Wednesday, March 25, 2015 11:37 AM,
Sylvia Ashton-Warner Library
The shortlists have been announced in each of the five categories of the LIANZA Children's Book Awards 2015 - Illustration, Junior Fiction, Nonfiction, Young Adult, and Te Reo Māori.
Many books are read by the passionate and experienced members of the judging panel in order to arrive at this carefully considered shortlist. We're proud that one of the judges this year is Education Subject Librarian Helen O'Carroll, who again braved numerous deliveries of boxes (of books, not pizza...) and late nights to help find the very best of children's books.
For full details of the shortlisted books for the 2015 awards, see the announcement on the LIANZA page.
The shortlisted books are also available in the library (see below).
Russell Clark Illustration Finalists:
Marmaduke Duck on the Wide Blue Seas by Juliette MacIver and Sarah Davis
Jim’s Letters by Glyn Harper and Jenny Cooper
Have you seen a monster? by Raymond McGrath
So Many Wonderfuls by Tina Matthews
Mrs Mo's Monster by Paul Beavis
Esther Glen Junior Fiction Finalists:
Monkey Boy by Donovan Bixley
The Volume of Possible Endings (A Tale of Fontania) by Barbara Else
Conrad Cooper's Last Stand by Leonie Agnew
Trouble in Time by Adele Broadbent
Letterbox Cat by Paula Green
Elsie Locke Non-Fiction Finalists:
The Book of Hat by Harriet Rowland
A New Zealand Nature Journal by Sandra Morris
Maori Art for Kids by Julie Noanoa and Norm Heke
Mōtītī Blue and the Oil Spill: A Story from the Rena Disaster by Debbie McCauley
New Zealand Sports Hall of Fame: 25 Kiwi Champions by Maria Gill and Marco Ivancic
Young Adult Award Finalists:
I am Rebecca by Fleur Beale
The Red Suitcase by Jill Harris
Singing Home the Whale by Mandy Hager
Recon Team Angel: Vengeance by Brian Falkner
Night Vision by Ella West
Te Reo Māori Finalists:
Nga Kī by Sacha Cotter, Josh Morgan and Kawata Teepa
Hui E! by various authors
Tūtewehi by Fred Te Maro
Kimihia by Te Mihinga Komene and Scott Pearson
An early Te Reo Reading Book Series by Carolyn Collis
Tuesday, March 24, 2015 12:50 PM,
Two Days One Night Directors: Jean-Pierre and Luc Dardenne Call Number: DVD-V LD14-0743
Image: Courtesy of Artificial Eye
After being treated for depression, Sandra (Marion Cotillard) is released from hospital to find out that management discovered her job could be handled by the rest of the workers. Her boss decides that the only way Sandra can regain her position is to convince her co-workers to sacrifice their yearly bonuses. Sandra has two days and one night before the vote to convince her co-workers to cast their ballots her way.
Dardenne brothers are known for their naturalistic, unhurried slice of life dramas featuring amateur or lesser known actors. However, in Two Days One Night, the tension is as taut as a thriller and the story line brutal. The film is a parable on predatory capitalism that functions as a version the Darwinian survival of the fittest . In an Oscar nominated intimate performance, Cotillard gives life to this sometimes resigned, sometimes determined working-class hero . Perhaps unfortunately, the proposed “dilemma so simple and so timely, it barely feels like fiction” (Macdonald, 2015).
Macdonald, Moira. ‘Two Days, One Night’: Time well spent with Marion Cotillard. www.Seattletimes.com. 29 Jan. 2015.
Thursday, March 19, 2015 3:52 PM,
Leadership and management are important roles in modern nursing, and there is no doubt that facilities with excellent leadership excel. The new books for this week at the Philson library include three that focus on different aspects of leadership in nursing.
Leading and managing in Canadian nursingis thenew Canadian edition of the popular textbook “Leading and managing in nursing” by Patricia Yoder-Wise. This is primarily aimed at nursing students, with the strong Canadian content likely to be of interest to post-graduate students.
Thursday, March 19, 2015 11:09 AM,
Arts, Māori and Pacific
An online archive of nursing oral history in New Zealand launched this month, funded by the Nursing Education and Research Foundation.
The archive includes an oral history project undertaken by the University of Auckland in 2012 and 2013. The project team included Professor Linda Bryder from History, Associate Professor Margaret Horsburgh and Dr Kate Prebble from the School of Nursing, and independent researcher Dr Debbie Dunsford.
Two Faculty of Arts Summer Research Scholarship recipients, Emma Cotton and Kaitlin McLeod, were also involved with the project, working with Professor Bryder to select interview highlights for the archive.
Grace Annie Hight Benson in Third Year Nurse training, 1958.
Image courtesy of the Nursing Education and Research Foundation.
Access the online archive to hear stories from nurses who trained during the 1950s and 1960s, like Grace Annie Hight Benson, whose childhood dreams of becoming a nurse were spurred on after after spotting a photo of nurses in uniform in the Weekly News and wanting to be just like them.
You can view photos of the nurses and their colleagues, as well as ephemera such as training reports, correspondence and diplomas, and read abstracts of the full interviews.
Browse the online archive by name, date or topic, and check back for updates as new content is being added over time.
Wednesday, March 18, 2015 12:48 PM,
B&E Information Services
New to the suite of IT business resources is IDC, a global provider of market intelligence and advisory services.
IDC research provides quantitative and qualitative analyses of, and insights into, technology and technology-related industries.
Areas covered include communications, hardware, peripherals, software, services, vertical markets and financial industries. IDC research provides current market trends and forecasts, competitive analysis, vendor profiles, revenue segmentation and information on customer requirements and buying patterns.
Special thanks to Revera, proudly supporting IDC's technology research and New Zealand's future ICT leaders by sponsoring access to IDC Research.
