Suchergebnisse

Foreword -- He timatanga korero -- Preface -- Chapter 1. Finding my identity in Aotearoa -- Chapter 2. Finding the Treaty in my life -- Chapter 3. Building Treaty Partnerships in research -- Chapter 4. Building Treaty Partnerships in professional development -- Chapter 5. Building Treaty Partnerships in school -- Chapter 6. Living the Treaty.

During the Forties, Icelandic novelist Guðmundur Daníelsson, wrote a trilogy called Out of the Ground Wast Thou Taken: Fire (1941), Sand (1942) and The Land beyond the Land (1944). Leading up to the publications Daníelsson was vocal about the fact that he had read the works of American novelist William Faulkner. Later in life he would reveal that he read Faulkner in Norwegian translations and proudly acknowledged the direct line of descent he recognized between his own work and that of his American colleague. Until now no systematic analyzes has been done on the many parallels between their works. The article is divided in two. The first half unfolds in which ways Daníelsson reproduced structures, milieu, ideas, characters and events from Faulkner's nov-el Light in August in Fire. The latter half of the article situates Daníelsson's trilogy within a critical framework developed by Faulkner scholars in the last two decades where they have explored the relationship between Faulkner and the many writers who have engaged with him from the postcolonial world. Questions will be raised about if and then how Daníelsson deals with Iceland's postcolonial past in his novels, with a special emphasis on the connection between power and identity as it mani-fests itself in relation to, for example, class, race, gender and disability.

My research is concerned with the formation of artists as creative subjects in an increasingly neoliberalised art world. This study examines to what extent does the artist-run space offer alternatives to current neoliberal orthodoxy in the art world. There has been little research to understand the lived experiences of emerging visual artists within neoliberalism. The thesis is located in museum studies but stretches beyond this field in an interdisciplinary approach to explore the complexity of what it means to both make art and self-organise. The thesis presents multiple case-study research into three New Zealand artist-run spaces; RM, Enjoy Contemporary Art Space and Meanwhile. Qualitative research brings the experiences of artist-run space participants to the fore through interviews, examining how they understand and articulate their involvement, negotiate tensions over power, and position themselves in an art world that seeks to enfold them in its own narratives. I analyse and discuss the findings through a series of connecting theoretical frameworks—assemblage theory, creative labour and governmentality—which together map the distinct practices that shape, and reshape, the artist-run space. My research contributes to literature on creative workers within neoliberalism, providing new knowledge about tactics and strategies deployed by emerging visual artists to carve space for their activities on their own terms. The thesis argues that while artist-run spaces are embedded in the mainstream through both networks of strategic reciprocity and funding imperatives, the nuances which define an individual artist-run space are both broader and messier than their increasingly formal structure suggests. The identity formation of the artists and creative workers whose hard work and passion keep artist-run spaces going is similarly compromised, confounding simplistic readings. I propose that the notion of 'alternative' is too binary an understanding to describe artist-run spaces within a time of neoliberalism, instead, this thesis seeks to complicate and problematise the term.