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Research papers, University of Canterbury Library

This thesis investigates the relationship between the apocalyptic narrative and the postmodern novel. It explores and builds on Patricia Waugh‟s hypothesis in Practising Postmodernism: Reading Modernism (1992) which suggests that that the postmodern is characterised by an apocalyptic sense of crisis, and argues that there is in fact a strong relationship between the apocalyptic and the postmodern. It does so through an exploration of apocalyptic narratives and themes in five postmodern novels. It also draws on additional supporting material which includes literary and cultural theory and criticism, as well as historical theory. In using the novel as a medium through which to explore apocalyptic narratives, this thesis both assumes and affirms the novel‟s importance as a cultural artefact which reflects the concerns of the age in which it is written. I suggest that each of the novels discussed in this thesis demonstrates the close relationship between the apocalyptic and the postmodern through society‟s concern over the direction of history, the validity of meta-narratives, and other cultural phenomenon, such as war, the development of nuclear weaponry, and terrorism. Although the scope of this thesis is largely confined to the historical-cultural epoch known as postmodernity, it also draws on literature and cultural criticism from earlier periods so as to provide a more comprehensive framework for investigating apocalyptic ideas and their importance inside the postmodern novel. A number of modernist writers are therefore referred to or quoted throughout this thesis, as are other important thinkers from preceding periods whose ideas are especially pertinent. The present thesis was researched and written between March 2010 and August 2011 and is dedicated to all of those people who lost their lives in the apocalyptic events of the February 22nd Christchurch earthquake.

Research papers, University of Canterbury Library

Context of the project: On 4 September 2010, 22 February 2011, 13 June 2011 and 23 December 2011 Christchurch suffered major earthquakes and aftershocks (well over 10,000) that have left the central city in ruins and many of the eastern suburbs barely habitable even now. The earthquakes on 22 February caused catastrophic loss of life with 185 people killed. The toll this has taken on the residents of Christchurch has been considerable, not least of all for the significant psychological impact and disruption it has had on the children. As the process of rebuilding the city commenced, it became clear that the arts would play a key role in maintaining our quality of life during difficult times. For me, this started with the children and the most expressive of all the art forms – music.

Articles, Christchurch uncovered

Gender matters. And it’s complicated, which is why writing this blog post has been particularly difficult. Why is it so complicated, from an archaeological standpoint? Well, let me try and explain. Historical archaeology developed as a discipline in the mid-20th … Continue reading →

Research papers, University of Canterbury Library

A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.

Articles, UC QuakeStudies

The project report for Poetica, part of Gap Filler project 20, Walls. Poetica was an urban poetry project in which an interactive poetry installation was painted on the wall of 614 Colombo Street. The purpose of the project was to visualise the regeneration of Christchurch as an unwritten poem by allowing members of the public to writing poetry on the Poetica wall.

Audio, Radio New Zealand

The beloved Christchurch Arts Centre - built in the 1870s - has slowly been reopening after repairs and restoration. An open day last weekend saw the public getting their first look into the complex's school of art building since the earthquakes. One beneficiary has been singer-songwriter Bic Runga, who has kick-started the Arts Centre Te Matatiki Toi Ora's revived Creative Residencies programme. She tells Mark Amery she's been trying out all sorts of new things. Applications for Bic's song-writing workshop in Christchurch in early July close on Friday 31 May.

Images, UC QuakeStudies

A stack of wooden frames with the words "Quake makes world headlines" written on the uppermost frame. The photographer comments, "This is a sculpture at the CPIT facility in Christchurch. It is a series of squares placed over a column with writing on the squares. It is an excellent movable sculpture that conveys the Christchurch earthquake very well. The squares are placed so that they can slide over each other and even fall inside the other on one side. It is a pity that only two sides of the squares are written on".

Images, UC QuakeStudies

Spray-painted writing on the side of a car parking building reads "0 cars". The photographer comments, "Strangely and appropriately this graffiti was on a car park. In fact the graffiti was 100% correct as the car park is in the Christchurch earthquake red zone and there should be zero cars now inside it. It may have been put on by an anti car protester or just an indication that the car park is empty. One of the suggestions for the City plan for the rebuilt Christchurch was for a pedestrian and cycle only area, which also fits in with 0 CARS".

