Bibliografías temáticas / Kōhatu

Literatura académica sobre el tema "Kōhatu"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Kōhatu"

1

Wesley, Rachel y Emma Burns. "Kōhatu Mauri: An Exercise in Practice across Cultures". Biodiversity Information Science and Standards 2 (20 de abril de 2018): e26015. http://dx.doi.org/10.3897/biss.2.26015.

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The 2017 redevelopment of Otago Museum’s Discovery World into Tūhura, a bi-cultural science centre that reflected an indigenous Kāi Tahu understanding of the universe alongside a western scientific paradigm, was a bold move into new territory for museum staff, who had to become familiar with not only new forms of knowledge, but also to work comfortably with Kāi Tahu tikanga (values-based practice) and cultural beliefs. An integral component of the creation of a space reflective of a Māori worldview is the placement of a Kōhatu Mauri - a small boulder or rock loaded with symbolism that encapsulates the mauri, or 'lifeforce' of a space. In order to enhance its value as a receptacle for the mauri of such a space, a Kōhatu Mauri must be touched, thus increasing the actual mauri it contains. If a Kōhatu Mauri is treated as a typical museum object, isolated and untouched, the result is culturally akin to death and is symbolic of a lack of life and perceived value of its wider space. To fit with Kāi Tahu notions of value, a Kōhatu Mauri is usually selected according to aesthetic, historic, and whakapapa (genealogy) values. It must be firmly rooted in its cultural context, regardless of the space it inhabits. When the need for a Kōhatu Mauri for Tūhura was identified, short timeframes and recognition of the need to select a boulder that captured the above cultural values resulted in the selection of a sarsen stone that had recently been acquired for the geological collections of the Otago Museum. The transition of the sarsen stone into a Kōhatu Mauri highlighted an anomaly in how collection items are valued. When objects that hold a special cultural value for a community come into a museum environment, they tend to lose that value by being removed from their cultural context. This paper will explore how the opposite happened in the case of the sarsen stone transitioning into a Kōhatu Mauri. The contradictions and confusion around understanding multiple layers of meaning and value in a collection item resulted in the Kōhatu Mauri ultimately losing its museum value while in the process of regaining its cultural value.
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2

Morris, Hone Waengarangi. "Te taiao, te tinana, e rua, e rua". Cadernos de Linguística 1, n.º 3 (28 de noviembre de 2020): 01–10. http://dx.doi.org/10.25189/2675-4916.2020.v1.n3.id227.

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The title of this paper reflects a Māori[1] perspective to the world we live and move in and our interaction with the environment. Its literal translation, ‘The taiao (environment) and the tinana (human body) are kin’ is the underlying theme of this paper. In researching philosophies and narratives handed down by my ancestors, and those recorded by early ethnologists who came to Aotearoa/New Zealand, it becomes immediately apparent that the ancestors, through careful observation whilst living at one with the environment—its interconnectedness and infinite moods, fashioned a knowledge that everything in this world is connected through whakapapa (genealogy). The interconnected energies that dwell in Ranginui (Sky Father) ngā whetū (stars), momo ua (types of rain), ngā kapua (clouds), te hau (wind) and all weather patterns are all connected through a network of genealogies. On Papatūānuku (Earth Mother), ngā toka me ngā kōhatu (rocks and stones), te wai (water—fresh and salt), ngā rākau (trees), ngā ngārara (insects), ngā manu (birds) and animal life both on earth and in the oceanare all part of a genealogy that reflects the ancestors understanding of the natural world. In the ever-present concern of global warming, climate change and the growing awareness of the need to protect and respect our environmentthis perspective of connected genealogy will assist in providing a conceptual lens to encourage one to view the environment as a living organism, breathing with moods and emotions similar to the human body that is totally interconnected. Through an analysis of the linguistic terms placed on the land by my tīpuna (ancestors) in Aotearoa I will provide a unique perspective that individuals can utilise to solidify their own personal relationship to the taiao (environment), to Papatūānuku, to Ranginui and the energies that sustain life. This analysis may also provide a conduit for comparison or contrast of other indigenous perspectives towards the use of terms for both the environment and the body. [1] The Māori people are the indigenous people of Aotearoa-New Zealand.
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3

Te Kanawa, Kahutoi. "Mai i Te Ao Kōhatu: Weaving - An Art Form Derive from Mātauranga Māori as a Gift from the Ancestors". Te Kaharoa 1, n.º 1 (12 de enero de 2008). http://dx.doi.org/10.24135/tekaharoa.v1i1.137.

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Aspects of traditional Maori weaving are examined in this article, with a focus on traditional processes of knowledge transmission, some of the practical and conceptual elements of traditional weaving and the distinction between weaving as an art as opposed to a craft.
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4

Machi, Saeko. "Transcending the senpai ‘senior’/kōhai ‘junior’ boundary through cross-speaker repetition in Japanese". Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA), 20 de abril de 2023. http://dx.doi.org/10.1075/prag.21063.mac.