Wednesday, March 18, 2015 12:30 PM,
Sylvia Ashton-Warner Library
Today the library had the privilege of hosting a visit by the hugely talented NZ author and illustrator Bruce Potter. Those able to attend were treated to Bruce sharing with us his creative process and passion for engaging children in reading. He also spoke about his journey to self-publishing his work and the importance he places on music and humour in encouraging reluctant readers to enjoy books.
Bruce spoke in particular about the books in which doodle bug has made appearances, beginning with Kaha the Kea, which was a successful collaboration with Craig Smith. He then detailed the development of his book Penny the Prolific Pooing Cow, a highly entertaining story with illustrations to match. Penny is a happy cow, but initially not everyone views her pooing as positive rather than problematic...
Bruce explained how he came to write Doodle Bug (which featured in our last Blog of 2014), and the importance he places on imagination, the development of ideas and the role doodling plays in this. He emphasised that in doodling there are no rules, no boundaries, no pressure and this encourages the development of both ideas and drawing skills. The doodles in Doodle Bug are highly detailed, imaginative and engaging. Characters from other titles can be found, and of course Doodle Bug himself hides on every page.
Bruce even gave us a sneak preview of a new book he has illustrated which is coming out later in the year, written by Joy Cowley, called The Remarkable Cake Shop. And to finish off we got a quick drawing lesson, with tips on how to approach sketching with students.
Many thanks to Bruce for a fabulous session. We have Bruce's books in the library - come in and take a look!
Monday, March 16, 2015 2:02 PM,
A.C.A.B. (2012) Director: Stefano Sollima Call Number: DVD-V LD14-0747
Diaz (2012) Director: Daniele Vicari Call Number: DVD-V LD13-0776
Image: Courtesy of Fandango
All Cops Are Bastards (A.C.A.B) and Diaz: Don’t Clean Up This Blood offer compelling contemporary insights into the state of fascism in Italy. Both films focus on the role of the Riot Police as an aggressive counter-measure to the oppositional liberal forces. While keeping the peace might be their official capacity, it becomes clear that political, and personal, motivations influence the violent thrust of every baton.
A.C.A.B is a fictitious account of three veteran riot police and a rookie upstart. The genius of the film is the visceral appeal of the violence enacted by the riot squad. Unsettling insights into the personal lives of the riot police (domestic abuse, xenophobia, corruption and a poster of Mussolini) make it clear that these officers are physical embodiments of fascist ideologies within society. The thrilling scenes of combat that enthral the viewer elucidate the appeal of fascism, but once the true nature of these men is revealed the hideous guise of despotism is made apparent.
Diaz: Don’t Clean Up This Blood is a re-enactment of true events that occurred during the 2001 G8 summit in Genoa, Italy. If A.C.A.B offered ephemeral sympathy for the lives of the Riot Police, Diaz frames them as barbaric henchmen of a corrupt regime as it focuses instead on the victims of their violence. After peaceful protests during the day the riot police invade a school complex that was hosting journalists, protestors, and visitors to the city unable to find other accommodation. The riot police indiscriminately and brutally assault everyone in the school, and those who are arrested are tortured and humiliated in holding cells. It is an uncompromising and horrifying expose of a criminally overlooked event in Italy’s recent history.
Watched together these films demonstrate the social appeal that fascist policies of violent crime prevention can have and the horrific consequences of these policies. While focused on contemporary Italy, both films resonate with global trends towards the militarisation of the police and the ideologies of right-leaning governments.
Image: Courtesy of StudioCanal
Friday, March 13, 2015 2:04 PM,
Come and do the short, easy scavenger hunt at the Philson library, familiarise yourself with our resources and facilities and win prizes!
Question sheets (and prizes) can be found at the Philson library lending desk.
Friday, March 13, 2015 12:54 PM,
If you're looking for help with finding course readings, RefWorks, or simply unsure where to begin in finding information, please come along to one of our workshops in March.
To book, go to https://www.library.auckland.ac.nz/booking/
Mon 16 Mar 10.30-12
Thur 19 Mar 10.30-12
Wed 25 Mar 2.30-4
|Find course readings, articles & exams
Tue 17 Mar 10.30-11.30
Thu 19 Mar 12.30-1.30
Find Articles: Where to start
Find Articles: Using databases
Mon 23 Mar 12.30-1.30
Tue 24 Mar 10.30-11.30
Friday, March 13, 2015 9:38 AM,
Arts, Māori and Pacific
Auckland hosts the annual Pasifika Festival this weekend (14-15 March) at Hayman Park, Manukau, followed by the ASB Polyfest from 18-21 March.
Both festivals celebrate the richness and diversity of Pacific Island cultures, dance, music, languages and diversity.
Beginning in 1992, the Pasifika Festival is one of Auckland’s largest cultural events and every year thousands flock to enjoy the markets, arts and crafts, performances, food (including many regional specialities), and more (see the full programme).
The ASB Polyfest celebrates its 40th anniversary this year and over 60 schools are competing in the cultural performances. The University of Auckland is sponsoring the Samoan Stage and staff will be judging the performances.
Be part of the extended celebrations by exploring some of the highlights of the Library’s Pacific collections:
Archive of Māori and Pacific Music
Established in 1970, the Archive includes material from most Pacific Islands areas, including commercial and field recordings of vocal and instrumental music, oral histories, stories and language resources.
Fāgogo: fables from Samoa
A collection of the Archive of Māori and Pacific Music, Fāgogo presents a selection of fables in Samoan, part of a large collection recorded in Samoa in the 1960s by Professor Richard Moyle as part of a survey of traditional forms of music.
Prominent New Zealand Pacific leader and scholar Galumalemana Alfred Hunkin describes fāgogo:
Fāgogo is an oral account told at night after a day’s chores; it was something special to look forward to as a Samoan child. The fāgogo was often told in the dark while you were getting ready to sleep, so the listeners were often required to call ‘Aue’ to signal you were awake and listening. The call also voiced your appreciation for the storytelling and the narrator.
