Academic literature on the topic 'Contemporary Hawaiian art'
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Journal articles on the topic "Contemporary Hawaiian art"
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Wilhelm, Lindsay. "Bright Sunshine, Dark Shadows." Nineteenth-Century Literature 75, no. 4 (March 1, 2021): 495–526. http://dx.doi.org/10.1525/ncl.2021.75.4.495.
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Lindsay Wilhelm, “Bright Sunshine, Dark Shadows: Decadent Beauty and Victorian Views of Hawai‘i” (pp. 495–526) Inspired by the recent global turn in aestheticism and decadence studies, this essay considers how late-Victorian discourses surrounding beauty, pleasure, and morality inform contemporary literary representations of Hawai‘i as both supremely inviting and dangerously languorous. The essay begins with a short overview of the broader geopolitical and historical circumstances that helped shape nineteenth-century understandings of Hawai‘i—a place renowned abroad for its beauty and hospitality, but nonetheless still notorious as the site of James Cook’s death in 1779. Next, the essay traces the peculiar ambivalence with which travel memoirs such as Isabella Bird’s The Hawaiian Archipelago (1875) and Constance Gordon-Cumming’s Fire Fountains (1883) describe their authors’ experiences in the islands. In these memoirs, Hawai‘i evidences the same convergence between beauty and decay that undergirds the controversial aesthetics of Algernon Charles Swinburne, Oscar Wilde, and other adherents of the creed of “art for art’s sake.” Focusing particularly on Robert Louis Stevenson’s fairy tale “The Bottle Imp” (1891), the essay then examines the ways in which Victorian writers utilize Hawai‘i’s leprosy epidemic as an occasion for exploring the perils of aesthetic hedonism. The essay concludes by briefly turning to the work of nineteenth-century Hawaiian historian Samuel Kamakau, whose own depictions of the decaying Hawaiian village reveal, by contrast, how these British accounts enlist the language of decadence in the service of empire.
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Amarantidou, Dimitra, and Paul J. D'Ambrosio. "Philosophy Pizza." Asian Studies 10, no. 3 (September 2, 2022): 183–99. http://dx.doi.org/10.4312/as.2022.10.3.183-199.
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The history of pizza is shrouded in mystery. Competing interpretations of the exact origin, development, and even etymology are as diverse as pizzas themselves. What is certain, however, is that from various types of flatbread meals popular among soldiers and poor workers emerged some standards. Certain experts were then able to refine the process and carefully combine ingredients. The key to this tradition, as well as its popularity around the world, is found in the core elements developed by such pizzaiolos. But this has all changed, and contemporary pizza is no longer topped with whatever just happens to be available, as in the flatbreads of old. Nor does it have to adhere to the standards set forth by experts on taste. Today there are Hawaiian, chocolate, and even fruit pizzas. There are pizzas with cauliflower crust, smashed chicken “bread” and pizzas topped with 24 karat gold. And perhaps most importantly, customized pizzas—pizzas that are designed by the consumer with no regard for anything but their own momentary desires. We think this represents a twofold problem, in terms of both approach and of carrying on tradition, and also think comparative philosophy is just like pizza. In this paper we will thus address these problems through proposing a conception of the trans-cultural that is linked to the art of pizza. Moreover, we expand the scope of diversification to include methodology. Based on methodological insights derived from Chinese tradition and contemporary Chinese scholarship, we argue that comparative philosophy as an art (poiesis) could be a welcome alternative which involves: respect for authority (tradition), trust in tested methods and recipes as conditions for creativity and originality, recognition of the philosophical import of style (form is content) and the significance of inspiration and mastery of skills.
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Christensen, Carl C., Kenneth A. Hayes, and Norine W. Yeung. "Taxonomy, Conservation, and the Future of Native Aquatic Snails in the Hawaiian Islands." Diversity 13, no. 5 (May 18, 2021): 215. http://dx.doi.org/10.3390/d13050215.
