An authoritative demographic history of the New Zealand family from 1840&–2005, this reference is a collection of statistics that interprets the changing role of the family and its members. Using detailed research spanning 165 years, the authors chart the move from the large family of the 19th century to the baby boom, the increase in family diversity, and the modern trend towards unsustainably small families. This analysis of society helps trace changing attitudes and the structure of society by noting the reasons for and consequences of the demographic changes.
Over the last decade there has been an intense and widespread interest in the writing and publishing of cookery books; yet there remains surprisingly little contextualized analysis of the recipe as a generic form. This essay collection asserts that the recipe in all its cultural and textual contexts - from the quintessential embodiment of lifestyle choices to the reflection of artistic aspiration - is a complex, distinct and important form of cultural expression. In this volume, contributors address questions raised by the recipe, its context, its cultural moment and mode of expression. Examples are drawn from such diverse areas as: nineteenth and twentieth-century private publications, official government documents, campaigning literature, magazines, and fictions as well as cookery writers themselves, cookbooks and TV cookery. In subjecting the recipe to close critical analysis, The Recipe Reader serves to move the study of this cultural form forward. It will interest scholars of literature, popular culture, social history and women's studies as well as food historians and professional food writers. Written in an accessible style, this collection of essays expands the range of writers under consideration, and brings new perspectives, contexts and arguments into the existing field of debate about cookery writing.
The New Zealand Family From 1840 is a definitive history of the changing New Zealand family from colonial times, written by leading demographer Ian Pool and colleagues. Not merely a collection of statistics, it interprets the changing story of the family and its makeup, its members and its reach at a time when interest in the family is keen. Using detailed research spanning 165 years, the authors chart the transitions from the large family of the nineteenth century to the 'Baby Boom', the increase in family diversity, and the modern trend towards unsustainably small families. This analysis of our society's 'building blocks' helps us to trace changing attitudes and the structure of society itself, by noting the reasons for and consequences of the demographic changes the book describes. The New Zealand Family's account of the history of family and whanau is important for recording the past but even more important for its implications for the future. As the authors conclude, 'the family may fail New Zealand because in many ways New Zealand has failed its families' - this book tells that story.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Southern Cross cuts through my heart instead of through the sky.' A weekend away from home. But where is home? Is it London? Or New Zealand? Grace Cleave, expatriate novelist living in London, is holidaying in the north of England. Her host asks why she has abandoned her homeland: 'Don't you ever want to go back?' 'I was a certified lunatic in New Zealand. Go back? I was advised to sell hats for my salvation.' In this previously unpublished novel, Janet Frame explores themes of travel and return, homesickness and belonging. Grace is a migratory bird, longing for her own place in the world, if she can only decide where it is. She is struggling to establish her identity as a writer, but first she must learn to be comfortable in her own skin (feathers and all). Written in 1963, this work is an exquisitely composed precursor to An Angel at My Table, the autobiography Janet Frame wrote 20 years later (inspiring Jane Campion's memorable film adaptation). Frame rejected the pressure to publish TOWARDS ANOTHER SUMMER in her lifetime, because she claimed the story was 'embarrassingly personal'. And indeed she does turn her unflinching eye on herself, foibles and all; often enough the joke is at her own expense.
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