s):  
◽  
Victoria Annabel Hearnshaw
Keyword(s):  
New Zealand ◽  
Social History ◽  
Cultural Production ◽  
Social Practice ◽  
Close Association ◽  
Formative Period ◽  
Domestic Sphere ◽  
Photograph Albums ◽  
Published Evidence ◽  
Object Of Study

<p>This thesis examines the photograph albums created by fifteen women born during the reign of Queen Victoria living in the Canterbury region of New Zealand between the years 1890-1910. It will investigate how it was that these women, often working in close association with other members of their family, became involved in photography as an amateur recreational pastime. It will pursue this investigation within the conceptual and structural framework in which these women’s photographs were produced, collected or processed, and organized into albums, arguing that the making of such albums was as much a cultural and social practice as a representational one.  Photograph albums are often considered to be generic objects. However this study will treat albums as distinctive and unique documents, comparable to other more-widely consulted primary sources such as letters and diaries. In particular, it will explore the capacity of the album to be a pictorial artefact that provides its own conditions for viewing images over time and space and contribute to a growing body of literature that insists that the photograph album is an important object of study within social history, and indeed within the history of photography in general.  In drawing attention to the album making as a gendered pastime I am acknowledging the significance of this activity for women from within the upper and middle classes as a significant aspect of feminine cultural production at this period in our colonial history. As cameras became easier to operate towards the end of the nineteenth century these improvements saw women begin to take their own photographs, and also to print and distribute them within their extended families and beyond. This reflects the extent to which the practices of photography and album-making had become integrated practices by this date. Thus, the role of the album compiler working in the domestic sphere was effectively transformed from a passive consumer (collecting photographs) into an active producer of photographs.  However, the extent to which the practice of photography was undertaken by women within colonial New Zealand is only now beginning to be realized. To date, the published evidence for this has been slight. This thesis endeavours to shed light on the contribution of these women working within the domestic sphere, but also those of their number who subsequently ventured to use this knowledge outside this limited sphere, and on their visual legacy at this formative period in New Zealand’s history.</p>

scholarly journals Women Album Makers from the Canterbury Region of New Zealand, 1890-1910, and Their Photographic Practices

2021 ◽  
Author(s):  
◽  
Victoria Annabel Hearnshaw
Keyword(s):  
New Zealand ◽  
Social History ◽  
Cultural Production ◽  
Social Practice ◽  
Close Association ◽  
Formative Period ◽  
Domestic Sphere ◽  
Photograph Albums ◽  
Published Evidence ◽  
Object Of Study

<p>This thesis examines the photograph albums created by fifteen women born during the reign of Queen Victoria living in the Canterbury region of New Zealand between the years 1890-1910. It will investigate how it was that these women, often working in close association with other members of their family, became involved in photography as an amateur recreational pastime. It will pursue this investigation within the conceptual and structural framework in which these women’s photographs were produced, collected or processed, and organized into albums, arguing that the making of such albums was as much a cultural and social practice as a representational one.  Photograph albums are often considered to be generic objects. However this study will treat albums as distinctive and unique documents, comparable to other more-widely consulted primary sources such as letters and diaries. In particular, it will explore the capacity of the album to be a pictorial artefact that provides its own conditions for viewing images over time and space and contribute to a growing body of literature that insists that the photograph album is an important object of study within social history, and indeed within the history of photography in general.  In drawing attention to the album making as a gendered pastime I am acknowledging the significance of this activity for women from within the upper and middle classes as a significant aspect of feminine cultural production at this period in our colonial history. As cameras became easier to operate towards the end of the nineteenth century these improvements saw women begin to take their own photographs, and also to print and distribute them within their extended families and beyond. This reflects the extent to which the practices of photography and album-making had become integrated practices by this date. Thus, the role of the album compiler working in the domestic sphere was effectively transformed from a passive consumer (collecting photographs) into an active producer of photographs.  However, the extent to which the practice of photography was undertaken by women within colonial New Zealand is only now beginning to be realized. To date, the published evidence for this has been slight. This thesis endeavours to shed light on the contribution of these women working within the domestic sphere, but also those of their number who subsequently ventured to use this knowledge outside this limited sphere, and on their visual legacy at this formative period in New Zealand’s history.</p>

The Need Towards Bicultural Social Services in Supporting Senior Chinese Migrants Towards Their Pursuit of Mauri Ora in Aotearoa New Zealand

2019 ◽  
pp. 120-135
Author(s):  
Lingyun Hu
Keyword(s):  
New Zealand ◽  
Social Services ◽  
Social Practice ◽  
Chinese Immigrants ◽  
Elderly Home ◽  
Aotearoa New Zealand ◽  
Social Wellbeing ◽  
The Social ◽  
Rest Home ◽  
Compare And Contrast

On the basis of growing interest in a proportion of the aging population and a significantly increased number of immigrants in New Zealand (NZ) in recent years, this chapter tries to identify and describe the value of Mauri Ora. Mauri Ora included many Maori methods, such as takepu taukumekume, whakakoha rangatiratanga, kaitiakitanga, tino rangatiratanga, manaakianga, and ahurutanga, which in shaping practice is reflected in social services for old people. More importantly, these Maori methods can efficiently guide social practice and help senior Chinese immigrants to blend in a new country. A good understanding of the aged social wellbeing is regarded as a method of evaluating the modern society's grade of maturity, and the social services should be the key to help communities to achieve their main goal. This chapter tries to compare and contrast the old NZ people's social wellbeing that depicts their different living places, mainly focusing on the rest home and the own elderly home.

