New Zealand

The European Garden Flora

The Handbook of New Zealand Mammals

The Handbook of New Zealand Mammals is the only definitive reference on all the land-breeding mammals recorded in the New Zealand region (including the New Zealand sector of Antarctica). It lists 65 species, including native and exotic, wild and feral, living and extinct, residents, vagrants and failed introductions. It describes their history, biology and ecology, and brings together comprehensive and detailed information gathered from widely scattered or previously unpublished sources. The description of each species is arranged under standardised headings for easy reference. Because the only native land-breeding mammals in New Zealand are bats and seals, the great majority of the modern mammal fauna comprises introduced species, whose arrival has had profound effects both for themselves and for the native fauna and flora. The book details changes in numbers and distribution for the native species, and for the arrivals it summarises changes in habitat, diet, numbers and size in comparison with their ancestral stocks, and some of the problems they present to resource managers. For this third edition, the text and references have been completely updated and reorganised into Family chapters. The colour section includes 14 pages of artwork showing all the species described and their main variations, plus two pages of maps.

Making New Zealand's Pop Renaissance

Since the early 2000s New Zealand has undergone a pop renaissance. Domestic artists' sales, airplay and concert attendance have all grown dramatically while new avenues for 'kiwi' pop exports emerged. Concurrent with these trends was a new collective sentiment that embraced and celebrated domestic musicians. In Making New Zealand's Pop Renaissance, Michael Scott argues that this revival arose from state policies and shows how the state built market opportunities for popular musicians through public-private partnerships and organizational affinity with existing music industry institutions. New Zealand offers an instructive case for the ways in which 'after neo-liberal' states steer and co-ordinate popular culture into market exchange by incentivizing cultural production. Scott highlights how these music policies were intended to address various economic and social problems. Arriving with the creative industries' discourse and policy making, politicians claimed these expanded popular music supports would facilitate sustainable employment and a sense of national identity. Yet popular music as economic and social policy presents a paradox: the music industry generates commercial failure and thus requires a large unattached pool of potential talent. Considering this feature, Scott analyses how state programs induced an informal economy of proto-pop production aimed at accessing competitive state funding while simultaneously encouraging musicians to adopt entrepreneurial subjectivities. In doing so he argues New Zealand's music policies are a form of social policy that unintentionally deploy hierarchical structures to foster social inclusion amongst growing numbers of creative workers.