scholarly journals Wāhine: antologia annotata di poetesse neozelandesi contemporanee in traduzione italiana

2021 ◽  
Author(s):  
◽  
Francesca Benocci
Keyword(s):  
New Zealand ◽  
Theory And Practice ◽  
Literary Translation ◽  
Women Poets ◽  
Translation Theory ◽  
Colonial Literature ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Master's Thesis ◽  
Scholarly Contribution

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>

scholarly journals Wāhine: antologia annotata di poetesse neozelandesi contemporanee in traduzione italiana

2021 ◽  
Author(s):  
◽  
Francesca Benocci
Keyword(s):  
New Zealand ◽  
Theory And Practice ◽  
Literary Translation ◽  
Women Poets ◽  
Translation Theory ◽  
Colonial Literature ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Master's Thesis ◽  
Scholarly Contribution

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>

scholarly journals Co-Management in Theory and Practice: Co-Managing the Waipaˉ River

2021 ◽  
pp. 325-357
Author(s):  
Meg Parsons ◽  
Karen Fisher ◽  
Roa Petra Crease
Keyword(s):  
Decision Making ◽  
New Zealand ◽  
Environmental Justice ◽  
Sustainable Management ◽  
Theory And Practice ◽  
River Catchment ◽  
Aotearoa New Zealand ◽  
Equitable Sharing ◽  
Research Findings ◽  
Formal Recognition

AbstractIn Aotearoa New Zealand, co-management initiatives are increasingly commonplace and are intended to improve sustainable management of environments as well as foster more equitable sharing of power between the settler-state and Indigenous Māori iwi (tribes). In this chapter we examine one such co-management arrangement that recognises and includes Ngāti Maniapoto iwi in decision-making about their ancestral river (the upper section of the Waipā River Catchment) and whether the implementation of initiative translated into tangible benefits for the iwi. Our research findings highlight how co-management agreement is perceived as overwhelming positive by both government and Ngāti Maniapoto representatives. However iwi note that they still face substantive barriers to achieving environmental justice (including the lack of formal recognition of their authority and power, and limited resourcing).

scholarly journals The Task of the Translator

2021 ◽  
Author(s):  
◽  
Karl Hoffmann
Keyword(s):  
New Zealand ◽  
Internal Conflict ◽  
Natural State ◽  
Translation Theory ◽  
New York University ◽  
Mining Operations ◽  
Aotearoa New Zealand ◽  
The Future ◽  
Post Industrial ◽  
Over Time