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Freshwater systems are among the most threatened habitats in the world and the biodiversity inhabiting them is disappearing quickly. The Hawaiian Archipelago has a small but highly endemic and threatened group of freshwater snails, with eight species in three families (Neritidae, Lymnaeidae, and Cochliopidae). Anthropogenically mediated habitat modifications (i.e., changes in land and water use) and invasive species (e.g., Euglandina spp., non-native sciomyzids) are among the biggest threats to freshwater snails in Hawaii. Currently, only three species are protected either federally (U.S. Endangered Species Act; Erinna newcombi) or by Hawaii State legislation (Neritona granosa, and Neripteron vespertinum). Here, we review the taxonomic and conservation status of Hawaii’s freshwater snails and describe historical and contemporary impacts to their habitats. We conclude by recommending some basic actions that are needed immediately to conserve these species. Without a full understanding of these species’ identities, distributions, habitat requirements, and threats, many will not survive the next decade, and we will have irretrievably lost more of the unique books from the evolutionary library of life on Earth.
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Harden, Jordan Kalani. "Understanding Native Hawaiian Land Relations Through Kānaka Maoli Literature." Oregon Undergraduate Research Journal 18, no. 1 (2021): 94–141. http://dx.doi.org/10.5399/uo/ourj/18.1.6.
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Within a hegemonic Western discourse, Hawai‘i is largely considered an aesthetic tourist destination. It is perceived to be a vacation haven, bountiful in opportunities for real estate, commodification, and gentrification. While endeavors such as these have indeed proven to be economically prolific for the state, the profits do not directly, if even remotely, benefit the Native Hawaiians whose land continues to be seized and commodified in the name of said profits. Therefore, that dominant discourse which paints Hawai‘i as a tourist destination of great economic potential is in fact a colonialist notion, denoting Hawaiian land as public property to be seized, altered, and owned. In reality, the land that is used for expansive capitalist ventures is often seized from Native people, as has been the trend since settlers first invaded Hawai‘i. This truth is further troubling when one considers Native Hawaiian land relations and the spiritual connection that many Kānaka Maoli (Native Hawaiians) have to that land. In light of the spiritual ties that many Kānaka Maoli have to land, or 'āina, its seizure and alteration by non-Native persons is an act of colonialism against not only Kānaka Maoli homes, but also against our bodies and spirits. This spiritual and emotional connection between Kānaka Maoli and our land is deeply rooted, and it is an idea commonly expressed in contemporary Kanaka culture by the term aloha ʻāina. In understanding this sentiment, it is essential that one first understands that aloha carries a much deeper meaning than the Hawaiian “hello” and “goodbye.” Aloha connotes one’s deep love for and connection to Kanaka culture. It also signifies love for one’s neighbors, friends, and ancestors. In essence, aloha ʻāina is an expression of one’s identification with and commitment to Hawaiian land and its connected historical and cultural significance. By close reading Kanaka texts and terminology such as this, one can begin to understand the sanctity of Kanaka land relations, thereby lending to an understanding of one of the ways by which colonialism against Kānaka Maoli continues in perpetuity. In this thesis, I will investigate and discuss relationships between Kanaka bodies and ‘āina. I will do this by close reading Kanaka literature, including the Hawaiian creation mele known as the Kumulipo, the narrative and performative device that is hula, and my Auntie Betty's stories that have been passed down to me through oral storytelling. I will contextualize my findings in both historical and contemporary frames. Ultimately, I am conducting this research with the aim of contributing to existing scholarship which aims to dismantle the dominant narrative which suggests that we live in a post-colonial era. The idea that colonialism is an extinguished historical event is a dangerous and false misconception that allows for the perpetuation of the discriminatory maltreatment of marginalized Indigenous communities and cultures. This discrimination is enacted in countless ways, including but in no way limited to the seizure of Kānaka Maoli lands. It is my hope that this research will encourage any and all readers to continue to learn about Kanaka Maoli and other Native cultures, and that this endeavor for further knowledge will lead to advocacy on behalf of, and greater reverence toward Native people, narratives, and knowledge.
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Goodyear-Ka‘ōpua, Noelani, and Bryan Kamaoli Kuwada. "Making ‘Aha: Independent Hawaiian Pasts, Presents & Futures." Daedalus 147, no. 2 (March 2018): 49–59. http://dx.doi.org/10.1162/daed_a_00489.
