New Zealand literature

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New Zealand literature.

In the 20th cent. New Zealand developed a vital literary tradition, though only a few of its authors are well-known outside its islands: Katherine MansfieldMansfield, Katherine,
1888–1923, British author, b. New Zealand, regarded as one of the masters of the short story. Her original name was Kathleen Beauchamp. A talented cellist, she did not turn to literature until 1908.
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, short-story writer; Sylvia Ashton-WarnerAshton-Warner, Sylvia,
1905–84, New Zealand British novelist and educator, b. Stratford, New Zealand. For years a teacher of Maori children, Ashton-Warner developed many stimulating educational methods about which she wrote in the treatise Teacher
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, novelist and teacher; Eileen Duggan, poet; Dame Ngaio MarshMarsh, Dame Ngaio
, 1899–1982, New Zealand detective story writer. She was an art student, actress, and theatrical producer before her first novel, A Man Lay Dead, was published in 1934.
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, writer of detective fiction; and Janet FrameFrame, Janet
(Janet Paterson Frame Clutha) , 1924–2004, New Zealand novelist, b. Dunedin. Frame's complex, disturbing novels are marked by startling images and masterful language.
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, novelist. Nonetheless, New Zealand has maintained a flourishing literary culture since the 1930s. John Mulgan and Frank Sargeson initiated the New Zealand school in the interwar years, followed after World War II by Maurice Duggan, James K. Baxter, and Ian Cross. In subsequent decades, writers such as Maurice Gee and Maurice Shadbolt extended the permissible range of subjects to include New Zealand's Maori heritage. This new freedom is evident in works like Keri Hulme's The Bone People (1984) and Witi Ihimaera's writings. New Zealand has also figured in the works of many authors from Alfred Domett and Samuel ButlerButler, Samuel,
1835–1902, English author. He was the son and grandson of eminent clergymen. In 1859, refusing to be ordained, he went to New Zealand, where he established a sheep farm and in a few years made a modest fortune.
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 in the 19th cent. to the present-day students of Maori culture and New Zealand government.


See histories of New Zealand literature by A. Mulgan (1943), E. H. McCormick (1959), and J. C. Reid and P. Cope (1979); J. Stevens, The New Zealand Novel, 1860–1965 (2d ed. 1966); New Zealand Short Stories, a series of anthologies (1953–84); F. Adcock, The Oxford Book of Contemporary New Zealand Poetry (1982), and I. Wedde and H. McQueen, The Penguin Book of New Zealand Verse (1985).

References in periodicals archive ?
Less immediately evident, but equally reductive, is the pervasive if unacknowledged (earlier) critical assumption that the lonely man at the symbolic centre of New Zealand literature is a European (Pakeha) one, a white man facing the "empty," alien landscape of the new colony, or the loneliness of pioneer life, or the loss of religious certainly and social structure that characterizes the angst of (European) modernism.
The New Zealand literature features many "conditions" that need to be in place for collaboration to occur, and several reports focus on what is required for collaboration to be a success.
Many of the writers who have passed through the workshop have gone on to become significant figures in contemporary New Zealand literature and, in several cases, internationally.
Together with Grace, the poet Hone Tuwhare and the novelist Witi Ihimaera became the pioneers in the inscription of the Maori voice in New Zealand literature.
7) Allen Curnow, 'New Zealand Literature: The Case for a Working Definition', in Essays on New Zealand Literature, ed.
They touch on subjects such as outdoor education, wilderness in New Zealand literature, personal journeys of transformation in the wilderness, and the preservation and future of New Zealand's wilderness.
While internationally it is clear models of care that emphasise the relationships between health professional and the person seeking care improve health outcomes, (10) there is still little in the New Zealand literature that either examines or proposes the use of people-centred models of care.
A specific vocational focus in Asian mental health services is not yet visible in New Zealand literature or official documents; however, it is legitimated from strategic plans, and therefore is feasible, particularly in the Auckland region.
Two approaches are employed: firstly, the paper reviews current New Zealand literature to identify the research knowledge currently available to inform development of the strategy, and, secondly, the paper draws on the findings of a scoping study that aimed to identify research needs from the perspective of those working as educators, service providers and researchers in the field of adolescent sexual health.
This means that New Zealand literature, for example, appears in two widely separated sections: Patricia Grace is in the first, Janet Frame in the third.
Significant in this emergence of different voices in New Zealand literature is the experience of marginality and exclusion which Batistich, Sturm and Grace shared firstly as women and secondly as women writers in a patriarchal society and literary establishment.
The fringes of New Zealand literature still utilise the photocopier for material distribution of their work even while they develop and distribute their work digitally and online.

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