Gotowe bibliografie tematyczne / Maoris

Gotowa bibliografia na temat „Maoris”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 1 sierpnia 2024

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Artykuły w czasopismach na temat "Maoris"

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O'Sullivan, Dominic. "Needs, Rights and “One Law for All”: Contemporary Debates in New Zealand Maori Politics". Canadian Journal of Political Science 41, nr 4 (grudzień 2008): 973–86. http://dx.doi.org/10.1017/s0008423908081122.

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Abstract. This paper examines contemporary debates in Maori politics by responding to the argument of the former leader of the opposition National party, Don Brash, that Maori public policy is most properly based on “need” alone because indigenous status offers no “rights” beyond those of common national citizenship. The paper's alternative argument is that the politics of indigeneity and associated theories of self-determination provide a way of avoiding a general belief that addressing need is all that is required to include Maori fairly in the national polity. It is argued that Maori ought to enjoy rights of indigeneity as the basis of an inclusive, cohesive and fair society.Résumé. Cette étude examine certains débats dans le domaine de la politique maorie en répondant aux propos de l'ancien chef du parti National, Don Brash, selon qui la politique publique maorie se baserait le plus aptement sur la notion du seul ‘besoin’, le statut de peuple indigène ne conférant aucun ‘droit’ au-delà de ceux qu'accorde la citoyennenté nationale régulière. Nous proposons par contre que la politique de l'indigénéité et les théories de l'auto-détermination qui y sont associées constituent un moyen de parer à une croyance généralisée qu'il suffirait de suppléer au besoin pour inclure avec justice les Maoris dans la politique nationale. Nous démontrerons que dans une société inclusive, cohésive et juste, les Maoris devraient jouir des droits accordés par l'indigénéité.
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Schwimmer, Eric. "La genèse du discours nationaliste chez les Maoris". Culture 10, nr 1 (2.09.2021): 23–34. http://dx.doi.org/10.7202/1080932ar.

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Cet article montre comment les divers groupes maoris de Nouvelle Zélande ont réussi à s’unifier au XIXe siècle en utilisant certains concepts de la religion chrétienne introduits par les missionnaires. Ces concepts et symboles furent manipulés de deux manières pour créer à la fois une spécificité maorie globale face aux Européens tout en effaçant ou en minimisant ce qui divisait intérieurement les divers groupes maoris entre eux.
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Stokes, Evelyn. "Maori Geography or Geography of Maoris". New Zealand Geographer 43, nr 3 (grudzień 1987): 118–23. http://dx.doi.org/10.1111/j.1745-7939.1987.tb01111.x.

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Bistárová, Lucia. "Formovanie kultúrnej a etnickej identity Maoriov prostredníctvom príslušnosti ku gangu". Kulturní studia 2021, nr 1 (1.05.2021): 61–84. http://dx.doi.org/10.7160/ks.2021.150104.

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Though often called a “heaven on Earth” New Zealand suffers from a serious problem with gangs. Ethnic gangs have dominated the New Zealand gang scene since the 70s when many Maoris left traditional rural areas and migrated in search of work to the cities but ended up in poverty because of lack of skills and poorly-paid jobs. Maori urbanization and the dual pressures of acculturation and discrimination resulted in a breakdown of the traditional Maori social structures and alienated many from their culture. Maoris who have been unable to maintain their ethnic and cultural identity through their genealogical ties and involvement in Maori culture attempt to find it elsewhere. For many of those that have lost contact with their cultural and ethnic links gangs have replaced families and community and provides individuals with a sense of belonging and safety. The aim of this article is to demonstrate the role of gangs in Maori ethnic and cultural identity development. This paper demonstrates the impact of gang environment on individual identity development and provides evidence that cultural engagement initiatives can enhance Maori identities, which in turn could increase psychological and socio-economic wellbeing.
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Gladney, Dru C. "The Xinjiang Uyghur Autonomous Region as an example of separatism in China". Kulturní studia 2021, nr 1 (1.05.2021): 85–104. http://dx.doi.org/10.7160/ks.2021.150105.