Search the Catalogue to view television content covering previous Pasifika or Polyfest Festivals, or programmes exploring Pacific culture and celebrations.
Wednesday, March 11, 2015 9:48 AM,
B&E Information Services
This Business and Economics databases, Search Skills, Journal Articles workshop will introduce you to business resources and develop your research skills for individual assignments, group projects and/or dissertation/theses research.
It will cover a selection of key databases, how to apply search techniques to these databases, and briefly explore referencing.
Tuesday 17th March, 2015, 11:00am - 12:00pm
IC 431, Level 4, Kate Edger Information Commons, City
Tuesday 17th March, 2015, 2:00pm - 3:00pm
IC 431, Level 4, Kate Edger Information Commons, City
Thursday 19th March, 2015, 9:00am - 10:00am
IC 433, Level 4, Kate Edger Information Commons, City
Thursday 19th March, 2015, 2:00pm - 3:00pm
IC 431, Level 4, Kate Edger Information Commons, City
Friday, March 06, 2015 1:57 PM,
Since 2001 the Auckland Arts Festival has been presented every other year featuring a mix of local and international performances and exhibitions. Spanning a variety of cultures, traditions and art forms (both visual and performance) the festival aims to present an enthralling range of material to appeal to all demographics from children to adult. This year’s festival includes a number of world premieres, including pyrotechnics company Groupe F with Skin of Fire (this will be their third visit to the festival), which like their 2013 production Breath of the Volcano is based on the New Zealand environment, and the play Hīkoi written and directed byNancy Brunning which parallels a Maori family’s emotional journey with the cultural journey of Maori in New Zealand in the late 1970s and early 1980s.
Although there are no musical premieres at this year’s festival there are a number of musical productions, groups, and performers who have not been seen before in New Zealand. Of particular interest is the musical Fela! based on the life of Nigerian singer, founder of the Afrobeat style and political activist Fela Kuti. In Auckland the musical is presented in concert rather than staged and features the Tony award-winning Broadway cast. Other interesting acts include the Irish (and American) band The Gloaming, who fuse traditional Irish music with contemporary jazz; the baroque orchestra Tafelmusik whose new production aims to recreate the atmosphere of an 18th century salon with a visual feast of baroque art and architecture projected onto a screen above them; and finally a tribute to iconic jazz singer Billie Holiday by some of our best known jazz and pop singers.
Dance is not neglected either with the Cedar Lake Contemporary Ballet Company (from New York) performing for the first time in New Zealand; their triple bill of short ballet’s looks to be an exciting and diverse programme, which is billed to leave audiences ‘all shook up’. From the other side of the Atlantic, the Akram Khan Company (chorographer of the 2012 London Olympics) from the UK brings us iTMOi (in the mind of igor) a work based on Igor Stravinsky and his controversial composition The Rite of Spring.
These are but a few of the exciting music and dance events on show at the Auckland Arts Festival. In our library display this month we have chosen material related to some of the events featured in the festival- some of which I have written about here, some I have not. This includes recordings and scores of some of the works to be performed and other recordings by some of the performers. Additionally we have displayed some relevant books (in particular on Fela Kuti and Billie Holiday) and DVDs of performances: Fela Kuti at Glastonbury and Tafelmusik accompanying a performance of the opera Persée. Even if you can’t get to a performance at the Auckland Arts Festival our material can (at the least) give you a taste of some of the performances that will be taking place over the next 19 days.
Music and Dance Library
Thursday, March 05, 2015 5:16 PM,
During the early days of Auckland University College first year students were referred to as “Freshers” and their orientation experience would have been quite different from that of first year students today. In our Fun for Freshers! display we take a look back at past orientation activities through a selection of printed material and archives held here in Special Collections. Included are orientation programmes, early student handbooks, student magazines and photographs providing snapshots of Auckland University orientation from the early 1900s to the late 1990s.
As a relatively small college, with only 156 students in 1901, the social life at Auckland University College was not well established early on. 1 It wasn’t until the 1930s that clubs, associations and societies were formed and began to host events such as the Freshers’ Debate and Freshers’ Welcome.
From the 1960s onwards the term “Freshers” was used less and was instead replaced with the more familiar “Orientation”. Activities available to students were similar to those offered today. They included an Orientation dance or prom, clubs and society welcome events and film screenings. The 1968 Orientation Programme shows that the movie The Scream of Fear was being shown, but was “not recommended for nervous persons” and the German Students Society held a Frankfurter Evening to welcome new students. 2
The picture shown above is taken from a collection of Public Relations Division photographs and shows a typical scene of Orientation activities being held in the Quad during the 1990s. 3 If you look closely you can see that Mad Max was the lunchtime movie showing at the Maidment for which tickets were $1.00. By the 1980s and 1990s Orientation had become a well-established event on the University calendar and one that has continued to grow and evolve to the present day.
Leah Johnston, Special Collections
1. Sinclair, K. (1983). A history of the University of Auckland, 1883-1983. Auckland, N.Z. : Auckland University Press: Oxford University Press (p.33).
2. Auckland University Students' Association Orientation Programme, 1968. University of Auckland historical collection. Part 1. MSS & Archives E-8, box 7. Special Collections, University of Auckland Libraries and Learning Services.
3. Orientation activities held in the Quad (ca 1990). University of Auckland Department of External Relations, Public Relations Division photographic collection. MSS & Archives. 2007/10, item 9/1/3/1. Special Collections, University of Auckland Libraries and Learning Services.
Thursday, March 05, 2015 9:29 AM,
The latest volume of the Auckland University Law Review (AULR) is out now.