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We use Hawaiian methods of knowledge production to weave together contemporary and historical instances of Kanaka Maoli (Native Hawaiian) political resistance to U.S. imperialism and settler colonialism. Our departure point is the summer of 2014, when hundreds of Kānaka came forward to assert unbroken Hawaiian sovereignty and reject a U.S. Department of Interior (DOI) proposal to create a pathway for federal recognition of a reorganized Native Hawaiian governing entity. This essay situates testimonies from these hearings within a longer genealogy of Kanaka assertions of “ea” (sovereignty, life, breath) against the prolonged U.S. military occupation of Hawai'i that began in 1898 and extends to the present.
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Desmond, Jane C. "Invoking "The Native": Body Politics in Contemporary Hawaiian Tourist Shows." TDR (1988-) 41, no. 4 (1997): 83. http://dx.doi.org/10.2307/1146662.
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Wander, Maggie. "Making new history: Contemporary art and the temporal orientations of climate change in Oceania." Journal of New Zealand & Pacific Studies 9, no. 2 (December 1, 2021): 155–78. http://dx.doi.org/10.1386/nzps_00072_1.
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This article explores artistic production in the region of Oceania that resists the ahistorical and future-oriented temporality of climate change discourse, as it perpetuates colonial structures of power by denying Indigenous futures and ignoring the violent histories that have led to the current climate breakdown. In the video poem Anointed (2018), prominent climate justice activist Kathy Jetñil-Kijiner strategically combines spoken word poetry with visual montage in order to situate Cold War nuclear tests by the US military within the same temporal plane as rising sea levels currently threatening the Marshall Islands. Katerina Teaiwa’s exhibition Project Banaba (2017) similarly mobilizes archival imagery in order to visualize the genealogical relationship between Banabans and the settler landscapes of Aotearoa New Zealand and Australia. Sean Connelly’s architectural and design practice in Hawaii Futures, an ongoing digital design project that engages with the threats of sea level rise and coastal erosion in Hawaii, problematizes linear formations of time and favours a future structured around cyclical, ecological time instead. Interacting with vastly different sites, strategies and temporalities, these three multidisciplinary projects provide critical alternatives to the ahistorical framing of colonial climate change in Oceania and thus play a crucial role in constructing a more just future.
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Fisher Sorgenfrei, Carol. "The Sense of an Ending: Contemporary Visions of Medea." New Theatre Quarterly 38, no. 3 (July 19, 2022): 242–57. http://dx.doi.org/10.1017/s0266464x22000173.
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The story of Medea’s murder of her own children to gain revenge against their faithless father has been tackled from many angles by playwrights and directors from Euripides’ time to the present. In recent years, due to highly sensationalized, real-life cases of mothers murdering their children, it has become fodder for sociologists, criminologists, psychologists, and feminists. Many recent productions (both original plays and directorial approaches to Euripides’ original) have avoided tackling the difficult questions raised by Euripides’ ending, which demands an answer to the following question: how could the gods send down a dragon-drawn chariot to rescue a woman who murdered her own children? Many contemporary authors and directors prefer to eliminate Euripides’ ending in order to focus on more immediate issues, such as the psychological or social damage resulting from patriarchy, colonialism, and misogyny. After considering several such productions, this article analyzes three plays that directly tackle Euripides’ troubling ending: two original scripts, by Heiner Müller and Carol Fisher Sorgenfrei respectively; and a production of Euripides’ original by Japanese director Miyagi Satoshi. Carol Fisher Sorgenfrei is Professor Emerita of Theatre at UCLA. An expert on postwar Japanese and cross-cultural performance, she is also a translator, director, and playwright. The author of Unspeakable Acts: The Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii Press, 2005) and co-author of Theatre Histories: An Introduction (third edition, Routledge, 2016), she has published over a hundred articles, chapters, and reviews. She is an Associate Editor of Asian Theatre Journal and a Fellow of the College of Fellows of the American Theatre.
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Bettinson, Gary. "9Film Theory." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 160–80. http://dx.doi.org/10.1093/ywcct/mbz009.
