scholarly journals Peter Tomory : the New Zealand years, 1956-1968

2021 ◽  
Author(s):  
◽  
Courtney Johnston

<p>This thesis concerns Peter Tomory's nine years as Director of the Auckland City Art Gallery, between 1956 and 1964. The main theme that emerges in this study concerns the emphasis Tomory placed on professional practices, both at the Gallery and in the visual arts in New Zealand as a whole. The discussion is broken into four chapters. The first chapter sets the context for Tomory's directorship: his professional background, the New Zealand art world of the 1950s, and his initial vision for the Gallery. The second chapter is devoted to Tomory's development of the Gallery's permanent collection, and the third explores the ambitious programme of temporary exhibitions undertaken at the Gallery during his tenure. These broad topics are considered with reference to Tomory's policy statements, and through the close study of selected case studies. The final chapter examines the history of New Zealand art that Tomory developed over his twelve years in New Zealand (including both the texts he published while at the Gallery, and those he wrote while lecturing at the University of Auckland School of Fine Arts from 1965 to 1968) and his call for a more professional approach to art writing in this country. A bibliography of Tomory's published texts is included. A special effort is made in this study to consider Tomory's activities at the Gallery and his writing within their original historical and art-historical contexts, and also with reference to the way these actions and texts have been interpreted and employed by later commentators, especially post-nationalist critics. In this way, it is revealed that the history of New Zealand art formulated in the 1950s and 1960s was less homogenous, more complex and more contentious than it has more recently been portrayed.</p>

2021 ◽  
Author(s):  
◽  
Courtney Johnston

<p>This thesis concerns Peter Tomory's nine years as Director of the Auckland City Art Gallery, between 1956 and 1964. The main theme that emerges in this study concerns the emphasis Tomory placed on professional practices, both at the Gallery and in the visual arts in New Zealand as a whole. The discussion is broken into four chapters. The first chapter sets the context for Tomory's directorship: his professional background, the New Zealand art world of the 1950s, and his initial vision for the Gallery. The second chapter is devoted to Tomory's development of the Gallery's permanent collection, and the third explores the ambitious programme of temporary exhibitions undertaken at the Gallery during his tenure. These broad topics are considered with reference to Tomory's policy statements, and through the close study of selected case studies. The final chapter examines the history of New Zealand art that Tomory developed over his twelve years in New Zealand (including both the texts he published while at the Gallery, and those he wrote while lecturing at the University of Auckland School of Fine Arts from 1965 to 1968) and his call for a more professional approach to art writing in this country. A bibliography of Tomory's published texts is included. A special effort is made in this study to consider Tomory's activities at the Gallery and his writing within their original historical and art-historical contexts, and also with reference to the way these actions and texts have been interpreted and employed by later commentators, especially post-nationalist critics. In this way, it is revealed that the history of New Zealand art formulated in the 1950s and 1960s was less homogenous, more complex and more contentious than it has more recently been portrayed.</p>


2021 ◽  
pp. 0310057X2110278
Author(s):  
Terence E Loughnan ◽  
Michael G Cooper ◽  
Pauline B Wake ◽  
Harry Aigeeleng

The most recent estimates, published in 2016, have indicated that around 70% of anaesthesia providers in Papua New Guinea are non-physician anaesthetic providers and that they administer over 90% of anaesthetics, with a significant number unsupervised by a physician anaesthetist. Papua New Guinea has a physician anaesthetist ratio estimated to be 0.25 per 100,000 population, while Australia and New Zealand have a ratio of 19 physician anaesthetists per 100,000, which is 75 times that of Papua New Guinea. To reach a ratio of seven per 100,000, recommended as the minimum acceptable by the Lancet Commission in 2016, there will need to be over 35 practitioners trained per annum until 2030, at a time when the average annual numbers of recent years are less than three physicians and less than five non-physician anaesthetic providers. We review the development of anaesthesia administered by non-physician indigenous staff and the stages of development from heil tultuls, dokta bois, liklik doktas, native medical assistants, aid post orderlies, and Anaesthetic Technical Officers up to the current Anaesthetic Scientific Officers having attained the Diploma in Anaesthetic Science from the University of Papua New Guinea.