Alumni Symposium 2014: "Financial Market Conducts Act 2013"
Principles without Principals? Reconsidering Unauthorised Agency on the Boundary of Contract: Implied Warranty of Authority and Ratification
- Robert Schultz
A Square Peg in a Round Hole: Reshaping the Approach to Systemic Negligence in the Modem Public Service
- Rachael Baillie
"If They Wanted to Know, Why Didn't They Ask?" A Review of the Insured's Duty of Disclosure
- Hilary K Wham
A Fiduciary Perspective on the State's Duty to Protect the Environment
- Himmy Lui
A History of Taxing Capital Gains in New Zealand: Why Don't We?
- Melinda Jacomb
Privative Clauses: Parliamentary Intent, Legislative Limits and Other Works of Fiction
- Luke Sizer
Turning That Game Back On: Video Games, Violence and
the Myth of Injury to the Public Good
- Elle Crump
Succeeding at Succeeding: Revolutions, Courts and the Limits of Legality
- Adam Holden
Abuse of Process: The Need for Structure
- Finn Lowery
Ko Nga Take Ture Maori
Tasman Insulation New Zealand Ltd v Knauf Insulation Ltd
- Anna Chalton
Vinelight Nominees Ltd v Commis.sioner of Inland Revenue
- Shiv Narayan
Carr v Gallaway Cook Allan
- Nupur Upadhyay
Monday, March 02, 2015 1:41 PM,
Arts, Māori and Pacific
Want to find out more about the General Library and how it can support your study?
Come along to a General Library tour during week 1.
Each tour takes around 20 minutes and a librarian will introduce you to the Library, key services, and some IT essentials like printing, photocopying and scanning.
Where? Tours start on Level G in the entrance hall by the bottom of the staircase.
When? Monday 2 March – Friday 6 March at 10am, 12pm and 2pm.
Who? Everyone is welcome! No bookings are required.
Thursday, February 26, 2015 1:17 PM,
Geospatial data Bloggers
Modern maps purport to give users a comprehensive view of the world, a view free of empty spaces, bereft of ‘here be dragons’. While true, this may not be the whole story, where in a world fully explored lost locations may still exist. Sandy Island, for example, was a substantial landmass 24 kilometres long and 5 kilometres wide, situated 700 hundred miles off Queensland coast, Australia. However, the island was confirmed to be non-existent by the Australian Navy ship, and may have never existed, even though it was first sighted by a whaling ship in 1876 (Bonnett 2014:12). In response, Google Earth in 2012 had to correct their map and stitch over this pseudo landmass with a generic sea water image because they not only use satellite data, but also a composite of other resources, including ‘out-of-date’ maps, to produce their on-line maps.
It seems to be the other way around with a New Zealand example, where an island missing from modern maps of New Zealand is visible on ‘out of date’ maps. If you inspect Google maps or NZ Topo sheets (coordinates Lat -34.750588, Long 173.156842) you will see an empty space north of the Simmonds Islands. If you inspect Google Earth’s satellite imagery instead you will see a tiny island, 50 meters long by 40 meters wide in the same spot, a kilometre or so out from Henderson Bay in the Northland area of the North Island.
This rocky outcrop of an island with no name, has a hidden history. It appears on New Zealand Mapping Service (NZMS) series 1 topographical map at 1 inch to 1 mile (1:63,360) scale, sheet N3-4 published between 1954 and 1977. Later on, the island ‘disappears’ from NZMS 260 series at 1:50,000 scale, sheet N03 published between 1984 and 1999. And it is still missing from the current topographic series NZTopo50 (sheet AU26) maintained by Land Information New Zealand and used by emergency services and hikers alike. Production of NZMS 260 involved greater utilization of aerial photography and photogrammetric surveys, which improved spatial quality, completeness and appearance of this metric map series. It is possibly due to the use of this type of source material that cloud cover, not unusual for the Northland area, obscured the island from view, hence it wasn’t drawn on the new series. The good news is it was a simple omission, and the island will soon be back on the map.
The island then has quite a colourful history, being on and then off the map, which leaves open the fascinating question of what else has been left out? An exciting prospect for a map enthusiast like myself.
The above map series are housed in the Map Room, Level M, General Library building, City Campus. They are also available in a digital format from the GeoDataHub.
Bonnett, A., 2014. Off the Map: Lost Spaces, Invisible Cities, Forgotten Islands, Feral Places, and What They Tell Us About the World. Aurum Press, London.
Monday, February 23, 2015 9:55 AM,
In June 2014 the conductor Julius Rudel passed away. Although not as familiar a name as people such as Simon Rattle, Arturo Toscanini or Georg Solti- in fact the Music Library only has one recording with Rudel conducting, and when I mentioned him to my colleagues the response was: who?- Rudel was a fascinating person and a mainstay of the New York music scene. Born in Austria in 1921 Rudel and his family fled Austria for the United States in 1938 during the Austrian Anschluss by Hitler. On arrival to New York Rudel enrolled at Mannes College of Music with the plan to become a composer, however, after a couple of years he decided the world had enough composers and decided to switch to conducting.
In 1944 Rudel began working as a rehearsal pianist at the newly formed (est. 1943- with its first season in February 1944) New York City Opera. He worked his way through all the off stage jobs: organising props, auditions, working in stage management, conducting and casting assignments. His first conducting assignment came in 1944 conducting Johann Strass II’s The Gypsy Baron. Rudel eventually became a full time conductor and then in 1957 became the general director and chief conductor of the company. During his tenure as director of the company he was committed to premiering new works (especially American works) and new singers, as is evidenced by his casting of a relatively unknown 25 year-old Plácido Domingo in the lead role for the production of Ginestera’s Don Rodrigo, the inaugural production at the NYCO’s new home in Lincoln Center on February 22 1966 (an excerpt of which may be heard here). Rudel was also instrumental in giving Domingo his first opportunities to conduct opera in the 1970s. For Domingo these two events were extremely important to the course of his career. In the first instance the roles that he had with NYCO gave him exposure in New York, and importantly allowing him to gain contact with the American music scene. His performances with the NYCO led to roles in New York Metropolitan Opera productions, and in 1968 an official debut with the company. It should also be mentioned that our lone holding of Rudel conducting also features Domingo performing excerpts of Austrian/Germanic opera (Vienna, City of my Dreams).
