Relevant bibliographies by topics / Once Were Warriors

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Once Were Warriors'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Once Were Warriors"

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Gump, James O., Robin Scholes, Lee Tamahori, and Riwia Brown. "Once Were Warriors." American Historical Review 100, no. 4 (October 1995): 1217. http://dx.doi.org/10.2307/2168218.

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Oxenham, Stephen, and Alan Duff. "Once Were Warriors." World Literature Today 69, no. 1 (1995): 231. http://dx.doi.org/10.2307/40151112.

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Bryden, Rachel. "Cultural Wounds and Physical Scarring in Once Were Warriors." Literature Compass 5, no. 3 (May 2008): 645–56. http://dx.doi.org/10.1111/j.1741-4113.2008.00543.x.

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Smith, Jo. "The Cultural Politics of Once Were Warriors." Cultural Politics: an International Journal 5, no. 2 (July 1, 2009): 265–69. http://dx.doi.org/10.2752/175174309x428243.

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Lambert, Iain B. M. "Representing Maori speech in Alan Duff's Once Were Warriors." Language and Literature: International Journal of Stylistics 17, no. 2 (May 2008): 155–65. http://dx.doi.org/10.1177/0963947007088225.

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Much of the reaction, both positive and negative, to the publication of Alan Duff's novel Once Were Warriors centred on its language. This article analyses the ways in which characteristic linguistic features of New Zealand English are represented in the novel, in particular by its Maori protagonists. It also draws stylistic comparisons with other writers, such as Scotland's James Kelman, who have attempted to give their characters a particular local voice outside of, or in opposition to, Standard English by having them speak in their own language or variety of English.
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D’Costa, Bina. "Once were warriors: the militarized state in narrating the past." South Asian History and Culture 5, no. 4 (August 22, 2014): 457–74. http://dx.doi.org/10.1080/19472498.2014.936205.

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TAWAKE, SANDRA K. "On understanding a text: reader response and Alan Duff's Once Were Warriors." World Englishes 14, no. 2 (July 1995): 281–300. http://dx.doi.org/10.1111/j.1467-971x.1995.tb00357.x.

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Gutleben, Christian. "The Counter-Order of Simulacra: Alan Duff’s gut novel, Once Were Warriors." Caliban, no. 21 (May 1, 2007): 137–45. http://dx.doi.org/10.4000/caliban.1902.

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Simmons, Rochelle. "Driving Force: Narrative in Lee Tamahori's Television Advertisements and Once Were Warriors." Media International Australia 80, no. 1 (May 1996): 27–31. http://dx.doi.org/10.1177/1329878x9608000106.

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Ramstad, Jorun Bræck. "Once were Warriors – a Model that Matters and a Mirror of Concerns." Nordlit 16, no. 2 (October 23, 2012): 87. http://dx.doi.org/10.7557/13.2374.

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In this article, I will focus on connections between media, culture and society in order to understand two prototypical Maori responses to the film. The two kinds of responses are captured in the following phrases: “The film should never have been made” and “That’s not fiction, that’s reality”. One of my objectives is to show how these particular Maori responses to this fiction-film are entangled with deep concerns about ethnic policies and marginalization in general. In other words, the film is explored as a statement about Maori – Pakeha inter-ethnic relations and ‘biculturalism’, which is the official term for the political vision of the post-colonial nation. Subsequently, my analysis suggests insights from a deeper concern about the contexts that contribute to these particular Maori formulations of media-reality configurations, in addition to lessons of a more general character.
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Dissertations / Theses on the topic "Once Were Warriors"

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Diedericks, Nana Marie. "Fictional warriors: Real responses. Emotion, mood, and cognition in "Once Were Warriors"." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1430191.

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Boyer, Michelle Nicole. "Indigenous Representations of Birthing and Mothering in The Painted Drum, Faces in the Moon, The Way We Make Sense, The Marriage of Saints, and Once Were Warriors." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/577488.