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Though often called a “heaven on Earth” New Zealand suffers from a serious problem with gangs. Ethnic gangs have dominated the New Zealand gang scene since the 70s when many Maoris left traditional rural areas and migrated in search of work to the cities but ended up in poverty because of lack of skills and poorly-paid jobs. Maori urbanization and the dual pressures of acculturation and discrimination resulted in a breakdown of the traditional Maori social structures and alienated many from their culture. Maoris who have been unable to maintain their ethnic and cultural identity through their genealogical ties and involvement in Maori culture attempt to find it elsewhere. For many of those that have lost contact with their cultural and ethnic links gangs have replaced families and community and provides individuals with a sense of belonging and safety. The aim of this article is to demonstrate the role of gangs in Maori ethnic and cultural identity development. This paper demonstrates the impact of gang environment on individual identity development and provides evidence that cultural engagement initiatives can enhance Maori identities, which in turn could increase psychological and socio-economic wellbeing.
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Fleras, Augie. "From Social Control towards Political Self-Determination? Maori Seats and the Politics of Separate Maori Representation in New Zealand". Canadian Journal of Political Science 18, nr 3 (wrzesień 1985): 551–76. http://dx.doi.org/10.1017/s0008423900032455.

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AbstractThe principle of guaranteed parliamentary representation for the Maori remains a contentious feature of New Zealand's political structure. This concession originated in 1867 to solve the “Maori problem” by means consistent with the competing interests of government and Maori. But despite intrinsic drawbacks within the present system, neither Maoris nor the major political parties have initiated fundamental reforms in the design of Maori seats for fear of tampering with the status quo. Recently, with the resurgence of Maori assertiveness, developments have transpired aimed at redefining the status of separate representation. Whether or not this strategy for the political accommodation of minority groups can be transferred to other contexts—such as Canada—is open to debate.
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O'Keefe, Patrick J. "Maoris Claim Head". International Journal of Cultural Property 1, nr 2 (lipiec 1992): 393–94. http://dx.doi.org/10.1017/s0940739192000432.

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Lemieux, René. "La souveraineté peut-elle se transférer? Les enseignements de la traduction du traité de Waitangi (1840)". TTR 29, nr 2 (27.08.2018): 73–98. http://dx.doi.org/10.7202/1051014ar.

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L’objectif de cet article est d’interroger le concept de souveraineté hérité de la modernité européenne à partir de sa « traduction » en maori dans le traité de Waitangi conclu en 1840 entre les chefs maoris d’Aotearoa (Nouvelle-Zélande) et l’Empire britannique. Le concept de souveraineté est difficilement traduisible en maori puisqu’il ne possède pas d’équivalent direct. Le terme kawanatanga choisi par le missionnaire-traducteur Henry Williams n’est qu’une translittération du mot anglais governor auquel le suffixe -tanga a été ajouté; ce terme rend mal l’idée du pouvoir absolu du souverain. Est-ce une « mauvaise » traduction pour autant? Henry Williams était-il incompétent? A-t-il plutôt voulu sciemment tromper les Maoris, comme le laissent entendre certains chercheurs? Le concept était-il lui-même intraduisible? Lorsqu’on analyse la traduction du terme souveraineté, on découvre qu’il n’y a pas d’équivalence formelle préétablie avant sa réalisation et que la souveraineté ne se transfère pas, mais se performe. Le contenu du concept est ainsi isomorphe à sa production : la souveraineté est une performance, et la traduction comme opération de création de termes participe à son actualisation. En utilisant un terme étranger mais profane pour rendre le concept, Henry Williams, sans peut-être le vouloir ou en être conscient, refuse la souveraineté dans son abstraction et, ce faisant, résiste aux tentatives de sceller l’interprétation du texte dans une unicité souveraine. Vue sous ce nouvel angle, la traduction de Williams participerait d’une « pensée sauvage » au sens de l’anthropologue Pierre Clastres, instituant une relativité toujours vulnérable, mais essentielle dans la perspective d’une traduction postcoloniale.
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Schwimmer, Eric. "La spirale dédoublée et l'identité nationale. L'art abstrait traditionnel maori a-t-il une signification ?" Anthropologie et Sociétés 16, nr 1 (10.09.2003): 59–72. http://dx.doi.org/10.7202/015199ar.

