Bøger udgivet af Otago University Press

Archaeology of the Solomon Islands presents the outcome of 20 years research in the Solomon Islands undertaken jointly by Richard Walter and Peter Sheppard, both leaders in the eld of Pacific archaeology. At the time of first European encounter, the peoples of Melanesia exhibited some of the greatest diversity in language, socio-political organisation and culture expression of any region on earth. This extraordinary diversity attracted scholars and resulted in coastal Melanesia becoming the birthplace of modern anthropology, and yet the area remains one of the least well-documented regions of the Pacific in archaeological terms. This synthesis of Solomon Island archaeology draws together all the research that has taken place in the field over the past 50 years. It takes a multidisciplinary theoretical and methodological approach and considers the work of archaeologists, environmental scientists, anthropologists and historians.
 At the same time this volume highlights the results of the authors own considerable field research. Until recently, much Pacific archaeological research focused primarily on colonisation events and cultural-ecological interactions. Walter and Sheppard are interested too in the long-term development of diversity in coastal Melanesia and in the evolution of traditional Melanesian societies. As a case study they focus on the Roviana Chiefdom, an aggressive but highly successful polity based around headhunting, slave raiding and ritual violence that dominated the political economy of the Western Province into the early twentieth century. They also integrate the Solomon Islands into ongoing models and debates around Pacific culture - history, including in such key areas as human expansion during the Pleistocene, the spread of Austronesians, Lapita colonisation, the development of food production, the role of exchange systems, the concept and meaning of culture areas, and human impact on landscapes and ecosystems. This fascinating and very readable book is written for an archaeological audience but is also designed to be accessible to all readers interested in Pacific archaeology, anthropology and history. Featuring more than a hundred maps and figures, Archaeology of the Solomon Islands represents a ground-breaking contribution to Pacific archaeology.

This book looks at the lives of New Zealanders during the greatest armed struggle the world has ever seen: the Second World War. It is not a political, economic or military history; rather it explores what life was like during the war years for ordinary people living under the New Zealand flag. It questions the war as a story of good against bad. All readers know that the Axis powers behaved ruthlessly, but how many are aware of the brutality of the Allied powers in bombing and starving enemy towns and cities? New Zealand colluded in and even carried out such brutal aggressions. Were we, in going to war, really on the side of the angels? Contrary to the propaganda of the time -- and subsequent memory -- going to war did not unite New Zealanders: it divided them, often bitterly. People disagreed over whether or not we should fight, what we were fighting for and why, who was fighting, who was paying, and who was dying. In this provocative and moving book, Stevan and Hugh Eldred-Grigg explore New Zealanders hopes and fears, beliefs and superstitions, shortages and affluence, rationing and greed, hysteria and humour, violence and kindness, malevolence and generosity, to argue that New Zealand need not have involved itself in the war at all.

"As well as the poems from Lonie's published volumes, [this collection] includes over a hundred unpublished works, two essays and an extensive commentary"--Jacket.

A biography of one of New Zealands earliest feminists, Mary Ann Colclough, whose publicly voiced opinions saw her described in the nineteenth century as our own little stray strap of a modern female fanatic. English-born Mary Ann Barnes came to New Zealand in 1857, and soon gained notoriety for her outspokenness on issues relating to womens position in society. A teacher and also a journalist for the Daily Southern Cross and the Weekly News under the nom de plume Polly Plum, she also engaged in public debates through the letters to the editor columns, undeterred by becoming the best abused woman in New Zealand in the present day. In this fine biography, Jenny Coleman argues that Mary Ann Colcloughs contribution to the womens movement in nineteenth-century New Zealand is at least equal to that of Kate Sheppard. A good two decades ahead of the organised womens movement, Polly Plum began politicising women by writing about the realities of their daily lives, what needed to change and how. Coleman here reclaims Mary Ann Colcloughs place in New Zealands feminist history by bringing her life and contributions to a wider audience.

A poem is a vote. It chooses freedom of imagination, freedom of critical thought, freedom of speech. A collection of political poems in its very essence argues for the power of the democratic voice. Here New Zealand poets from diverse cultures, young and old, new and seasoned, from the Bay of Islands to Bluff, rally for justice on everything from a degraded environment to systemically embedded poverty; from the long, painful legacy of colonialism to explosive issues of sexual consent. Communally these writers show that political poems can be the most vivid and eloquent calls for empathy, for action and revolution, even for a simple calling to account.

The ones who keep quiet for the longest are the dead, yet there are echoes of them everywhere. A turn of the head brings a glimpse of a Victorian banker retrieving his top hat from the gutter. A walk across a bridge lets you pass the ghosts of a Catholic saint, a Marxist martyr, and a boy with a tin drum. The dead are there to be heard; they are also listening to you. The Ones Who Keep Quiet showcases David Howards ability to give our world a metaphysical mulling, which he achieves with memorable lyricism and an edgy attention to questions of identity and time, silence and isolation. Kathleen Grattan Poetry Award judge Emma Neale noted this new collections extraordinary range, from mordant puns and verse drama to unexpected polyphonic juxtapositions, as if the poems have been internally pleated. In his judder-bar voice, Dad pulls up Mum: Its good enough for the likes of us. Awake to the dream of a state house, the sound of an egg beater inside that dream; on orange formica, the second-best tea set; three ducks above a coke fire steaming smalls. My sister plaits her hair Fuck, lets go to the shops so someone will talk to us.