Returning to Rudel, under his tenure the NYCO became known for its cutting edge productions and by the mid-1960s was regarded as one of the leading opera companies in the United States despite being one of the smallest with only two short seasons per year. Rudel’s tenure as director ended in 1979, the longest directorial tenure in the life of the company, which collapsed in 2013- Rudel is reported to have been shocked that he actually outlived the company.
In addition to his tenure at NYCO Rudel conducted with a number of other opera companies (including the New York Metropolitan Opera) and orchestras. He was the inaugural artistic director of the Kennedy Center in Washington DC, and also organised a number of music festivals across the United States. Although the Music and Dance Library has very little of his work, there are a number of recordings available on Youtube- both audio and video where you can listen to and watch his work such as this excerpt of the San Francisco Opera Company performing Saint-Saëns Samson et Delila, or Rudel conducting his protégé (who later became director of the NYCO) Beverly Sills in Bellini’s aria A te o cara, and finally conducting a concert performance of Verdi’s Otello.
Music and Dance Library
Wednesday, February 18, 2015 10:08 AM,
Arts, Māori and Pacific
The latest update to Papers Past includes content from three South Island newspapers made available online through the National Library’s collaborative digitisation programme.
The programme involves local libraries and historical societies working in partnership with the National Library to add newspapers to the database.
Christchurch City Libraries assisted with digitising editions of the Press (1929-1935) and the Star (1915-1917), and the Westport Genealogy and History Group and Lyall Adamson helped with the Westport Times (1868-1874, 1879-1884, 1886).
This new content offers rich opportunities for research, and there’s a bit of fun to be had in delving through the pages.
Browsing an edition of the Press from 80 years ago today, you’ll learn all about the hen’s party organised for bride-to-be Miss Elisabeth Morris by her bridesmaid Miss Helen Thomson, including a full list of those who attended, and an in-depth description of the “frocks” worn by Miss Morris, her mother, and Miss Thomson!
Perhaps Miss Morris' wedding dress looked like this one?
Wedding Dress, 1930s, maker unknown. Gift of Particles of Time Ltd, 1984. CC BY-NC-ND licence. Te Papa (PC003241).
Don’t worry if you’re not looking to discover the most fashionable fabric of 1935 (crepe, by the way), there’s a wealth of content to explore for those interested in New Zealand’s social, political, economic and cultural history.
About Papers Past
Papers Past is the National Library’s digitised collection of early New Zealand newspapers and periodicals, covering the years 1839 to 1945 and includes publications from all regions of New Zealand, totalling 93 in all.
All publications are fully searchable and can also be browsed according to date, region and title.
Friday, February 13, 2015 4:39 PM,
In the last Music Library display blog I mentioned DOG, the quartet made up of staff from the jazz course in the School of Music and that their debut self titled album was garnering a lot of positive critical attention. That attention has definitely paid off as they have been nominated for the 2015 Jazz Tui (Best Jazz Album). Congratulations to Ron, Kevin, Roger, and Olivier on this achievement!
Music and Dance Library
Thursday, February 12, 2015 3:52 PM,
Cardiovascular interventional medicine is an area that has rapidly expanded in recent years from relatively straightforward balloon angioplasty to complex multiple procedures, often carried out in urgent situations. The new books at the Philson library this week include three resources that focus on cardiac diagnostic and interventional techniques.
Urgent interventional therapies focuses on the urgent interventional procedures performed in the most serious and critical cases of cardiovascular and peripheral artery diseases, where immediate specialist care is required.
The third edition of Catheter ablation of cardiac arrhythmias has also arrived. This text is organised by type of arrhythmia and provides information on anatomy, diagnoses, mapping/ablation and troubleshooting.
Thursday, February 12, 2015 2:20 PM,
Arts, Māori and Pacific
The annual Summer Shakespeare production begins on Friday 13 February at the University of Auckland’s City Campus.
This year Michael Hurst directs A Midsummer Night’s Dream, one of William Shakespeare’s comedies which tells a “strange, transporting legend of an ancient Athens populated with desperate lovers, warring fairies and hapless actors” (to quote the event page).
To learn more about the production, its cast (which includes actors from Marvellous, a group of motivated senior citizens aged 65+, all with varying acting experience), and how to purchase tickets, visit Summer Shakespeare.
Take a look at the Summer Shakespeare Facebook page for behind the scenes photos and to learn more about the actors and crew involved.
Shakespeare library resources
The General Library’s Special Collections holds a number of Shakespeare’s publications, including a ten volume set of plays (including A Midsummer Night’s Dream) published in 1768.
To view digitised historic editions of Shakespeare’s work, visit Early English Books Online.
You can scroll through the pages of A Midsummer Night’s Dream published in a collection of Shakespeare’s plays from 1623.
Other databases to explore include:
The Audiovisual Library holds film versions of A Midsummer Night’s Dream, and Theatre in Video contains a 1981 BBC production of the play with a scrolling transcript to keep up with the Shakespearean dialogue!
Tuesday, February 10, 2015 1:30 PM,
The DynaMed Mobile app has been updated, and the main features include:
- Access to content offline
- Bookmark Favourites
- Email topics
- Write and save notes about particular topics
How to download and authenticate the app:
- From Google Play or the iTunes Store, download the DynaMed Mobile app to your devic
- From a web browser connect to the DynaMed database
- Click the ‘Mobile’ link (top of page) and enter your email address
- An authentication message will be emailed to you
- From your device, open the DynaMed Mobile authentication email
- Tap the link in the email to authenticate the app
Give it a try and let us know what you think!