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This study examines the traditional views surrounding Indigenous birthing and mothering, as well as the mother-child relationship cycle in contemporary Indigenous literature, and compares the traditional past to the contemporary present. Five contemporary Indigenous novels from four different American Indian and Indigenous Nations are included: Louise Erdrich's The Painted Drum (Ojibwe), Betty Louise Bell's Faces in the Moon (Cherokee), Dawn Karima Pettigrew's The Way We Make Sense and The Marriage of Saints (Creek), and Alan Duff's Once Were Warriors (Maori). Themes in the novels are studied individually and collectively, through the frameworks for literary analysis that Arnold Krupat terms nationalism, indigenism, and cosmopolitanism. Each novel will be analyzed first using Arnold Krupat's theory of literary nationalism, which suggests that in order to fully comprehend an Indigenous text, it must be explored using only a culturally-specific framework that focuses specifically on the Nation depicted within the novel. However, on a broader scope Krupat's literary theory of indigenism will addressed throughout this study, examining ways in which similar parallels within each selected text and Nation overlap to create common areas of study. Lastly, aspects of the mother-child relationship will be assessed using Krupat's theory of literary cosmopolitanism, which suggests that even though there are very unique aspects of Indigenous literature that must be viewed from a tribally-specific vantage point, there are also cosmopolitan, or common, elements within the human experience that link all individuals together like the act of birthing and mothering.
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Johnston, Emma Anne. "Healing maori through song and dance? Three case studies of recent New Zealand music theatre." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/980.

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This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.
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Summerhayes, Catherine, and catherine summerhayes@anu edu au. "Film as Cultural Performance." The Australian National University. School of Art, 2002. http://thesis.anu.edu.au./public/adt-ANU20090210.095136.

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This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.
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Summerhayes, Catherine. "Film as Cultural Performance." Phd thesis, 2001. http://hdl.handle.net/1885/49365.

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This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ...
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Gillman, Natalie B. "“A Bunch of Grapes" : a reading of Lindsey Collen’s The Rape of Sita." Diss., 2006. http://hdl.handle.net/2263/28954.

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This feminist analysis addresses Lindsey Collen’s intertextual use of myth in The Rape of Sita and how her reformation of the parodied texts becomes a resistance to patriarchy. Collen’s examination of possible counteractions against patriarchy is analysed and it is determined whether or not she posits writing, especially demythologization, as the best resistance to patriarchal discourse. Also, her assertion that transformation and a unity of the sexes are needed to bring about equality is studied. The methodology used is qualitative and inductive. The sources are examined and interpreted through close-reading strategies which reveal the complexities of the text and the way in which Collen subverts myth. Classical and Hindu myths and other texts, such as T.S. Eliot’s The Waste Land, are re-read and re-examined to investigate to what extent they have challenged or championed patriarchal ideology, through which it is hoped that a greater understanding of the way in which mythology contributes to attitudes to rape is gained. Three other texts dealing with rape are also studied, in order to better place Collen’s novel in context of the genre. Primarily, feminist criticism, particularly with an African feminist viewpoint, is used. However, because a conflation of post-colonial and postmodern approaches is embedded within feminism, these concepts are dealt with also. Theorists drawn upon include Michel Foucault, Roland Barthes, Mircea Eliade and Margaret Atwood.
Dissertation (MA (English))--University of Pretoria, 2007.
English
MA
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Books on the topic "Once Were Warriors"

1

Alan, Duff. Once were warriors. London: Vintage, 1995.

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Once were warriors. St. Lucia, Qld., Australia: University of Queensland Press, 1991.

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Once were warriors. New York: Vintage International, 1995.

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Once were warriors. Honolulu: University of Hawaii Press, 1994.

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Once Were Warriors. Audio Literature, 1998.

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Duff, Alan. Once Were Warriors. Tandem Press, 1990.

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Duff, Alan. Once Were Warriors. Random House New Zealand, 2012.

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Duff, Alan. Once Were Warriors. Univ of Queensland Pr, 1995.

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Duff, Alan. Once Were Warriors. Penguin Random House, 1998.

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Birkenhead, Tandem Press. Once Were Warriors (Talanoa). University of Hawaii Press, 2006.

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Book chapters on the topic "Once Were Warriors"

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Surkamp, Carola, and Lars Eckstein. "Duff, Alan: Once Were Warriors." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8421-1.

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Gee, Sarah, and Steven Jackson. "Once Were Warriors: Haka, Promotional Culture and Māori Masculinity Past, Present and Future." In Sport, Promotional Culture and the Crisis of Masculinity, 215–45. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55673-8_8.

