http://mro.massey.ac.nz:80 The MRO digital repository system captures, stores, indexes, preserves, and distributes digital research material. 2020-07-05T18:31:42Z http://hdl.handle.net/10179/15452 Determinants of radical product innovation in the New Zealand food and beverage industry : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Product Development at Massey University, Manawatu, New Zealand Pitrchart, Julawit This thesis presents an empirical study that investigates the radical product innovation phenomenon in the New Zealand food and beverage industry. Its major objectives are to posit and test determinants of radical product innovation and their relationship in explaining product innovativeness, using the New Zealand food and beverage industry as the study context. The New Zealand food and beverage industry was chosen because of its long history of successful radical product innovation and the importance of that industry to the New Zealand economy. A conceptual model is proposed, based on the literature and content-validated through field interviews with five New Zealand food and beverage companies known to be innovative. The conceptual model is then theoretically-tested using quantitative data collected from 137 food and beverage companies in New Zealand. The research hypotheses were formulated to validate five posited determinants of radical product innovation, including their interrelationships in explaining and predicting product innovativeness. In addition, the study tests the effect of company characteristics on product innovativeness and projects the salient features of a typical highly innovative New Zealand food and beverage company. The study confirmed the five posited determinants—top management innovation capability (TMIC), internal innovation capability (IIC), external networking capability (ENC), innovative organisational culture capability (IOCC), and innovative product development capability (IPDC)—are causally related to product innovativeness (PI). Of the 12 hypotheses that constitute the theory, four were not supported by data, in that the direct effects of TMIC on IPDC, IIC on IPDC, and ENC on IPDC were found to be non-significant (p > 0.05); also, the direct effect of IIC on ENC was found to be negative. The reasons for these discrepancies are discussed and the results are interpreted from a practical perspective. In regard to the effect of company characteristics on PI, younger companies as well as larger companies were found to be more innovative than their older and smaller counterparts. The effect of foreign ownership was not supported by data, probably due to a small sample size of overseas owned companies. The study also shows that a highly innovative New Zealand food and beverage company typically scores highly in the scales ii of the five posited determinants. Young (founded since 2011), and medium to large in size (50+ full-time employees) firms also tend to outperform their counterparts in PI. 2019-01-01T00:00:00Z http://hdl.handle.net/10179/15451 Understanding Indonesian primary school teachers' social-emotional practice : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Psychology at Massey University, Palmerston North, New Zealand Saptandari, Edilburga Wulan Teaching and learning is an emotional experience and teachers play a crucial role in the nature of this experience. There is consistent evidence that shows a significant relationship between teachers’ emotion, emotion regulation and social-emotional skills, and students’ emotional, social and academic outcomes (Jennings & Greenberg, 2009). However, little is known about teachers’ emotional style, especially in an Indonesian context. This thesis aims to explore the underlying dimensions of the Indonesian primary school teachers’ socialemotional practices. A mixed-methods research design was employed. The first, qualitative research phase was conducted using classroom observations, focus group discussions and individual interviews. Twelve Indonesian primary school teachers who were nominated as having excellent social and emotional skills and 45 students were recruited for this phase. The observation notes and teachers’ and students’ statements were transcribed verbatim. A thematic approach was used for data analysis. Key emergent themes included teachers’ relational philosophies about their work, teachers’ sense of duty to nurture students, teachers’ strategies to regulate their emotions and teachers’ attempts to establish classroom harmony. Based on the findings of the qualitative phase, two separate measurements to assess teachers’ social-emotional practices called Teachers’ Social-Emotional Practices – teachers’ perspectives (TSEP-T) and teachers’ social and emotional practices – and Students’ Perspectives (TSEP-S) were developed. Subsequently, in Study 2, multidimensional scaling and hierarchical cluster analysis were applied to the data to produce visual representations of the structure of teacher-perceived and student-perceived teachers’ social-emotional practices. In Study 3, the nature of teachers’ social-emotional practices was further investigated by administering TSEP-T to 90 teachers and TSEP-S to 333 students. From teachers’ data, five highly applicable clusters of social-emotional behaviours across five style patterns were identified, while from students’ data, eight highly applicable clusters of teachers’ social-emotional behaviours across ten style patterns were identified. Finally, the associations