<p><b>Humanity’s relentless lust for precious resources hidden within the surface of the Earth has resulted in countless scars and derelict landscapes. In the modern age, many sites are remediated, yet some have become so damaged during the lifespan of industry that they cannot return back to their original state. Aotearoa/New Zealand is seen globally as a pristine nation. As one of the last major land masses to be discovered by humans, it escaped much of the exploitation that the rest of the world experienced prior to the Industrial Revolution. Māori lived as one with the land, but the arrival of the European saw the initiation of mass exploitation of this sacred land and its resources. </b></p> <p>Many post-industrial sites within Aotearoa/New Zealand have slowly returned back to their natural state due to abandonment. Yet as technology progresses and our ability to terraform advances, many of these scars have become too deep to ever fully heal. These scars are the focus of this thesis, intervening with architecture as the catalyst for change by allowing future generations to observe and learn from their ancestors’ mistakes. The township of Waihi, at the base of the Coromandel Peninsula, has a mining history spanning three centuries. Here, the land has been inexorably violated in the search for gold and silver. Waihi is thus the site for this design-led research investigation. Mining operations here will continue till 2035, where the landscape will then begin a stage of rehabilitation. This investigation proposes that by integrating architecture into these rehabilitation efforts, an ‘afterlife’ can emerge for the scars and memories of the area, allowing stories of the changing landscape to be remembered long into the future. </p> <p>Geographic layers of history build up over time, from prehistoric through precolonial to post-industrial. Each layer is a transformation from the previous, creating chronotopes of time and space. In his essay “The Task of the Translator”, Walter Benjamin maintains that translation is an active and aggressive process that challenges the purity and unity of the original. In doing so, the translator takes advantage of the internal conflict of languages and their state of flux in order to recreate them. The task of the architect in post-colonial contexts can often be compared with the task of the translator—carrying out a critical mediation between a vast diversity of cultural elements, often antagonistic, in an attempt to produce adequate spaces to satisfy the needs of specific societies and cultural groups. Employing translation theory in the realm of architecture opens a dialogue in the translation existing as an ‘afterlife’ emerging from the original.</p> <p>When applied to architectural theory this investigation may begin to interpret a unique and meaningful intervention for the ‘afterlife’ of post-industrial landscapes affected by mining in Waihi. An important coalescence of the historic mining industry and local Māori oral histories will inform the narrative of the sites, engaging in a dialectic and responding to alternative narratives of the heritage that shaped the site context. Using Benjamin’s essay as a framework to begin this thesis, the investigation asks the question: How can the histories of a scarred landscape be translated through an architectural narrative to inform and restore memory for the present and future? This research investigation proposes that architecture can activate voids left by industry in narrative ways that can enhance a visitor’s understanding of the place and its turbulent past. Jerome Bruner, senior research fellow at New York University, outlines a foundation by which to develop a successful narrative. Jacques Derrida, French philosopher and a major figure associated with the development of deconstruction, connects translation theory with the realm ofarchitecture and unveils further possibilities. Juhani Pallasmaa, architect and former professor at the Helsinki University of Technology, focuses heavily on how memory creates ‘place’ and how this can inform an imagined future in relation to the built environment. Leading heritage architect Jennifer Hill describes how preserving visible scars in a landscape can provide an affordance for a site’s ongoing translation over time, contributing to the overall narrative of ‘place’. Robin Evans, architect and architectural historian explores the architectural drawing through translation, and Catherine Hamel, associate professor at the University of Calgary, focuses on the use of drawing as confrontation and how this allows a visual dialectic to form between varying methods of representation.</p> <p>This thesis proposes to integrate theoretical arguments from each of these theorists in a design-led research investigation designed to rehabilitate a historically scarred settlement. In the thesis, a communication between narrative and translation will be established in order to revitalise the place’s identity. It will also fill the social and economic voids left by the industrial processes and find a benevolent approach to guide Waihi into the future.</p>

scholarly journals Supervision as Cultural Partnership

2015 ◽  
Vol 19 (1) ◽  
pp. 67-81
Author(s):  
Kathie Crocket
Keyword(s):  
New Zealand ◽  
Qualitative Study ◽  
Culturally Appropriate ◽  
Research Attention ◽  
Therapeutic Practice ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Counselling Practice ◽  
Representational Practice ◽  
Colonial Experience