Tuesday, February 10, 2015 8:59 AM,
If you would like to choose your own study space, there are 20 laptops available for loan at the Tāmaki Campus Library. You can borrow a laptop for 2 hours – simply bring your Student ID card to the Information Desk and we’ll take care of the rest.
Thursday, February 05, 2015 2:24 PM,
The Aldine press device and a wood-cut from Demosthenes, (1554), Orationum, Venetiis : Paulo Manutio.
Pocket-sized books and the italic typeface are two enduring printing innovations introduced by the Italian Renaissance printer-publisher Aldus Manutius, who died 500 years ago.
Born ca. 1450 near Rome, Aldus Manutius or Aldo Manuzio was a humanist scholar. He worked as a tutor before moving in about 1489 to Venice where he set up the Aldine press with backing from established printer Andrea Torresani (1451-1529) among others. Aldus, who produced his first book in 1495, is perhaps most widely renowned for publishing the first printed editions in Greek of the works of many classical Greek writers, such as Thucydides and Herodotus.1
For his books in Greek, Latin, Hebrew and the vernacular Italian, Aldus commissioned several typefaces, including Bembo and the first italic typeface from the type designer Francesco Griffo. The italic type was used in the small-format `octavo’ books Aldus introduced in 1501, which he called `libri portatiles’ or portable books. He also collaborated with leading scholars of the day, including Desiderius Erasmus and Thomas Linacre. Following Aldus’ death on 6 February 1515, the Aldine press was carried on by Torresani (by then his father-in-law) and later his son Paulo Manutius (1512-1574) and grandson Aldus Manutius (1547-1597).1
The above images are from the 1554 Aldine edition of Demosthenes' Orationum, which was printed by Aldus’ son Paulo.2 This three-volume work in Special Collections is bound in ca. 19th century half-vellum. Each volume carries the armorial bookplate for William Henry Dutton (1827-1896), a lawyer and book collector of Hewcroft, Newcastle, England, whose library was sold in London by Sotheby, Wilkinson and Hodge in 1903.3 One volume has the signature of an earlier Greek owner.
Special Collections also holds a fine facsimile edition of Aldus’ most famous work, the 1499 Hypnerotomachia poliphili,4 which is hailed for its typographical design and its many exquisite woodcut illustrations.
Jo Birks, Special Collections
1 M. Davies, (1995), Aldus Manutius : printer and publisher of Renaissance Venice, Malibu, Calif.: J. Paul Getty Museum; M. Lowry, (1979), The world of Aldus Manutius : business and scholarship in Renaissance Venice, Oxford : Blackwell.
2 Demosthenes, (1554), Orationum, Venetiis : Paulo Manutio. Glass Case 885.6 A
3 (1903), Catalogue of the interesting library of books and manuscripts of the late William Henry Dutton, Esq. (of Hewcroft, Newcastle, Staffordshire) : comprising incunabula and other early printed and modern books illustrating the history of printing ... , London : Sotheby, Wilkinson & Hodge.
4 F. Collona, (1963), Hypnerotomachia Poliphili [facsimile], London : Eugrammia Press. Glass Case 093 C71
Wednesday, February 04, 2015 10:35 AM,
contains unique life science data not indexed by Scopus or MEDLINE, and has in-depth coverage of many areas relevant to Medical and Health Research, eg:
- pre-clinical and experimental medicine
- pharmaceutical botany/pharmacognosy
- gene therapy
- biotechnology, biochemistry + lots more
It combines the old Biological Abstracts and BIOSIS Previews databases; in addition to journal articles, it also covers proceedings, books/book chapters, meeting abstracts, technical letters, notes, and life science patents.
BIOSIS may be worth a look in addition to your usual sources.
Sunday, February 01, 2015 1:28 PM,
Geospatial data Bloggers
The 2015 academic year has officially started at the University, with Summer school in full swing. Another exciting note - 2015 is also officially the International Map Year, so it is only fitting then to start the first blog of the year on Map design, namely ‘good’ map design. Quite often, defining a good map is elusive, a topic few can pin down. Conversely and frustratingly, bad maps are easily spotted and identified, often apparent by erroneous and numerous labels, confusing contents, and shocking colours. It is the frequency of bad maps that generates the discussion of good map design as a needed service. In this regard, there are few better than Kenneth Field and colleagues who contribute and maintain a blog on good map design. The prolific blog updates are framed by a very approachable narrative, summarising and outlying why and how a map gains the cartographic tick of approval. Cartographic guidelines to map design are commonly overlooked when presenting geospatial material, those design elements which could easily clarify and add weight to technical, academic, or professional undertakings.
But don’t just take my word for it, by following this link you will see an insightful discussion around 365 maps that exemplify the design, science and art behind the map making process. Examples range from historic to modern, thematic to topographic, paper to digital, monochrome to colour, geo-graphics to geo-visualisation, and of course the list goes on. Overall, it cannot be overstated all the examples in some way makes the ‘user’, novice beginner or savvy map maker, rethink of what represents a good map. At the very least these examples will provide inspiration for your own map making endeavours in 2015.
For further details on and the link to the website please click here.
Tuesday, January 27, 2015 2:50 PM,
On January 27 1945 Auschwitz concentration camp in Poland was liberated by Allied forces. This day is now commemorated around the world as International Holocaust Remembrance Day. Music has played a large role in the remembrance of the Holocaust with notable compositions including Steve Reich’s Different Trains, and Henryk Gorecki’s Symphony no. 3: Symphony of Sorrowful Songs. However, music also played a significant role on both sides of the conflict. Most people know of the Nazi’s use of music in their propaganda, but they also used music as a way of promoting their political/cultural/racial agenda. The broadest application was the ban on music written by Jewish composers, or any music performed by Jewish performers, but music was also banned because it was written, performed, or influenced by so called ‘degenerate’ cultures: African/African-American, and Roma Gypsy cultures in particular. For example, jazz was considered especially degenerate because of its ties to African-American, Jewish and Gypsy cultures both composers and performers.