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AbstractIn this chapter I review six contributions to the field of film theory published in 2018: Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (Oxford University Press); Miklós Kiss and Steven Willemsen’s Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh University Press); Nicholas Godfrey’s The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood (Rutgers University Press); Peter Krämer and Yannis Tzioumakis’s The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (Bloomsbury Academic); Dorothy Wai Sim Lau’s Chinese Stardom in Participatory Cyberculture (Edinburgh University Press); and Gina Marchetti’s Citing China: Politics, Postmodernism, and World Cinema (University of Hawaii Press). The chapter has three sections: 1. Cognition, Emotion, and Ethics; 2. The New Hollywood; 3. Contemporary Chinese Cinema.
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Takeuchi, David T., and David R. Williams. "PAST INSIGHTS, FUTURE PROMISES." Du Bois Review: Social Science Research on Race 8, no. 1 (2011): 1–3. http://dx.doi.org/10.1017/s1742058x11000154.
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Over one hundred years ago, W. E. B. Du Bois (1899) documented large, pervasive, and persistent racial inequities in health. While the current demography of racial groups in the United States is radically different compared to the times when Du Bois first discussed issues of race and health, many of the significant developments in research on racial differences in health in the last century can be traced to his seminal work (Williams and Sternthal, 2010). Du Bois recognized that the limited access to economic resources and the social marginalization of some racial groups could have dire social, physical, and psychological consequences for them. Current research studies continue to document that racial groups with a long history characterized by economic exploitation and geographic marginalization—Blacks or African Americans, American Indians, and Native Hawaiians and other Pacific Islanders—have markedly poor health outcomes compared to the dominant White population. Immigrant Asians and Hispanics tend to have better health than the U.S. average, but their health tends to worsen over time and across subsequent generations. Despite Du Bois's prescience and the advances made by contemporary researchers, there are many substantive theoretical and methodological challenges confronting scholars who study the health of diverse racial and ethnic groups. This special issue of the Du Bois Review provides a state-of-the-art overview of some of these unanswered questions and critical research directions for the study of racial inequality in health.
Dissertations / Theses on the topic "Contemporary Hawaiian art"
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Kay, Dianne Fife. "Contemporary Hawaiian carving, sculpture, and bowl-turning : an analysis of post-contact and cultural influences." Thesis, 1990. http://hdl.handle.net/10125/9294.
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"Hawaiian glossary": leaves 604-615.Thesis (Ph. D.)--University of Hawaii at Manoa, 1990.
Includes bibliographical references (leaves 616-639)
Microfiche.
xxiv, 639 leaves, bound ill. 29 cm
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Tamaira, Andrea Marata. "Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i." Phd thesis, 2015. http://hdl.handle.net/1885/13866.
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Since the overthrow of the Hawaiian Kingdom in 1893 and the subsequent illegal
annexation of the Islands by the United States in 1898, Native Hawaiians (Kānaka
Maoli) have vigilantly contested U.S. colonialism in Hawaiʻi and have resolutely sought
to defend and affirm their existence as the still sovereign people of their homeland
through political, legal, cultural, and artistic means. While the first three instances of
indigenous resistance have been well documented in numerous books, journal articles,
and theses, there remains a largely untapped field of academic enquiry concerning the
role of contemporary Kanaka Maoli art within this milieu. This dissertation seeks to
close the gap with an examination of how Native Hawaiian artists use the visual arts as
a tool to assert their socio-political aspirations, affirm their sovereign identity, and
disrupt the colonial status quo by representing themselves on their own terms. Here, the
visual arts function as an abstract expression of Native power.
As an analytical anchor, I use Tuscarora scholar Jolene Rickard’s term “visual
sovereignty” to investigate three discrete contexts in which Kanaka Maoli art is
produced: “high” art, commercial art, and public art. For the purpose of this study, I
define visual sovereignty as an aesthetic strategy through which Kanaka Maoli artists
articulate an indigenous-centered perspective that conveys Native epistemologies,
ongoing political struggles, and ancestral connection to place. An examination of
contemporary Kanaka Maoli art using this paradigm has not yet been advanced in the
Hawai‘i context but a growing body of scholarship by Native American and First
Nations academics and art practitioners indicates the indispensability of opening up a
discussion that attends to Kanaka Maoli visual culture as an articulation of indigenous
sovereignty. This thesis is a nascent step toward that end.
