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"We have never been more aware of the benefit of being out in [Nature], but how much quality time does the 'average' New Zealander spend enjoying the outdoors? While our national parks are places of spectacular wilderness, for many of us, these places are out of reach. This ... book argues for the restoration of 'neighbourhood nature' - places that all New Zealanders can freely access, irrespective of socioeconomic or other factors. New Zealand's experience of the coronavirus pandemic underscores how important these local oases of [Nature] are - and how vital they are to our wellbeing."--Back cover.
By any measure, New Zealand must confront monumental issues in the years ahead. From the future of work to climate change, wealth inequality to new populism – these challenges are complex and even unprecedented. Yet why does New Zealand’s political discussion seem so diminished, and our political imagination unequal to the enormity of these issues? And why is this gulf particularly apparent to young New Zealanders? These questions sit at the centre of Max Harris’s ‘New Zealand project’. This book represents, from the perspective of a brilliant young New Zealander, a vision for confronting the challenges ahead. Unashamedly idealistic, The New Zealand Project arrives at a time of global upheaval that demands new conversations about our shared future.
The centrality of the news media to contemporary politics demands that performance of political journalism in New Zealand is scrutinized and its function vigorously debated.
This is what I want to do. I want to go home. I want you to come with me.'I want to go from here . . .'Finger on Cape Reinga.'. . . to here.'Finger at the bottom of Stewart Island, right at the bottom of the map.It's been years since Alex was in New Zealand, and years since he spent any one-on-one time with his twin sister, Amy. When they lose their parents in a shock accident it seems like the perfect time to reconnect as siblings. To reconnect with this country they call 'home'.As they journey the length of State Highway One, they will scratch at wounds that have never healed - and Alex will be forced to reckon with what coming home really means.
In New Zealand’s France, Dr Alistair Watts investigates the origins of the New Zealand nation state from a fresh perspective — one that moves beyond the traditional bicultural view prevalent in the current New Zealand historiography. That New Zealand became British in the 1840s owes much, Dr Watts contends, to that other great colonial power of the time, France. The rich history of British antagonism towards the French was transported to New Zealand in the 1830s and 1840s as part of the British colonists’ cultural baggage, to be used in creating an old identity in a new land. Even as the British colonists sought a new beginning, this defining anti-French characteristic caused them to override the existing Māori culture with their own constructs of time and place. Leaving their signature names in the cities of Wellington and Nelson and naming their streets after Waterloo and Collingwood, the British colonisers attempted to establish a local antithesis of France through a bucolic Little Britain in the South Pacific. It was this legacy, as much as the assumed bicultural origins of modern New Zealand, that produced a Pacific country that still relies on the symbolism of the Union Jack embedded in the national flag and the totemic constitutional presence of the British Crown to maintain its national identity. This is the story of how this came about.
In this handsome book, leading photography curator Athol McCredie tells the story of the beginnings of contemporary photography also known as art photography in New Zealand. Through interviews with the photographers Gary Baigent, Richard Collins, John Daley, John Fields, Max Oettli, John B Turner, Len Wesney and Ans Westra, and accompanied by an outstanding introductory essay, McCredie shows how the break-through approach of personal documentary photography created a new field of photography in New Zealand that was not simply illustrative but rather spoke for itself and with its own language.