For the Jewish, Gypsy and homosexual musicians who were interred in Auschwitz and the other concentration camps music could be both a personal salvation and a death sentence, depending on the whims of the camp commanders and guards. There are tales of prisoners who were allowed, even encouraged to play music for the entertainment of the camp commanders, but equally there are tales of music leading to their deaths.
At Auschwitz there were a men’s orchestra and a women’s orchestra. These orchestras were considered to confer prestige on their SS sponsors and were considered a way of furthering their own careers. For the people incarcerated in the concentration camps being invited to join the orchestra as a reprieve from the absolute horror: members of the orchestras received more food, better clothing, warmer accommodation because they had to look healthy for their performances, which included performing at the camp gates for the prisoners arriving and leaving the camp on work details, for camp executions, as well as the (slightly) more normal activities of performing in concert for the inmates, the officers and their families. These duties and the privilege of being in these orchestras made the musicians both tool and target. Musicians were a tool of torture for the Nazis to impose on the other prisoners, and a target for those who were enduring intolerable conditions and forced labour. This was one of the many ways the camp commanders and the SS encouraged hostility and antagonism between prisoner groups.
Informal music making by prisoners who were not part of this orchestra system were neither tolerated nor discriminated against by the camp commanders. However, as noted above it was very much down to the whim of the guards and the commanders what was tolerated and what was not. Informal music making among the ‘ordinary’ prisoners usually consisted of singing, since they very rarely were allowed any instruments of their own. Prisoners frequently sang on their way to and from their work details and while they worked, trying to reconnect with their identities, or creating songs (usually new lyrics to existing songs) to record experiences, events, and camp life and even their own deaths. However, even this music making could be turned against them with forced mass singing sessions as a torture device.
Music in Auschwitz and the other concentrations camps was a complicated activity inured in politics and whim, and the vast range of human emotions. It was not an activity that would be done lightly as we might sing along to a song on the radio or our digital music player; it was an activity that had potentially lethal ramifications
. At the same time however, it was an activity that allowed prisoners to retain at least a scrap of their humanity in an inhumane situation.
Currid, Brian. A National Acoustics: Music and Mass Publicity in Weimar and Nazi Germany. Minneapolis: University of Minnesota Press. 2006. (Music Library 780.943 C97)
Gilbert, Shirli. Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps. Oxford: Clarendon Press. 2005. (Music Library780.943 G46)
Kater, Michael H. Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press. 2000. (Music Library 780.943 K19)
Newman, Richard and Kitty Kirtley. Alma Rose: Vienna to Auschwitz. Portland OR: Amadeus Press. 2000. (Music Library 780.9436 R79)
Music and Dance Library
Friday, January 23, 2015 9:10 AM,
Yesterday I explained to my teenage son that he starts back at school next Tuesday because Monday is a public holiday. “Why,” he asked.
“Because it is Auckland Anniversary Day”, I explained.
“Why,” he asked.
So we looked it up and I was surprised to find that the holiday actually marks the day that Governor William Hobson landed in the Bay of Islands on 29 January 1840, not the founding of the European settlement of Auckland. Officially, Auckland was established on 18 September 1840 when Hobson’s deputy, Captain William Symonds, hoisted the Union Jack at Fort Britomart.
The holiday was established in January 1842 when Governor Hobson directed that “Saturday, the 29th instant, being the Second Anniversary of the establishment of the colony…be held a general holiday, on which the Public Offices will be closed.”1
This association of the holiday with the foundation of the colony is apparent in the introduction to the programme for the Auckland 50th jubilee celebrations in January 1890. The illustrated, 48-page programme, held in Special Collections, outlines a whole week of celebrations “on a scale of grandeur hitherto unknown in this part of the British Dominions” to mark the “proclamation of the Queen’s sovereignty over the islands of New Zealand”. Events included a procession of Friendly and Trade Societies from the Ponsonby Reservoir, along Karangahape Rd and down Symonds Street to the grounds of Government House, a horticultural show, athletics and swimming carnivals, rowing races, Maori canoe races, horse racing and of course a Jubilee Regatta.
Katherine Pawley, Special Collections
1. New Zealand government gazette. 26 January 1842, Vol. 2 , 4th edition, page 16.
'Auckland's first Anniversary Day Regatta', URL: http://www.nzhistory.net.nz/auckland-anniversary-day, (Ministry for Culture and Heritage), updated 29-Oct-2014.
Auckland jubilee celebrations 1890: guide book and official programme for use of visitors and others (1890). Auckland, NZ. H. Brett. NZGC 042 7.
Tuesday, January 20, 2015 12:23 PM,
Welcome to 2015- isn’t bright and shiny and new? As a way of celebrating the new year our display in the library this month centres on recently published and recorded music from New Zealand. There is a wide range of music on display from art music through to pop music, and a number of items (both CDs and scores) on display are by current or former staff and students at the University of Auckland.
Some items of particular interest by the current and former members of this university include:
Lilburn duos for piano and violin
Performed by pianist Michael Housten and violinist Justine Cormak, this is a very interesting CD of Douglas Lilburn’s violin/piano works. Of the four items on this CD only one- the Sonata for violin and piano (1950) had been published. While the other works were performed during Lilburn’s lifetime (the Sonata in C was premiered by celebrated violinist Maurice Clare in 1943), and occasionally after, they remained in manuscript form until Cormack and Houstoun convinced Jack Body of Wai-te-ata Press to publish the Sonata in C and the Allegro Concertante (Body was already working on publishing the Sonata in E flat).
DOG is a quartet formed by the main jazz lecturers here at Music: Roger Manins, Ron Samson, Kevin Field and Olivier Holland. The group regularly performs and records together under a number of guises but this is the debut album of this particular configuration. The group is known for their adventurous approach to post-bop jazz, and for the musical with that they display in performance and through their compositions. The self-titled album is all original compositions written by the quartet members, and has been garnering a great deal of critical acclaim hinting to a possible nomination for a New Zealand Music Award.