Books on the topic "Contemporary Hawaiian art"
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Thurston, Twigg-Smith, Deeds Daphne Anderson, and Yale University Art Gallery, eds. Hawaiian eye: Collecting contemporary art with Thurston Twigg-Smith. [New Haven]: Yale University Art Gallery, 1997.
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Cazimero, Momi, Manulani Aluli Meyer, and David J. de la Torre. Na Maka Hou: New Visions - Contemporary Native Hawaiian Art. Honolulu Academy of Arts, 2001.
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van Dooren, Thom. A World in a Shell. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/14579.001.0001.
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Following the trails of Hawai'i's snails to explore the simultaneously biological and cultural significance of extinction. In this time of extinctions, the humble snail rarely gets a mention. And yet snails are disappearing faster than any other species. In A World in a Shell, Thom van Dooren offers a collection of snail stories from Hawai'i—once home to more than 750 species of land snails, almost two-thirds of which are now gone. Following snail trails through forests, laboratories, museums, and even a military training facility, and meeting with scientists and Native Hawaiians, van Dooren explores ongoing processes of ecological and cultural loss as they are woven through with possibilities for hope, care, mourning, and resilience. Van Dooren recounts the fascinating history of snail decline in the Hawaiian Islands: from deforestation for agriculture, timber, and more, through the nineteenth century shell collecting mania of missionary settlers, and on to the contemporary impacts of introduced predators. Along the way he asks how both snail loss and conservation efforts have been tangled up with larger processes of colonization, militarization, and globalization. These snail stories provide a potent window into ongoing global process of environmental and cultural change, including the largely unnoticed disappearance of countless snails, insects, and other less charismatic species. Ultimately, van Dooren seeks to cultivate a sense of wonder and appreciation for our damaged planet, revealing the world of possibilities and relationships that lies coiled within a snail's shell.
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McDaniel, Justin Thomas. Buddhist Museums and Curio Cabinets. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824865986.003.0004.
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This chapter looks at the rise of Buddhist museums in contemporary Asia. Curators at private and sometimes explicitly sectarian Buddhist museums have attempted to appeal to a wider audience and have abandoned particular sect’s rituals, liturgies, symbols, and teachings to promote a new vision of Buddhism without borders. This opening up of their collections, as well as the active acquisition of new material, demonstrates a particular type of Buddhist ecumenism – an ecumenism without an agenda. The multiple affective encounters these museums allow create ecumenical environments allow visitors to leisurely experience Buddhist distraction What follows are stories of curators, architects, and monks who favor display over dogma, curiosity over conversion, spectacle over sermon, and leisure over allegiance. Specially, Shi Fa Zhao’s Temple of the Buddha’s Tooth in Singapore, The Ryukoku University (Jodo Shinshu) Museum in Kyoto, and others are compared to Buddhist galleries at museums in Europe and North America.
Book chapters on the topic "Contemporary Hawaiian art"
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Kahanu, Noelle M. K. Y., Moana Nepia, and Philipp Schorch. "He alo ā he alo / kanohi ki te kanohi / face-to-face: curatorial bodies, encounters and relations." In Curatopia, 296–316. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0019.
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Throughout the Pacific, interpersonal encounters are characterized by a deep level of physical intimacy and engagement - from the honi/hongi, the face-to-face greeting, to the ha‘a/haka wero, acts of challenge that also serve as a celebratory acknowledgement of ancestral presences. In these physical exchanges, relationships are built, tended, and tested through an embodied confirmation of values, practices, and ethics. For museums holding Pacific collections, the importance of relationships, and their physicality, persists. The increasing acknowledgment of, and interaction with, communities of origin, whose works reside in museums throughout the world, is thereby not a new practice but the current stage of a continuum of relations that have ebbed and flowed over centuries. This chapter involves the interdisciplinary work of three scholars whose research, interests and collaborations coalesce around concepts of indigenous curatorial practice. Kahanu focusses on Bishop Museum’s E Kū Ana Ka Paia exhibition (2010), which featured important Hawaiian temple images loaned from the British Museum and the Peabody Essex Museum, as well as the Nā Hulu Ali‘i exhibition which gathered Hawaiian featherwork from around the world (2015/2016). She highlights how the Hawaiian practice of he alo a he alo in cross-cultural contexts facilitated these exhibitions, thereby ultimately enabling extensive community engagement. Nepia discusses two recent programs at the University of Hawai‘i, ARTspeak and the Binding and Looping: Transfer of Presence in Contemporary Pacific Art exhibition, as a means of examining how Pacific Island artists articulate contemporary creative practice, particularly as it relates to physical and bodily encounters. Schorch concludes the volume with a coda which historicises Curatopia and its underpinning relations and engagements He Alo A He Alo / Kanohi Ki Te Kanohi / Face to Face.