Author(s):  
Eduardo Mendieta

Karl-Otto Apel (b. 1922–d. 2017) was one of the most original, influential, and renowned German philosophers of the post–World War II generation. He is credited with what is known as the linguistification of Kantian transcendental philosophy, in general, and the linguistic transformation of philosophy in Germany, in particular. His name is closely associated with that of Jürgen Habermas, his junior colleague, whom he met as a graduate student in Bonn in the 1950s, and with whom he maintained a lengthy philosophical collaboration. He received his doctorate in 1950 with a dissertation titled Dasein und Erkennen: Eine erkenntnistheoretische Interpretation der Philosophie Martin Heideggers (translated as: “Dasein and knowledge: An epistemological interpretation of Martin Heidegger’s philosophy”). However, as early as the 1950s, Apel had become increasingly critical of the relativistic and historicist consequences of his phenomenological and hermeneutical work. In 1962, he presented his Habilitation at the University of Mainz, which was published in 1963 as Die Idee der Sprache in der Tradition des Humanismus von Dante bis Vico (translated as: “The idea of language in the traditions of humanism from Dante to Vico”). This book is a pioneering reconstruction of the Italian philosophy of language and how it laid the foundations for the different currents of the philosophy of language that would branch out in the modern philosophies of language. In 1965, Apel published “Die Entfaltung der ‘sprachanalytischen’ Philosophie und das Problem der ‘Geisteswissenchaften,’” which was translated into English as Analytic Philosophy of Language and the “Geisteswissenschaften” in 1967. This was the first work of Apel to be translated into English, but it is also emblematic of Apel’s pioneering engagement with “analytic” philosophy. In 1973, at the urging of Habermas, Apel published Transformation der Philosophie (Transformation of philosophy) in two volumes. A selection, mostly from the second volume, appeared in 1983 under the title Towards a Transformation of Philosophy. In this work Apel introduced the idea that would become the hallmark of his thinking: The Apriori of the Community of Communication, by which he meant that the conditions of possibility of all knowledge and interaction are already given in every natural language that belongs to a community of speakers, who are per force already entangled in normative relations, that can never be circumvented or negated lest one commit a performative self-contradiction. In 1975, Apel published Der Denkweg von Charles S. Peirce: Eine Einführung in den amerikanischen Pragmatismus (The intellectual path of Charles S. Peirce: An introduction to American pragmatism), which is made up of the lengthy introduction he had written for his two-volume German selection and translation of Peirce’s writings. His next most important book was Diskurs und Verantwortung: Das Problem des Übergangs zur postkonventionellen Moral (translated as: “Discourse and responsibility: The problem of the transition to a postconventional morality”), from 1988, a collection of essays in which Apel develops his own version of discourse ethics. Apel’s last three books are collections of essays: Auseinandersetzungen in Erprobung des transzendentalpragmatischen Ansatzes (1998) [Confrontations: Testing the transcendental-pragmatic proposal) (It should be noted that Auseinandersetzungen, one of Apel’s favorite words, could also be translated as “coming to terms” with a particular thinker. This is an important volume as in three extensive essays Apel discusses his differences with and departures from Habermas’s version of universal pragamatics.); Paradigmen der Ersten Philosophie: Zur reflexiven–transzendentalpragmatischen Rekonstruktion der Philosophiegeschichte (2011) (translated as: “Paradigms of first philosophy: Toward a reflexive-transcendental-pragmatic reconstruction of the history of philosophy”), and Transzendentale Reflexion und Geschichte (2017) (translated as: Transcendental reflection and history”).


2010 ◽  
Vol 1 (2) ◽  
Author(s):  
Noor Iqbal

The Glyde mural in the University of Alberta’s Rutherford Library is a testament to the history of Alberta as it was understood by white society in the 1950s. A contemporary viewer described the painting as depicting “the civilizing influences in the early life of the Province.” The prominent historical heroes in the mural represent the main institutions that were involved in this process of ‘civilizing the savages'. An artefact of modern colonial racism, it has overshadowed the threshold of the library’s South reading room since 1951. This article brings the ideas of several historical theorists to bear on the impact and implications of the historical memory invoked by the mural.


2016 ◽  
Vol 22 (1) ◽  
Author(s):  
Tania Lewis

In the late 1980s and early 1990s, Stuart Hall’s writing began to take a biographical turn. For readers such as myself, then a mature undergraduate pursuing an American Studies degree in New Zealand, this was somewhat of a revelation. The surprise was not so much Hall’s shift from the somewhat dry prose of structural Marxism to the rather more vital style of a postcolonially inflected poststructuralism, but the fact of Hall’s Caribbean background when I, along with no doubt many other geographically distant readers, had assumed him to be exworking class, British and white. Some seven years later, while wrestling with a PhD on the history of cultural studies at the University of Melbourne, I found myself writing an essay for Arena using the question of Hall’s diasporic identity to explore ‘the relations between knowledge production and cultural identity/location.


2018 ◽  
Vol 30 (2) ◽  
pp. 42-56 ◽  
Author(s):  
Barbara Staniforth

INTRODUCTION: The University of Auckland MA in Sociology (Option II–Social Welfare and Development) (“the Programme”) was a qualifying social work programme that admitted students from 1975 to 1979. This article describes this programme and some of the issues that led to its short-lived tenure.METHODS: Semi-structured interviews were conducted with 12 staff and students who had been involved with this programme. One person, involved in the accreditation of the Programme was also interviewed, and one person provided feedback in an email. Information was also obtained through archived University of Auckland documents, reports, and various forms of personal correspondence provided by June Kendrick. FINDINGS: The Programme was championed by the Head of the Department of Sociology (David Pitt). There were resource limitations and philosophical tensions within the Department about the qualification. There was little support for its continuation at the end of a three-year grant and after the departure of David Pitt. The New Zealand Social Work Training Council accredited it after its discontinuation.CONCLUSION: The Programme made a valuable contribution to the profession of social work and social work education and forms an important part of the history of social work in Aotearoa New Zealand. 