between the identified clusters and styles with a student-teacher relationship, student connectedness and wellbeing were explored using ANOVA. The findings across three phases of the study showed the Indonesian teachers’ social-emotional practices as comprising relational philosophy, emotional relationship, nurturing, emotion regulation and classroom harmony dimensions. The resulting dimensions were visually represented using “a jasmine flower” model, which allows this model to be discussed and expanded. Findings are compared and contrasted with existing literature and discussed with regard to the potential usefulness of teachers’ social-emotional styles for enhancing the teacher-student relationship, student connectedness and wellbeing. Implications based on these findings are considered for researchers and educational providers who together share responsibility for improving teachers’ social-emotional practices in primary classrooms. 2019-01-01T00:00:00Z http://hdl.handle.net/10179/15450 Lesbian style : designing a lesbian fashion collection : a thesis submitted in partial fulfilment for the degree of Master of Design, Massey University, Wellington, New Zealand Browne, Neneh Lesbian style and expression is an area of fashion which is underrepresented in the fashion industry as well as in the teachings of fashion. Fashion as an industry is overwhelmingly viewed as a gay man’s domain as men make up a majority of creative director positions in western fashion houses and many of fashion’s most influential figures are openly gay men (Pike 2016). Lesbians by comparison are associated primarily with being unfashionable – and more harshly in accordance with heterosexist feminine standards – ugly (Karaminas 2013). Through this research project, I explore how style is utilised and influenced by the lesbian experience and propose that, despite stereotypes, lesbian style goes beyond Birkenstocks and dungarees and can be used as an influence for subversive contemporary design. This research is made up of two components – an analysis of lesbian style history in the 20th century cumulating in the 1980’s, followed by an exploration of 80’s club and subcultural styles. There is a particular focus on the design practices of Vivienne Westwood, Walter Van Beirendonck and Elsa Schiaparelli. This analysis acts as the primary focus for the second component: a design practice outcome of five fashion looks using a bricolage and historic revivalist methodology inspired by 80’s subcultural style. The design outcome aims to showcase how clothing can be designed with specific lesbian coding. All copyrighted Figures have been removed, but each may be accessed via the source link provided in the List of Figures. 2019-01-01T00:00:00Z http://hdl.handle.net/10179/15449 Imagining ecologies : traditions of ecopoetry in Aotearoa New Zealand : a thesis submitted to Massey University in fulfilment of the requirements for the degree of Doctor of Philosophy, Massey University of Palmerston North Newman, Janet Elizabeth New Zealand ecopoetry tells the stories of connection with and separation from the land. From the late nineteenth century until the present, opposing and changing notions of ecological loss and belonging have underlain New Zealand’s long lineage of ecopoetry in English. Yet, from a critical perspective, such a tradition is essentially invisible. Scholars have tended to fragment New Zealand ecopoetry according to themes and time periods. But taken as a whole, the tradition not only provides local stories of human relationships with nature transformed by colonialism, it challenges some established conceptions of ecopoetry. Discussions within the relatively new field of post-colonial ecocriticism reveal the importance of local writing. Scholars have emphasized that particular national histories especially in places of settler colonialism have “contributed to the hybridization and creolization of plants, peoples, and place in ways that profoundly denaturalize absolute ontological claims,” (DeLoughrey 2014 325). This approach recognises that rather than a global framework of ecological change, experiences differ according to specific locations and across different timeframes. With this approach in mind, the critical component of this thesis investigates the field of ecopoetry and maps New Zealand’s ecopoetic lineage. It reports on close readings and analysis of contemporary ecopoetry by three New Zealand poets: Brian Turner (b. 1944), Robert Sullivan (b. 1967) and Airini Beautrais (b. 1982). It finds that New Zealand ecopoetry portrays particular tensions about understandings of nature and the human relationship with it. These tensions challenge in specific ways some of the homogenizing, Eurocentric conceptions that prevail in foundational work carried out in the field of ecopoetry since the 1990s. The creative component is a collection of original ecopoems entitled Anti- Pastoral. These poems reflect on my own connection to land through farming over four generations of European settlement in New Zealand. Some poems focus on the degrading effects on people and animals of relatively recent shifts towards large-scale intensive farming. In the critical component I ask: How do we define and depict New Zealand’s long tradition of ecopoetry? How does that tradition speak back to and challenge existing definitions of ecopoetry and of ecology? In the creative component, I ask: How do I, a Pākehā poet and farmer, join that tradition? 2019-01-01T00:00:00Z