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Abstract This study explores the role of cross-speaker repetition in creating interpersonal connections between interactants in Japanese. The analysis focuses on Japanese non-reciprocal conversations between senpai ‘senior’ and kōhai ‘junior’ interactants, where the kōhai are normatively expected to speak using the honorific desu/masu markers. The analysis demonstrates that in such conversations, the kōhai sometimes drop the honorific markers while repeating the senpai’s utterances, thereby momentarily transcending the vertical boundary separating them from the senpai. Two types of plain form repetition are presented: (1) the kōhai repeat the senpai’s funny and/or questionable comments to savor the expressions, and (2) the kōhai repeat the senpai’s ideas, wishes or assessments to synchronize with the senpai. The analysis explicates how cross-speaker repetition allows the kōhai to drop the honorific markers in a way that is acceptable to the senpai. This study underscores the significance of the cross-speaker repetition device for creating harmonious relationships in Japanese.
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5

Mika, Carl y Vanessa Paki. "Special section editorial: Te kōhao o te rangahau—The indigenous lens on research". Waikato Journal of Education 20, n.º 2 (10 de septiembre de 2015). http://dx.doi.org/10.15663/wje.v20i2.200.

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Libros sobre el tema "Kōhatu"

1

Painter-Arps, Sharon. Cross culture in art in New Zealand: A visual exploration in stone carving. Saarbrucken, Germany: LAP LAMBERT Academic Pub., 2010.

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2

Kōhaku utagassen to Nihonjin. Tōkyō: Chikuma Shobō, 2013.

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3

Iinkai, Kōhoku-ku Kyōdoshi Hensan Kankō. Kōhoku kushi. Yokohama-shi: Kōhoku-ku Kyōdoshi Hensan Kankō Iinkai, 1986.

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4

Kaisha, Nan'yō Kōhatsu Kabushiki. Ura Nanʼyō kaitaku to Nanʼyō Kōhatsu Kabushiki Kaisha: Nanʼyō kaitatsu jūnenshi ; Nanʼyō kaitaku to Nanʼyō Kōhatsu Kabushiki Kaisha no genkyō ; Nanʼyō Kōhatsu Kabushiki Kaisha nijisshūnen. Tōkyō: Yumani Shobō, 2002.

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5

Sarapotadāra, Śilpā. Kōham. Mumbaī: Śrīkalpa Prakāśana, 2006.

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6

1658-1716, Ogata Kōrin, MOA Bijutsukan y Tōkyō Bunkazai Kenkyūjo, eds. Kokuhō: Kōhaku baizu byōbu : Ogata Kōrin hitsu. Tōkyō: Chūō Kōron Bijutsu Shuppan, 2005.

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7

Aomori-ken Maizō Bunkazai Chōsa Sentā. Kōhata (10) iseki, Kōhata (6) iseki, Kōhata (3) iseki: Kendō Obuchi Arito teishajōsen kairyō jigyō ni tomonau iseki hakkutsu chōsa hōkoku /[henshū Aomori-ken Maizō Bunkazai Chōsa Sentā]. Aomori-shi: Aomori-ken Kyōiku Iinkai, 1997.

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8

Entāpuraizu, NHK. Utadamashii, Kitajima Saburō: NHK Kōhaku utagassen no kiseki. [Japan]: NHK Entāpuraizu, 2017.

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9

Yahagi, Mihozō. Kōhoku-mura to Adachi. Tōkyō: Adachi Shidankai, 1987.

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10

Hayamine, Kaoru. Fukkatsu!! Kōhoku Gakuen bungeibu. Tōkyō: Kōdansha, 2009.

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Capítulos de libros sobre el tema "Kōhatu"

1

Brunt, Shelley y Amane Kasai. "Misora Hibari in Kōhaku Utagassen: From Modernity to Immortality". En Handbook of Japanese Music in the Modern Era, 405–22. BRILL, 2023. http://dx.doi.org/10.1163/9789004687172_026.

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2

"Chapter Eight. The Fateful Trip to Kōhala- July- August 1884". En In Haste with Aloha, 126–34. University of Hawaii Press, 2018. http://dx.doi.org/10.1515/9780824857868-011.

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3

"“Th e Infi nite Power of Song”: Uniting Japan at the 60th Annual Kōhaku Song Contest". En Made in Japan, 53–67. Routledge, 2014. http://dx.doi.org/10.4324/9780203384121-11.

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4

"Chapter Five. Summer Entertainments, Church Matters, and a Visit to Kōhala. Letters of August-December 1882". En In Haste with Aloha, 58–84. University of Hawaii Press, 2018. http://dx.doi.org/10.1515/9780824857868-008.

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