2009 ◽  
Vol 20 (1) ◽  
pp. 147
Author(s):  
Helen M. Cohn

This bibliography, in geographic terms, covers principally Australia, but also New Zealand, New Guinea and other islands of the Pacific Ocean near Australia, and Antarctica. It includes material on the history of the natural sciences (mathematics, physical sciences, earth sciences and biological sciences), some of the applied sciences (including medical and health sciences, agriculture, manufacturing and engineering), and human sciences (psychology, anthropology and sociology). Biographical material on practitioners in these sciences is also of interest. The sources used in compiling this bibliography include those that have proved useful in the past in finding relevant citations. The library catalogues of the Royal Botanic Gardens Melbourne, the National Library of Australia and the National Library of New Zealand Te Puna Matauranga O Aotearoa were particularly useful sources of information. Journals that have yielded articles for previous bibliographies were checked, as were some titles that have not previously been scanned. Hence a number of citations are included that were published earlier than 2008. Assistance has been received from a number of people who sent items or information about items published in 2008 for inclusion in the bibliography. In particular, Professor Rod Home has been most helpful in forwarding relevant citations. Staff of the eScholarship Research Centre at the University of Melbourne, especially Helen Morgan, were of great assistance in the preparation of this bibliography. Readers may have access to information about relevant books, journal articles, conference papers, reports, Master's and PhD theses and reviews published in 2009. They are encouraged to send such information to the compiler at the above email address for inclusion in future bibliographies.


Antichthon ◽  
1993 ◽  
Vol 27 ◽  
pp. 60-85 ◽  
Author(s):  
G.H.R. Horsley

A generation ago K.V. Sinclair published what is still the standard guide to medieval manuscripts held in Australia. The title defines the scope: Descriptive Catalogue of the Medieval Western Manuscripts in Australian Collections. The parameters are further delimited by date: included are MSS of the Xlth-XVIth centuries. Brim full with technical information, and perhaps as a result rather austere in presentation, this book is a testimony to Sinclair's perseverance: the completed manuscript was lost at the end of the 1950s, and he started again. One consequence of this setback is that the addenda to the main catalogue update a work that was largely finished over thirty years ago; yet even these additions were not able to take account of some items which came to Australia at the end of the 1950s.


PEDIATRICS ◽  
1964 ◽  
Vol 33 (5) ◽  
pp. 805-805
Author(s):  
CLEMENT A. SMITH

For the pediatrician curious enough to pursue the life history of his patient into its prenatal phase or the obstetrician interested in more than one of his two patients, this small book will be of great usefulness. Of the twenty-one chapters, twelve are by Australian or New Zealand workers, the Editor, a Professor of Obstetrics and Gynaecology at the University of New South Wales, among them. The international flavor is augmented by Swedish, German, and Scottish contributors.


2021 ◽  
Author(s):  
◽  
Rebecca Rice

<p>This thesis explores the collecting and exhibiting of colonial art (before 1908) by New Zealand's state institutions: the Colonial (later Dominion) Museum; the Alexander Turnbull Library; and the National Art Gallery. It recovers evidence of the provenance of works of art within the state collections and accounts for acquisitions in terms of the ideological interests they serve, interests which reflect the intellectual concerns of the key individuals and the historical and political circumstances within which they worked. It examines how works of art were displayed in the institutions themselves, and in other exhibitions, including international exhibitions, both locally and abroad, from 1865 to 1940. This allows for analysis of the 'use' to which colonial art was put by the state, while investigation of the related contemporary discourse provides evidence of its reception and interpretation by critics and audience. This study employs a variety of analytical strategies, including: the place of class in relation to the colonial art world; the aesthetics of 'space' and the practicalities of exhibition in the colonial period; the shifting ground of what constitutes 'art', in particular 'New Zealand art', in the period under study; and the fluctuating, often problematic, status of much colonial art as both 'information' and as 'art'. Consequently, while informed by international scholarship, this thesis needed to adapt models formed for the explanation of metropolitan museology to accommodate the unique nature of the colonial experience in New Zealand. It concludes that, in contrast to many European institutions, the state was largely content to use New Zealand's art as information - as illustration of the colony's natural wonders and resources - and that no real attempt to define a national art history was initiated until the centennial celebrations of 1940. Significantly, this thesis does not just consider the evolution of one state institution. Rather, it recognises that the histories of New Zealand's cultural institutions - Museum, Gallery and Library - require a consideration of their development in relation to one another. This reveals a history of interconnectedness that reflects the complexity of colonial culture, and which ironically prefigures the challenge posed by colonial art to the postmodern descendent of the Museum andGallery - the Museum of New Zealand Te Papa Tongarewa.</p>


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