Following on from the last post, what then isKa Mate Ka Oraand where did the title of this free electronic resource come from?
The very first issue was December 2005. To quote from the website introduction, 'The journal is part of the New Zealand Electronic Poetry Centre (nzepc) and is based at the University of Auckland. It will publish substantial essays (6,000 – 10,000 words), review articles, historical reappraisals, close readings, shorter notices and mixed genre criticism in the area of poetry and poetics. We intend to provide a site for discourse and debate about New Zealand poetry. We will not consider contributions of poems for publication nor will we publish short reviews of books of poems. All submissions will be sent to referees for assessment and comment. We welcome contributions from poets, academics, essayists, teachers and students from within New Zealand and overseas. ‘New Zealand’ is interpreted broadly in our journal to include expatriate and immigrant writers. New Zealand is seen as a particular locality, community, context or provocation for poetry, but within this site there is a diversity of poetic activities (the poetry discussed need not be explicitly ‘about’ New Zealand).
NZEPC frontspiece imagery - No. 8 (kia ora Richard Killeen)
Kia ora ano (Hello again; literally 'be well again')
In this Commentary I want to outline two very important electronic resources pertaining to Aotearoa-New Zealand poetry and poetics, which are not poetry publishing sites per se, but which are available to freely peruse and to contribute scholarly articles to (most especially to Ka Mate Ka Ora,which I will cover far more fully in #2) and to view recent trends, listen to poets reading their own works and so on. These sites have been established via the University of Auckland — my own institution of tertiary studies waaaaay back last century — and indeed some of the people responsible for these sites had a fair bit to do with my studies then. More of which later. This Commentary is less of a critique and much more of an introduction to these valuable sites — themselves introductions to many aspects of poetry in the skinny nation.
Translated & arranged by Richard Dauenhauer after Father Julius Jetté, S.J.
[The riddle in verbal culture is part of the stock-in-trade of academic folklore, but its relation to the poetic image has rarely been explored until recently. The workings presented here were originally published in The Riddle and Poetry Handbook, developed by Richard Dauenhauer (1942-2014) as a project of the Alaska Native Education Board in Anchorage, Alaska. With Nora Dauenhauer, a native Tlingit speaker, Dauenhauer was engaged for many years in translation projects (Tlingit into English, English into Tlingit) aimed at Tlingit-speaking audiences.
In working with Father Julius Jetté’s 1913 notes Dauenhauer set the riddles up as two-part antiphonal texts, the initial image or utterance clarified or deepened by the utterance that followed.
Ka Mate Ka Mate Ka Ora Ka Ora
Ka Mate Ka Ora - NZEPC and critical writing #2
Following on from the last post, what then is Ka Mate Ka Ora and where did the title of this free electronic resource come from?
The very first issue was December 2005. To quote from the website introduction, 'The journal is part of the New Zealand Electronic Poetry Centre (nzepc) and is based at the University of Auckland. It will publish substantial essays (6,000 – 10,000 words), review articles, historical reappraisals, close readings, shorter notices and mixed genre criticism in the area of poetry and poetics. We intend to provide a site for discourse and debate about New Zealand poetry. We will not consider contributions of poems for publication nor will we publish short reviews of books of poems. All submissions will be sent to referees for assessment and comment. We welcome contributions from poets, academics, essayists, teachers and students from within New Zealand and overseas. ‘New Zealand’ is interpreted broadly in our journal to include expatriate and immigrant writers. New Zealand is seen as a particular locality, community, context or provocation for poetry, but within this site there is a diversity of poetic activities (the poetry discussed need not be explicitly ‘about’ New Zealand).
'The Great Mother' / 'La Grande Madre' in Milan
This is a spectacular show in Milan.
Janus Pannonius Prize: photo play
photo: Dorin Tudoran
Swimming to the centre
New Zealand Electronic Poetry Centre
Kia ora ano (Hello again; literally 'be well again')
In this Commentary I want to outline two very important electronic resources pertaining to Aotearoa-New Zealand poetry and poetics, which are not poetry publishing sites per se, but which are available to freely peruse and to contribute scholarly articles to (most especially to Ka Mate Ka Ora, which I will cover far more fully in #2) and to view recent trends, listen to poets reading their own works and so on. These sites have been established via the University of Auckland — my own institution of tertiary studies waaaaay back last century — and indeed some of the people responsible for these sites had a fair bit to do with my studies then. More of which later. This Commentary is less of a critique and much more of an introduction to these valuable sites — themselves introductions to many aspects of poetry in the skinny nation.
Richard Dauenhauer: 22 Koyukon riddle-poems
Translated & arranged by Richard Dauenhauer after Father Julius Jetté, S.J.
[The riddle in verbal culture is part of the stock-in-trade of academic folklore, but its relation to the poetic image has rarely been explored until recently. The workings presented here were originally published in The Riddle and Poetry Handbook, developed by Richard Dauenhauer (1942-2014) as a project of the Alaska Native Education Board in Anchorage, Alaska. With Nora Dauenhauer, a native Tlingit speaker, Dauenhauer was engaged for many years in translation projects (Tlingit into English, English into Tlingit) aimed at Tlingit-speaking audiences.
In working with Father Julius Jetté’s 1913 notes Dauenhauer set the riddles up as two-part antiphonal texts, the initial image or utterance clarified or deepened by the utterance that followed.