The term cultural supervision has been coined as part of a strategy that implicates supervision in the support and development of culturally appropriate therapeutic practice. In Aotearoa New Zealand particular focus has been given to supervision where the client is Māori and the practitioner is a member of the dominant Pākehā culture particularly, or of other non-Māori cultures. However, while the phrase cultural supervision has entered common professional parlance, the practice has had little research attention in counselling/psychotherapy in New Zealand. Cultural supervision appears to encompass a range of understandings, and there is no clear agreement about practice implications. It is unclear what alignment there is between aspirations, regulations, and practice. This article reports on an exploratory qualitative study that investigated how supervision might work in supporting culturally appropriate counselling practice in Aotearoa New Zealand. The study’s findings are presented as a multi-voiced dialogue. This arts-based representational practice enacts the uncertainties of post-colonial experience. Its intention is to make assumptions, ideas, and practices available for discussion. Its contribution is to join current dialogue about supervision and culture, and to raise further questions about how supervision and culturally appropriate practice come together. Whakarāpopotonga Kua whakakaupapahia te kīanga whakahaere tikanga-ā-iwi ki tētahi peka o tētahi rautaki hono whakahaere tikanga ki te tautoko, whakangungu haumanu tikanga-ā-iwi tika. I Aotearoa tōtika tonu te aronui atu ki ngā wā he Māori te kiritaki he Pākehā o te ahurea matua, o te hunga ehara rānei i te Māori te kaiwhakawaiwai. Heoi, ahakoa kua putaputa noa mai tēnei kīanga i waenga i ngā kōrerorero ngaio, kāre anō kia āta rangahauhia kia arotikahia rānei i roto i ngā mahi kaikōrero/kaimahi hinengaro i Aotearoa. Te āhua nei he maha ngā mātauranga e tāwharauhia ana e te mahi nei, ā, kāre he whakaarohanga mō ngā hua o te mahi. Kāre i te mārama he aha ngā here mai i ngā whāinga ki ngā here me te mahi. Ko tēnei tuhinga he pūrongo rapunga matai wheako kimi me pēhea e tika ai te whakahaere tikanga hei tautokohanga kaikōrero whakawaiwai tikanga-ā-iwi i Aotearoa. Ko ngā rangahautanga kei roto i te reo maha. Ko tōna tikanga he whakatau mahara, whakaaro, mahi whakawai hoki hai matapakihanga. Ko tāna koha ko te hono ki ngā whakawhitinga korero onamata e pā ana ki te whakahaere tikanga me te tikanga-ā-iwi, ā, ki te whakaara pātai titiro me pēhea e hono tahi ai te whakahaere tikanga me te tikanga-ā-iwi.

scholarly journals Conclusion: Spiralling Forwards, Backwards, and Together to Decolonise Freshwater

2021 ◽  
pp. 463-482
Author(s):  
Meg Parsons ◽  
Karen Fisher ◽  
Roa Petra Crease
Keyword(s):  
New Zealand ◽  
Environmental Justice ◽  
Settler Colonialism ◽  
Theory And Practice ◽  
Colonial State ◽  
Tribal Group ◽  
Aotearoa New Zealand ◽  
Settler Societies ◽  
Key Dimensions ◽  
Justice Movements

AbstractIn this concluding chapter, we bring together our earlier analyses of the historical and contemporary waterscapes of the Waipā River (Aotearoa New Zealand) to consider the theory and practice of Indigenous environmental justice. In this chapter, we return to review three key dimensions of environmental justice: distributive, procedural, and recognition. We summarise the efforts of one Māori tribal group (Ngāti Maniapoto) to challenge the knowledge and authority claims of the settler-colonial-state and draw attention to the pluralistic dimensions of Indigenous environmental (in)justice. Furthermore, we highlight that since settler colonialism is not a historic moment but still a ongoing reality for Indigneous peoples living settler societies it is critically important to critically evaluate theorising about and environmental justice movements through a decolonising praxis.

scholarly journals Together as brothers: A catalytic examination of Pasifika success as Pasifika to teu le va in boys' secondary education in Aotearoa New Zealand

2021 ◽  
Author(s):  
◽  
Martyn Reynolds
Keyword(s):  
Social Justice ◽  
New Zealand ◽  
Critical Race Theory ◽  
Formal Education ◽  
Theory And Practice ◽  
Indigenous Research ◽  
Single Sex ◽  
Aotearoa New Zealand ◽  
Teachers And Students ◽  
Pasifika Students