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Murray, Stuart. "Once Were Warriors." In Making Film and Television Histories. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755698707.0017.

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"Once Were Warriors." In Reading Pakeha?, 97–172. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042026452_004.

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"Once Were Warriors (Lee Tamahori, 1994)." In Watching Human Rights, 43–44. Routledge, 2015. http://dx.doi.org/10.4324/9781315631219-14.

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"Once Were Warriors: New Zealand’s first indigenous blockbuster." In Movie Blockbusters, 242–53. Routledge, 2013. http://dx.doi.org/10.4324/9781315012919-26.

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"3. Internalising ‘outsider’ representations: the Once Were Warriors syndrome." In Media and Ethnic Minorities, 52–72. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9780748626304-006.

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"10. CONFRONTING DOMESTIC VIOLENCE AND FAMILIAL ABUSE: ONCE WERE WARRIORS (LEE TAMAHORI, 1994)." In Coming-of-Age Cinema in New Zealand, 121–34. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474429467-013.

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Bakin, Kyokutei. "A gallant looses an arrow and kills a white horse; A craven usurps two districts and approaches the scarlet gate." In Eight Dogs, or "Hakkenden", translated by Glynne Walley, 42–58. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755170.003.0007.

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This chapter begins by examining Awa, which was originally the southern extremity of the province of Fusa. Awa comprised a mere four districts, called Heguri, Nagasa, Awa, and Asahina. Long ago, in the Nin'an and Jishō eras, during the ascendency of the house of Taira, there were three warriors there, whose names are Maro Gorō Nobutoshi of Mikuriya, Anzai Saburō Kagemori, and Tōjō Shichirō Akinori. In the eighth month of the third year of Jishō, the Noble Lord Yoritomo of the Minamoto was defeated in battle at Mount Ishibashi and made his way to Awa, and at this time the aforementioned warriors were the first to join his following. Once the Minamoto clan had consolidated their rule, those men were given the four districts of Awa to share among themselves. Their descendants for ten or more generations inherited them, not losing their home territories even as the realm passed into the hands of the Hōjō, and then began the time of the Ashikaga house. The chapter then considers the deeds of Yamashita Sakuzaemon Sadakane.
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"Shared Place and Maimed Bodies: Flesh of the Past, Soul of the Future (or Vice-Versa) in Once Were Warriors." In Shared Waters, 75–81. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042027671_008.

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Conference papers on the topic "Once Were Warriors"

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STRAZDINA, Vija, Valentina FETERE, Liga FEODOROVA-FEDOTOVA, Janis JASKO, and Olga TREIKALE. "REACTION OF WINTER WHEAT GENOTYPES ON THE YELLOW (STRIPE) RUST PUCCINIA STRIIFORMIS, WES." In RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.124.

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Yellow rust, caused by Puccinia striiformis Wes. is one of the most significant diseases constraint to winter wheat production in the world. Since 2011 in Europe have appeared distinct new races – Warrior, Kranich, Warrior (-) that have caused wide epidemics on different cultivars of wheat. Grain yield losses can be prevented by using a combination of varietal resistance and fungicides. Information on wheat variety susceptibility to local yellow (stripe) rust Puccinia striiformis Wes. races can help to reduce the risk of yield losses in high disease pressure situations. Field trials with eight most popular and perspective winter wheat varieties in Latvia were established in the North-Western part of Latvia (Stende Research Centre) in autumn of 2016. The trial was designed as two randomized complete blocks (treated and untreated) and data were statistically interpreted. Two applications of fungicides at BBCH 29-32 by T1 (prothioconazol 53 g L-1, spiroxamin 224 g L-1, tebucanazole 148 g L-1) and at BBCH 37-39 - T2 (bixafen 65 g L-1, prothioconazol 130 g L-1, fluopyram 65 g L-1- 1.5 L ha-1) were used to control the YR. Yield and 1000 kernel weight (TKW) were determined. Preliminary results indicated the difference between genotypes resistance/susceptibility to YR. The severity of infection level was 1- 80% depending on genotype resistance. Application of fungicides increased grain yield by 2.9 % to 33.0% and TKW by 3.4% - 33.2 % depending on variety. Observations showed the difference in the occurrence of symptoms on YR in different varieties of winter wheat under conditions of 2017 in Stende.
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