Diasporic Convergences: Tracing Knowledge Production and Transmission among Enslaved Chinos in New Spain

Ethnohistory ◽  
2021 ◽  
Vol 68 (2) ◽  
pp. 291-310
Author(s):  
Diego Javier Luis
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Cultural Production ◽  
Knowledge Production ◽  
Social Practice ◽  
New Spain ◽  
Central Mexico ◽  
Colonial Society ◽  
The Social ◽  
Diverse Communities

Abstract During the seventeenth century, transatlantic and transpacific diasporas created one of the world’s most globalized early modern societies in New Spain. As the slave trades to the colonial centers of central Mexico reached frenetic levels after the turn of the seventeenth century, processes of encounter, exchange, and transmission began to characterize these diverse communities. For “chinos” arriving in Acapulco, careful observation and experience coalesced into mobile bodies of knowledge ranging from the social practice of blasphemy to spiritual ritual. These varied modes of cultural production facilitated negotiation of enslaver/enslaved relations and represented a kaleidoscope of responses to power relations in colonial society. Through these forms of contestation, knowledge production in enslaved communities became central to the rhythms of daily life in New Spain.

Cultural interface

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Cultural Production ◽  
Russian Literature ◽  
Court Culture ◽  
Literary Field ◽  
Ritual Performance ◽  
Civic Spaces ◽  
The Social ◽  
Cultural Interface ◽  
New Vision ◽  
The Church

The chapter contextualizes the literary developments of the second half of the seventeenth century, including the changes in education and print culture. A new vision of court culture, expanding administration, and ecclesiastical reforms provided new contexts for writing, as well as innovations in the theater and in poetry. The spaces represented in Russian literature were, as previously, the monastery and the church. The court moved into the limelight as a center of cultural production. The social reality of the period did not entirely foster the creation of civic spaces or an autonomous literary field, and writing had to adapt to the control of the authorities. Opportunities for the ritual performance of the liturgy and at court expanded considerably during the last decades of the seventeenth under the aegis of Tsar Aleksei. Orthodox proponents of neo-humanist culture who worked in Moscow succeeded in transforming the uses of rhetoric during ceremonial occasions.

Humanism in Europe

2020 ◽  
Author(s):  
Stefan Schröder
Keyword(s):  
World War Ii ◽  
Social Practice ◽  
Ideal Types ◽  
Secular Humanism ◽  
Group Type ◽  
The Social ◽  
Political Environments ◽  
Free Thought ◽  
Multiple Secularities ◽  
Secular Humanist

This chapter addresses secular humanism in Europe and the way it is “lived” by and within its major institutions and organizations. It examines how national and international secular humanist bodies founded after World War II took up, cultivated, and transformed free-religious, free-thought, ethical, atheist, and rationalist roots from nineteenth century Europe and adjusted them to changing social, cultural, and political environments. Giving examples from some selected national contexts, the development of a nonreligious Humanism in Europe exemplifies what Wohlrab-Sahr and Burchardt call “Multiple Secularities”: different local or national trajectories produced a variety of cultures of secularity and, thus, different understandings of secular humanism. Apart from this cultural historization, the chapter reconstructs two transnational, ideal types of secular humanism, the social practice type, and the secularist pressure group type. These types share similar worldviews and values, but have to be distinguished in terms of organizational forms, practices, and especially policy.

scholarly journals Exploring Chinese people’s attitudes towards “going through the backdoor”

2021 ◽  
Vol 15 ◽  
pp. 183449092199329
Author(s):  
Tulips Yiwen Wang ◽  
Allan B. I. Bernardo
Keyword(s):  
Social Practice ◽  
Social Cognitive ◽  
Chinese Society ◽  
Adaptive Responses ◽  
Total N ◽  
Perceptions Of Fairness ◽  
The Social ◽  
Personal Connections ◽  
Back Door ◽  
People’S Attitudes

The present investigation explored Chinese people's attitudes toward the social practice of going “through the back door” or zouhoumen. Zouhoumen is an informal approach to achieve one’s goal through personal connections (called guanxi). We propose that Chinese people distinguish between different acts of zouhoumen and propose at least two types that differ in terms of social cognitive aspects, and that the two types evoke different perceptions of fairness that shape attitudes towards zouhoumen. Two experiments (total N = 414) provided evidence for the differentiation between facilitative zouhoumen and expropriative zouhoumen and also explore the role of type of guanxi in attitudes towards the two types of zouhoumen. Both experiments indicated that facilitative zouhoumen was less unacceptable than expropriative zouhoumen, but there were no marked differences in attitudes between zouhoumen involving expressive or instrumental guanxi. The results support a more nuanced theoretical account of a pervasive social phenomenon in Chinese society that we assume is adaptive responses to features of Chinese historical socioeconomic context.

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