Research papers, University of Canterbury Library

On the second day of teaching for 2011, the University of Canterbury (UC) faced the most significant crisis of its 138-year history. After being shaken severely by a magnitude 7.1 earthquake on 4 September 2010, UC felt it was well along the pathway to getting back to ‘normal’. That all changed at 12:51pm on 22 February 2011, when Christchurch city was hit by an even more devastating event. A magnitude 6.3 (Modified Mercalli intensity ten – MM X) earthquake, just 13km south-east of the Christchurch city centre, caused vertical peak ground accelerations amongst the highest ever recorded in an urban environment, in some places more than twice the acceleration due to gravity. The earthquake caused immediate evacuation of the UC campus and resulted in significant damage to many buildings. Thankfully there were no serious injuries or fatalities on campus, but 185 people died in the city and many more suffered serious injuries. At the time of writing, eighteen months after the first earthquake in September, Christchurch is still experiencing regular earthquakes. Seismologists warn that the region may experience heightened seismicity for a decade or more. While writing this report we have talked with many different people from across the University. People’s experiences are different and we have not managed to talk with everyone, but we hope that by drawing together many different perspectives from across the campus that this report will serve two purposes; to retain our institutional memory of what we have learnt over the past eighteen months, and also to share our learnings with other organisations in New Zealand and around the world who, we hope, will benefit from learning about our experience.

Audio, Radio New Zealand

Fleur Beale is one of New Zealand's most prolific authors and the winner of many awards for children and young adult books. Her latest work is a novel that tells the story of a young girl who experienced the February 2011 Christchurch earthquake. It's part of an international series called Through my Eyes - Natural Disaster Zones, which is a series written by different authors focusing on war zones and disasters throughout the world. Fleur's book is based on real accounts of what happened in Christchurch told through the eyes of a young girl, Lyla. Fleur, who has won the Margaret Mahy Medal for her outstanding contribution to children's writing, and was awarded the New Zealand Order of Merit for services to literature, joins Kathryn to talk about her latest work, and why young adult fiction is the best and the process of getting a story right.

Research papers, University of Canterbury Library

The Canterbury earthquakes are unique in that the there have been a series of major earthquakes, each with their own subsequent aftershock pattern. These have extended from the first large earthquake in September 2010 to currently, at the time of writing, two years later. The last significant earthquake of over magnitude 5.0 on the Richter scale was in May on 2012, and the total number of aftershocks has exceeded 12,000. The consequences, in addition to the loss of life, significant injury and widespread damage, have been far reaching and long term, with detrimental effects and still uncertain effects for many. This provides unique challenges for individuals, communities, organisations and institutions within Canterbury. This document reviews research-based understandings of the concept of resilience. A conceptual model is developed which identifies a number of the factors that influence individual and household resilience. Guided by the model, a series of recommendations are developed for practices that will support individual and household resilience in Canterbury in the aftermath of the 2010-2011 earthquakes.

Audio, Radio New Zealand

A review of the week's news including... Laila Harre says she is returning to politics to lead the Internet Party because young people, in particular, have been ignored by politicians, Kim Dotcom's US lawyer says a bid by Hollywood's movie studios to have the Internet businessman's assets frozen here is a bid to ensure Mr Dotcom can't win in court in the United States, Fiordland's controversial 240 million dollar monorail is scrapped by the Conservation Minister, documents show WorkSafe New Zealand was still grappling to get on top of asbestos dangers in the Christchurch rebuild nearly two years after the February 2011 earthquake, a train smashes into a concrete barrier at a Lower Hutt station, the New Zealand First leader accuses a South Auckland Maori trust of mis-spending of hundreds of thousands of dollars of taxpayers money, the associate Immigration Minister stands by her decision not to intervene to allow a Fijian man with kidney failure who has since died in Fiji to stay in New Zealand for treatment, a British writer and academic's use of creative writing to help rehabilitate young offenders and sheep on a farm in Queenstown are being covered in a repellent spray to stop them being eaten alive by Kea.

Audio, Radio New Zealand

The loss of her home in an earthquake then the loss of her daughter - for New Zealander Linda Collins, one loss shook her physical foundations; the other shook her very being. Told by Denise O'Connell [image:147046:full] [audio_play] [image:151581:half] Linda Collins has a BA in English from Massey University and is a copyeditor on the political desk of The Straits Times in Singapore, where her much-loved daughter, Victoria, took her life four years ago aged 17.  Linda, husband Malcolm McLeod and Victoria were living in Singapore when the 2011 earthquake struck Christchurch, wrecking the house they owned there. Amid insurer and builder delays, the replacement house was only finally completed three years after Victoria’s death.  Linda’s memoir, Loss Adjustment, is her first foray into writing a book, although she is copyeditor of the Lee Kuan Yew international best-seller, Hard Truths to Keep Singapore Going, and used to write for The Expat Files column in Singapore’s Sunday Times.  Earlier this year, she was shortlisted for publisher Hachette’s mentorship programme, based on the submission of her Not Ash chapter from Loss Adjustment. Poetry is a new passion, meanwhile, and she is studying it at La Salle College of the Arts, Singapore. The photo is from her work pass.