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Sharma, Nitasha Tamar. "The Racial Imperative." In Beyond Ethnicity. University of Hawai'i Press, 2018. http://dx.doi.org/10.21313/hawaii/9780824869885.003.0008.
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In line with the broader mission of this collection, this essay highlights race as central to group dynamics and contemporary life in Hawai‘i. It analyzes how race comingles with indigeneity through the relations between Blacks and Hawaiians in ways that disrupt the predominant paradigms of culture and ethnicity that tend to obfuscate dispossession, racism, and unequal power relations. I highlight this history and call upon my findings from interviews with Black residents in the islands, including Black Hawaiians (locals whose fathers are Black and whose mothers are Kanaka Maoli or Native Hawaiian), to reflect shifting evaluations of Blackness and Hawaiianess over time. Focusing on Blacks in Hawai‘i and their relationships with Hawaiians over time reveals overlapping racialization of a U.S. minority and an indigenous group. The essay charts out how, when we view the history and experiences of Hawai‘i through the eyes of African descended people, race becomes the imperative analytic. Race becomes the imperative analytic lens when we review of the history of Black people in Hawai‘i, from the migration of whalers in the 18th century to the arrival of military personnel through the impacts of the Black Power movement upon Native Hawaiian political movements for sovereignty.
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Rosa, John P. "“Eh! Where you from?”." In Beyond Ethnicity. University of Hawai'i Press, 2018. http://dx.doi.org/10.21313/hawaii/9780824869885.003.0006.
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Race and ethnicity are important analytical categories in Hawai‘i, but the issue of place can at times be more important to an individual in declaring his or her social/cultural identity. Outside observers may initially assess another person visually according to race/ethnicity – but follow up questions, often in Hawai‘i Creole, frequently ask about place of origin, neighborhoods, schools attended, and other matters inherently related to place. Such questions are indirect ways to ask about how long one’s family has been in the islands and whether or not a person has a working knowledge of Hawai‘i’s Native Hawaiian and local ways of life. As a geographically isolated archipelago, Hawai‘i had limited interactions with the outside world until the arrival of Captain James Cook in 1778, American missionaries in 1820, and the immigration of sugar plantation laborers since the 1850s. This essay argues that the islands’ current population consists of four broad groups that are partially defined by race/ethnicity, but also strongly determined by matters of place and historical circumstances. Kānaka Maoli (Native Hawaiians), Haole, Locals, and Others are four groups in contemporary Hawai‘i seeking to understand their individual and collective histories and place in the islands.
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Kleutghen, Kristina. "Huang Yong Ping and the Power of Zoomorphic Ambiguity." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0012.
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Born in China but now a French citizen, the contemporary artist Huang Yong Ping (b. 1954) prioritizes the contradictions and ambiguities that arise from overlapping motifs that signify differently in different cultural settings. Juxtapositions of Chinese and Western zoomorphic symbolism characterize his work since the mid-1990s, seen across diverse pairings and groupings as well as strange hybrid single creatures. Rather than resolving the disjunctions that arise from these works, however, the shape-shifting nature of Huang’s animals emphasizes their polysemy and the profound lack of one-to-one symbolic correspondence in global contemporary art. The power of his zoomorphic works derives from his comfort with ambiguity: although often derived from Chinese ideas, Huang’s works are globally applicable in their complexity of transnational experience and their reflection of human nature as both instinctual and rational.
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Hidalgo, Danielle Antoinette, and Tracy Royce. "“Tonight, You Are a Man!”." In Cultural Politics of Gender and Sexuality in Contemporary Asia, 57–73. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824852962.003.0004.
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Levine, Gregory P. A. "The Look and Logos of Zen Art." In Long Strange Journey. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824858056.003.0005.