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Résumé La spirale dédoublée et l'identité nationale L'art abstrait traditionnel maori a-t-il une signification ? La spirale dédoublée est un motif " décoratif ". Du point de vue esthetique, elle relève de l'art abstrait. Cet article s'interroge sur les manières maoris de donner un sens à ces images. Six types de codes font l'objet de l'analyse : a) les codes de classification sociale ; b) les codes des parties du corps tatouées de diverses figures ; c) les codes de proverbes et d'anecdotes historiques qui lient chaque figure à un message verbal particulier ; d) les codes physiologiques, surtout en rapport avec les expressions faciales, de manière à lier la figure à une gamme d'expressions faciales ; e) les codes historiques où le message verbal transmet la succession des cultes millénaristes de la Nouvelle-Zélande contemporaine ; f ) les systèmes de transformation historique de l'image même qui devient plurivoque sur le plan de l'expression, s'insérant à la fois dans un style occidental contemporain et dans un style maori.
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Schwimmer, Éric. "Les minorités nationales au Québec et en Nouvelle-Zélande". Anthropologie et Sociétés 19, nr 3 (10.09.2003): 127–50. http://dx.doi.org/10.7202/015373ar.

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Résumé Les minorités nationales au Québec et en Nouvelle-Zélande Les minorités nationales inspirent des débats en philosophie ainsi qu'en sciences sociales. Les philosophes « naturalistes » cherchent à résoudre les problèmes en prescrivant des règles universelles de justice procédurale. Les phénoménologues préconisent des méthodes fondées sur la reconnaissance de la valeur des cultures des ethnies dans leur diversité profonde. L'article aborde brièvement la dimension canadienne/québécoise de ce problème. Comment les diverses catégories de citoyens se perçoivent-elles ? Quelles idées se font-elles du concept même de « minorité nationale » ? S'engagent-elles dans ce que Charles Taylor appelle la « politique de la reconnaissance » ? Comment ces représentations se comparent-elles au mouvement actuel de l'« autodétermination » et de la « souveraineté », courant parmi les Maoris de la Nouvelle-Zélande ? Ce mouvement concerne surtout la reconnaissance juridique, territoriale, politique et idéologique réclamée aujourd'hui par les Maoris en tant que « nation ». Le cas néo-zélandais est intéressant du fait que les Maoris de même que les Blancs semblent attaquer le problème lié à la reconnaissance des niveaux profonds de la diversité. L'article montre comment cela fonctionne sur les plans formel et informel des relations.
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Rozprawy doktorskie na temat "Maoris"

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Valzer, Simon. "Un exemple de revitalisation culturelle : les arts performatifs maori - Haka et Kapa haka". Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10115.

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Robinson, Gabriele. "Akkulturationsprozesse in ihrer Auswirkung auf die Identität der Maori /". Münster : Lit, 1992. http://catalogue.bnf.fr/ark:/12148/cb37406319q.

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Dunis, Serge. "Organisation sociale et pensée des anciens Maori un esai de reconstruction". Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37593925m.

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O'Connor, Peter J., i n/a. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness". Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031210.113358.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
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O'Connor, Peter J. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366538.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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Buck, Peter Henry. "Medicine amongst the Maoris in ancient and modern times a thesis for the degree of Doctor of Medicine (N.Z.) /". Wellington, N.Z. : New Zealand Electronic Text Centre, 2007. http://www.nzetc.org/tm/scholarly/tei-CouNouv.html.

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Thesis (Ph. D.)--University of New Zealand, 1910.
"Abound" is the pseudonym of Sir Peter Buck. Photocopied material. Title from title screen (viewed on 19 June 2009). Creation of machine-readable version: Planman Technologies. Conversion to TEI.2-conformant markup: Planman Technologies. Creation of digital images: Planman Technologies. Originally published in print: University of New Zealand, 1910.
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Nerich, Laurent. "Les New Zealand Wars : la culture guerrière maorie face à l’impérialisme britannique". Thesis, Université de Lorraine, 2020. http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2020_0248_NERICH.pdf.