Henry Wong Doe: Landscape Preludes
The Landscape Preludes are a set of twelve solo piano works commissioned by pianist Stephen De Pledge in 2003 and debuted in 2008. However, this is the first time that they have appeared collectively on an album. Recorded with the assistance from the Wallace Arts Trust this album represents a recent initiative for the Trust- expanding their support and promotion of contemporary New Zealand art to recording and performing contemporary New Zealand art music. This is the first album that was recorded with the assistance of the Trust and has received significant critical acclaim since its release.
The Piano Tuner’s Performance Appraisal
Written by graduate Robbie Ellis for the Estrella Quartet (the members were students here at the time of the commission), this is a work for two pianos/four players/eight hands. Although the work does not appear on Estrella’s debut album Tui (also on display this month) the group premiered the piece in 2012 in a concert here at the University of Auckland. The work is described as novelty serialism and includes non-musical performative gestures as well- such as the performers switching places and pianos and making spoken exclamations.
These and other items (CDs and scores) are all available for borrowing, and we have plenty more new music (both local and from overseas) available to peruse and borrow. So why not celebrate the new year by listening to some new music- maybe something/someone you haven’t listened to before.
Music and Dance Library
Thursday, January 15, 2015 9:46 AM,
Addiction and the effects of dangerous consumptions on communities and society is a hot topic worldwide. The latest new books at the Philson Library include three books that focus on various aspects of addiction.
Models of addiction by the European Monitoring Centre for Drugs and Drug Addiction (EMCDDA) focusses on the most recent models and theories of drug addiction in individuals and populations, and forms part of its Insights series.
Monday, January 12, 2015 4:34 PM,
While writing the blog for our November display (Música Española) I discovered that one of the composers that I highlighted Joaquín Rodrigo (1901-1999), who was blind from age three, composed his works in braille music notation. Now most of you will be thinking: yes, that seems obvious, what’s so special about a blind composer using braille? Well, for one thing, when Rodrigo began composing the braille music system was relatively new still. For another thing many blind composers have traditionally preferred to play (or in the twentieth and twenty-first centuries, record) their compositions for assistants to transcribe. There is also the issue of transcribing braille into conventional notation for publication. For Rodrigo to use braille is also interesting because braille music notation is more used as an aid and an extension for visually impaired musicians, rather than at the core of musical education as it is for sighted musicians.
The system of braille music notation was also created by Louis Braille, who was an accomplished musician, and is the only truly international braille code. As with the other braille codes it relies on the six dot cell system (two vertical lines of three dots)
to create symbols that conveyed a variety of musical meaning from pitch, clefs, harmony, and rhythm to time, tempo, phrasing, articulation and dynamics. Because of the need to use ones fingers to read braille, blind musicians (except singers and only playing one hand on a keyboard instrument) memorise the notation before being able to play it on their instrument. In the twenty-first century blind musicians will tend to use braille as a supplement to learning pieces aurally through recordings, using braille notation primarily for sight reading purposes (reading through a work once and performing it immediately without any recourse to practice) or for preparing a new work.
Returning to Rodrigo, the process of composing in braille notation is relatively complex. Rodrigo would begin as all composers do sitting at their preferred composing instrument and working out themes and lines that would build into what becomes the composition. Then he would transcribe the work (thus far stored in his memory) into braille using a braille writing machine. These machines during Rodrigo’s day looked something like a typewriter with only six keys- something like this:
Which, by pressing the keys in various combinations, would emboss the Braille symbols onto paper.
From there Rodrigo would use the braille notation to dictate each instrument, note, and line to a sighted copyist who would render the music into notation that could be used for commercial publishing. After that had been completed Rodrigo’s wife, pianist Victoria Kamhi would then play the copy of the score back to Rodrigo and together they would make corrections and any other necessary changes before the work copied again to be made ready for use by sighted musicians and for publishing. Images of the original braille manuscript and the original copyist’s manuscript can be found on the Joaquin Rodrigo website.
As noted above visually impaired musicians tend to use braille musical notation as a supplement to their learning process because the process of reading it requires them to stop and read (unless they are singing or playing a keyboard instrument one handed). Even though we have had a number of students at the School of Music who were visually impaired to the point of being unable to use conventionally notated music, many of them have preferred to utilise recordings. Although the Blind Foundation does have a reasonable collection of braille scores in its library and such scores are also interlibrary loanable through a number of libraries around the world, when visually impaired students do need notated music electronic resources, scanning technology and the variety of transcription software available has meant that they do not require braille scores as they would have done in the past.
Music and Dance Library
Sunday, January 11, 2015 11:46 AM,
Friday, January 09, 2015 9:36 AM,
Introducing Megan Clark | Library Manager Medical and Health Sciences (Tāmaki & Grafton)
Monday, January 05, 2015 10:17 AM,
Introducing Tracy Maniapoto | Subject Librarian (Tāmaki & Grafton)
Ngāti Tūwharetoa, Te Ati Haunui-a-Pāpārangi, Ngāti Kahungunu
A fan of Twitter as a personal learning network and soy cappuccino, Tracy joined the University of Auckland as a Subject Librarian in October 2014. Her primary role is to support students and staff within MAPAS, Health Sciences & Te Kupenga Hauora Māori. Tracy is based at both the Tāmaki and Philson libraries and her contact details are available through the Libraries and Learning Services Staff page and the University Directory.
Monday, December 22, 2014 12:34 PM,
B&E Information Services
The Business Librarians will be away for the Christmas break from Wednesday 24th December.
There will be no Business Librarians in the Business Information Centre (BIC) from this date until Monday January 5th
Remember, you can contact us throughout the holiday period via email email@example.com
Happy Christmas from the Business Librarians.