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What makes art “Zen” and Zen art “Art”? From where and when does it arise: Southern Song dynasty China (1127-1279), Muromachi period Japan (1333-1573), London in the 1920s, Manhattan or Japan in the 1950s and 1960s? How do we describe Zen art—including heirloom works such as Muqi Fachang’s Six Persimmons or the contemporary artist Murakami Takashi’s Daruma works—and why do we build description around particular religious terms, such as mushin, and seemingly timeless aesthetic qualities such as simplicity, spontaneity, abbreviation, monochromatic, abstraction, nothingness, and so forth? How do terms and sensibilities come to be normalized, and what sorts of Zen art might they exclude or repress, and why? What should we make of Hisamatsu Shin’ichi’s “Seven Characteristics of Zen art”? Why are the arts of Japan so often described as inherently or entirely informed by Zen? Beginning with writings from Zen campaigners and art historians in the 1920s, this chapter follows the lexical journey of Zen and Zen art, aesthetics to the present and suggests the discursive and ideological energies that propelled them toward the status of global “givens.”
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Walker, Polly O. "Indigenous Ceremonial Peacemaking." In Advances in Public Policy and Administration, 299–319. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-3001-5.ch015.
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This chapter explores Indigenous conceptualizations of peace, focusing on some Native American, First Nations, Native Hawaiian, and Australian Aboriginal approaches, with an emphasis on peacemaking ceremonies. The author articulates some of the central tenets of Indigenous paradigms and explains how these shape historical and contemporary peacemaking, both among Indigenous peoples and between Indigenous and Western peoples. The ways in which colonialism has impacted Indigenous peacemaking are also explored, along with examples of the resilience of Indigenous approaches to peace. Finally, the chapter proposes ways in which “collaborations of integrity” have transformed contemporary conflicts by re-centering Indigenous peacemaking processes.
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Azuma, Eiichiro. "The Making of a Japanese American Race, and Why Are There No “Immigrants” in Postwar Nikkei History and Community?" In Trans-Pacific Japanese American Studies. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824847586.003.0012.
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This study examines how orthodox narratives of Japanese American experience in popular and academic discourse have contributed to the skewed way in which the membership of Japanese America has been defined and its boundaries cemented since the 1910s. That process entails glorification and demonization of certain types of Japanese Americans as well as exclusion of other individuals from the race history. Based on the accumulated effects of such discursive contrivances, the established notions of community, identity, history, and indeed race in contemporary Japanese America have affirmed and even encouraged the marginalization of anomalous historical agents—like Kibei—while rendering others—like postwar immigrants—as perpetual co-ethnic foreigners.
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Stone, Jacqueline I. "Conclusion." In Right Thoughts at the Last Moment. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824856434.003.0009.
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William LaFleur has argued that, in existential matters, efforts to solve one problem often generate others: doctrines of karma and rebirth, which premodern Japanese found cognitively satisfying, were also existentially disturbing and prompted strategies for escaping karmic suffering in the six paths, such as aspirations for birth in a pure land. But birth in a pure land required that one die with a focused mind, which in turn encouraged the emergence of deathbed practices and the role of the ritual attendant, ratcheting up the level of anxiety with each new interpretive turn. Despite the fears it generated, people embraced the ideal of dying with “right thoughts” because it made death meaningful. As with our contemporary notions of “death with dignity,” the odds against achieving it did not discourage its pursuit. Especially in a context where fulfillment of the religious life takes place at death, people wanted to die well.
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Aung-Thwin, Michael A. "Sources for the Reconstruction of Pegu." In Myanmar in the Fifteenth Century. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824867836.003.0011.
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This chapter deals mainly with the most important indigenous language texts that have been used in the present book for reconstructing the history of the kingdom of Pegu. Some of the indigenous sources, particularly of the chronicle genre, include much later interpolations (most are copies), while none of them is contemporaneous to the events or individuals they described except for one contemporary Chinese source. In addition to these texts, and in contrast, are the archaeological and epigraphic records. The latter are inscribed largely inscribed in Middle Mon, most of which are contemporary and original to the period under study. All such available information is used to reconstruct the Kingdom of Pegu.