<p>Pasifika education, the education of students with connections to the Pacific in Aotearoa New Zealand, is intercultural; Pasifika students are generally taught by Palangi (European-origin) teachers in a system originally designed to meet the perceived needs of European settlers. The field has a history of inequity, consigning many Pasifika students to mediocrity in formal education. A cultural reading of the situation connects a need for emancipatory self-description with the achievement of social justice within the kind of participatory democracy imagined by Dewey. Recent government initiatives such as the Pasifika Education Plan have sought ‘Pasifika success’ through targets and initiatives, the most visible focusing on success as achievement understood by comparison to other ethnic groups. This has been critiqued as not seeking success as, but of Pasifika, in effect another assimilative practice. This thesis interrogates how success in formal education is understood, described, and explained by male Pasifika students as they enter the secondary sector. This is complemented by: paying attention to experiences of success in primary education; extending discussion to families; and the catalytic use of Pasifika community-sourced data to create opportunities for teachers to re-vision their practice. The inquiry is a bounded case study in the atypical context of a high-decile single-sex state school. A framework which combines a critical theory, critical race theory, and a Pacific Indigenous research paradigm provides a nuanced strengths-based approach. A dialogical-relational methodology argues for a mediated dialogue to teu le va (care for the relational spaces) between participants. The thesis demonstrates how catalytic attention to relationality can help teachers positively re-vision their practice. Attention to relationality also supports a complex positionality where a Palangi researcher seeks to edgewalk between Pasifika and Palangi concepts and communities, teachers and students, and Pacific-orientated research and the academy. Findings suggest that male Pasifika students hold a wide basket of forms of success which both contrast with and complement success as achievement: ideas about a ‘good education’, acceptance, participation, comfort, resilience, and the contextual extension of competence. These can be understood through Pacific origin concepts such as va (relationality), malaga (journey) and poto (wisdom), disturbing existing thinking about Pasifika education. As a result, the thesis has potential to assist a re-framing of theory and practice in the field as well as providing a model of relational inquiry for further social justice research into intercultural fields such as Pasifika education.</p>

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

Incredible years for whom? Governing early years parenting as a site of colonisation in Aotearoa New Zealand

2019 ◽  
pp. 146394911987376
Author(s):  
Shil Bae
Keyword(s):  
New Zealand ◽  
Early Years ◽  
Incredible Years ◽  
Dominant Culture ◽  
Parenting Programme ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
A Site ◽  
Structural Theories ◽  
The Incredible Years

This article conducts a critical analysis of the Incredible Years parenting programme through the lens of post-colonial and post-structural theories. Drawing from Foucault’s concept of ‘governmentality’ and ‘discursive normalisation’, the author questions the norms and definitions constructed by the implementation of Incredible Years in New Zealand, and attempts to disrupt taken-for-granted values and assumptions in modern parenting. The analysis of this study shows that the discourses in Incredible Years (re)produce colonising values and assumptions, reinforcing the privileged knowledge of the West in parenting. The author points out how this approach to parenting constructs those who do not fit into the norm as ‘the Other’ and normalises/reinforces conformity to the dominant culture in this context.

scholarly journals Settlement and unsettlement in Aotearoa/New Zealand and Antarctica

Polar Record ◽  
2005 ◽  
Vol 41 (2) ◽  
pp. 141-155 ◽  
Author(s):  
Klaus J. Dodds ◽  
Kathryn Yusoff
Keyword(s):  
New Zealand ◽  
Southern Ocean ◽  
Cultural Politics ◽  
Place Names ◽  
Paper Briefly ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Colonial Theory ◽  
Territorial Claims ◽  
Ross Dependency

This paper is concerned with Aotearoa/New Zealand's changing relationship to Antarctica, and the Ross Dependency in particular. Through a consideration of post-colonial theory in the Ross Dependency, it is argued that a productive dialogue about the cultural politics of mainland Aotearoa/New Zealand can be opened up. After some reflections on the post-1945 political and cultural trajectory of the country, attention is given to the place of the Maori and their involvement in the polar continent and Southern Ocean. The adoption of Maori place-names on New Zealand maps of the Ross Dependency is considered further because it helps to illuminate the country's awkward and incomplete post-colonial transformation. Arguably, such an adoption of Maori place-names in Antarctica contributes to a vision of bicultural harmony. However, this is not a view shared by all observers. Developments affecting the crown agency Antarctica New Zealand, alongside recent heritage projects, are scrutinised further in order to consider how Maori–Pakeha relations influence and define contemporary understandings of New Zealand's presence in Antarctica. Finally, the paper briefly contemplates how a trans-Tasman dialogue with Australian scholars might enable further analysis into how geographically proximate settler colonies engage with Antarctica and their associated territorial claims to the continent and surrounding ocean.

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