This book is about disobedience. Positive disobedience. Disobedience as a kind of professional behaviour. It shows how teachers can survive and even influence an education system that does staggering damage to potential. More importantly it is an arm around the shoulder of disobedient teachers who transform people's lives, not by climbing promotion ladders but by operating at the grassroots. Disobedient Teaching tells stories from the chalk face. Some are funny and some are heartbreaking, but they all happen in New Zealand schools. This book says you can reform things in a system that has become obsessed with assessment and tick-box reporting. It shows how the essence of what makes a great teacher is the ability to change educational practices that have been shaped by anxiety, ritual and convention. Disobedient Teaching argues the transformative power of teachers who think and act.

This volume of Charles Brasch's journals covers the years from late 1945 to the end of 1957, when the poet and editor was aged 36 to 48. It begins with his return to New Zealand after World War II to establish a literary quarterly to be published by the Caxton Press. The journals cover the first decade or so of his distinguished editorship of Landfall, a role that brought Brasch into contact with New Zealand's leading artists and intelligentsia. His frank and often detailed descriptions of these people - including Frank Sargeson, A.R.D. Fairburn, Keith Sinclair, Eric McCormick, James Bertram, J.C. Beaglehole, Maria Dronke, Fred and Evelyn Page, Alistair Campbell, Bill Oliver, Toss and Edith Woollaston, Denis Glover, Allen Curnow, Leo Bensemann, Lawrence Baigent, Ngaio Marsh, Colin McCahon, James K. Baxter, Janet Frame, Ruth Dallas and many others - are among the highlights of the book.

The Depression of the 1930s was a defining period in New Zealand history. It had its own vocabulary – swaggers and sugarbags, relief work and sustenance, the Queen Street riots and special constables – that was all too familiar to those who lived through that tumultuous decade. But one generation's reality is another's history. The desperate struggles experienced by many for work, food and shelter during the 1930s eventually gave way to the sunny postwar years, when the Depression was no more than an uncomfortable memory. And now, for the children of the twenty-first century, it's just a word. While the lives of those most affected by the Depression have been admirably documented in oral histories in various forms, the political and economic context, and the manoeuvrings and responses to the unprecedented conditions have not, until now, been given the extensive analysis they deserve. The Broken Decade, Malcolm McKinnon's detailed and absorbing history of this period, unpicks the Depression year by year. It begins by introducing the prosperous world of New Zealand in the late 1920s before focusing on the sudden onset of the Depression in 1930–31, the catastrophic months that followed and, finally, on the attempt to find a way back to that pre-Depression prosperity. Informed by exhaustive research, relevant statistics and fascinating personal accounts, and made accessible and meaningful by insightful analysis, this important book will become New Zealand's definitive study of the 1930s Depression.

After establishing a poetic presence on the literary scene in the early 1960s, Dunedin's Alan Roddick published his first collection, The Eye Corrects: Poems 1955-1965, in 1967. A mere 49 years later comes the sequel, Getting it Right. Poet C.K. Stead writes in Shelf Life (AUP, 2016) that he has always been "a great admirer of the economy and the quiet, sharp wit of [Roddick's] writing ... Alan Roddick is a 'cool' poet, a temperament that seems reserved, controlled, decent, funny and intelligent; a craftsman not a showman, with a fine musical ear, whose work is dependable and of the highest order. And as well as witty and clever work, there are poems that catch moments of deep feeling; and equally of exhilaration, such as the ten-year-old Alan standing up on the seat, his head through the sunroof of his father's car that is cruising downhill, 'pushing 40' with the engine off to save petrol, 'drunk with the scent of heather and whin / that airy silence ...' Alan Roddick is writing as well as any New Zealand poet currently at work on the scene. It is wonderful to have him back - something to celebrate!"

Aotearoa New Zealand was recently rated by the Lonely Planet travel guide as the second most "gay friendly" country in the world, with some of the most advanced human rights legislation. Research suggests, however, that New Zealand''s relatively "inclusive" social climate is not always reflected in our educational settings. This book explores how the assumption that heterosexuality is the norm operates in education, and the discriminatory effects of this for teachers, for students, and for parents, in early childhood education, schools, tertiary and alternative settings. How can education settings become more socially just sites of inclusion for sexual and gender diversity? Contributors from a wide range of sectors discuss their research and invite others to join them in resisting the many injustices perpetuated by the unchecked discriminatory discourses that have shaped New Zealand education historically, and which continue to do so today.

In this follow-up collection to the award-winning The Truth Garden, Emma Neale asks where exactly do the personal and the political drop hands? In poems that are engaged, compelling, witty and moving, she looks at how we navigate a true line through the psychological, environmental, social and economic anxieties of our times. The book examines love in its many guises, and also energetically responds to the distractions and delights of the digital age. Writing of Emma Neale''s ''kitchen-familiar and cosmic-wide attentions'', Poet Laureate Vincent O''Sullivan has said, ''There is something so celebratory about Emma Neale''s poetry, about its eager, informed, needle-eyed engagement with the contemporary world [She runs] the hot thread of linguistic flare and precision through whatever occasion she takes up.''

Much sought after by oil companies, ''generation kitchens'' are sites where geological forces have combined to create conditions for oil production. By turns brooding and wittily observant, Richard Reeve''s fifth book of poetry meditates on the intrigues of fossil fuel companies and ecological despoliation, but also on personal rites of passage -- on relationships, deaths, the turn of the seasons. Oracular and bardic, Reeve''s work is also paradoxically down to earth and gritty. He knows that, beyond the geopolitical framework, beyond the anthropocene moment, the landscape endures.