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Les New Zealand Wars sont les conflits ayant opposé les Britanniques à différentes tribus maories pour la possession de la Nouvelle-Zélande au XIXe siècle. Ces conflits trouvent leur origine dans l’interprétation divergente du traité de Waitangi, signé en 1840 avec les principaux chefs maoris, qui est en fait une prise de possession par le Royaume-Uni. Ces conflits - épisodiques - s'étendent de « l'incident » de Wairau en 1843 à la fin de la résistance du chef Te Kooti en 1872 et se déroulent quasi exclusivement dans l’Ile du Nord de la Nouvelle-Zélande. Période de crise parmi les plus longues de l’ère victorienne, les New Zealand Wars sont le premier véritable conflit, et le seul de cette ampleur, entre une nation européenne et un peuple polynésien. À cet égard, ces conflits sont révélateurs, car les deux camps ont dû transformer profondément leur stratégie au cours du conflit. Les Maoris firent preuve de capacités d’adaptation hors du commun en utilisant leur culture guerrière et l’expérience acquise au cours des guerres intertribales du début du XIXe siècle. Par exemple, les pa (fortifications traditionnelles maories) évoluent de manière drastique et vont progressivement figurer au cœur de la stratégie maorie. Les Britanniques, quant à eux, doivent sortir des schémas tactiques utilisés au cours des autres conflits coloniaux et utiliser la puissance de leur empire pour l’emporter. Cette recherche s’intéresse en particulier à l’étude des mécanismes d’adaptation mutuelle lors des conflits coloniaux et leur héritage, puisque les pa préfigurent le développement des tranchées et des abris enterrés
The New Zealand Wars are the conflicts in which British fought Maori tribes for the control of New Zealand in the XIXth Century. Their origin can be traced back to the divergent interpretation of the Treaty of Waitangi, signed in 1840 with most prominent Maori chiefs. This treaty is in fact a taking of control of New Zealand by the United Kingdom. From the « Wairau Incident » in 1843 to the surrender of chief Te Kooti in 1872, these conflicts were fought almost exclusively in New Zealand’s North Island. One of the longest crises of the Victorian era, these conflicts were also the first open conflict between Europeans and a Polynesian people, and the only one with such a large scale. In this regard, these conflicts are meaningful because both sides had to implement deep changes in their strategy. Capitalizing on their warrior culture and the experience acquired during the intertribal wars of the beginning of XIXth Century, Maori adapted outstandingly. For example, the pa (Maori traditional fortifications) changed drastically and became the center of Maori strategy. As for British, they had to adapt the tactical procedures used in other colonial conflicts while using the might of their empire to prevail. This research focuses in particular on mutual adaptation processes in colonial conflicts and their legacy, since pa heralded trench warfare and dug out shelters
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Nicolas, Yann. "La réforme maorie de la Bibliothèque Nationale de Nouvelle-Zélande dimension stratégique et enjeux techniques (collections, catalogues, accès, conservation) /". [S.l.] : [s.n.], 2003. http://www.enssib.fr/bibliotheque/documents/dcb/nicolas.pdf.

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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande". Electronic Thesis or Diss., Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370.

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Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les Maori
At the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
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David-Ives, Corinne. "L'élaboration de l’identité nationale en Nouvelle-Zélande : la dualité Maori/Pakeha". Le Havre, 2009. http://www.theses.fr/2009LEHA0004.

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Ce travail de recherche porte sur la manière dont le discours politique a structuré l'identité nationale en Nouvelle-Zélande. Depuis la fondation de la colonie par traité en 1840 entre la Couronne britannique et les Maoris, le discours des élites au pouvoir a reflété la dualité constitutive de cette identité. Le Traité de Waitangi a en effet reconnu la présence et les droits du peuple autochtone maori et a cherché à jeter les bases d'une cohabitation harmonieuse entre Maoris et colons d'ascendance britannique (Pakehas). L'élément autochtone a donc été inclus dans l'identité nationale telle qu'elle a pu commencer à émerger vers la fin du XIXème siècle. Ce travail analyse les différentes politiques de gestion de la diversité menées par l'Etat, de « l'amalgamation » des premiers temps à l'assimilation, puis de l'intégration des années 1960 au biculturalisme des années 1980-2000. La question des « relations entre les races » est ainsi apparue comme un élément essentiel du discours identitaire et a été instrumentalisée par les gouvernements successifs afin de projeter une image flatteuse de la Nouvelle-Zélande. La politique de réconciliation initiée dans les années 1980 fit un retour nécessaire sur les abus de la colonisation et aboutit à une reformulation de l'identité nationale plus équilibrée entre Maoris et Pakehas descendants des colons. Le biculturalisme officiel est toutefois remis en cause depuis le début des années 2000 par un discours multiculturaliste fondé sur la diversité ethnoculturelle nouvelle de la nation amenée par l'ouverture du pays à l'immigration non-britannique depuis la fin des années 1980
This research focuses on the way political discourse has structured national identity in New Zealand. From the moment the colony was founded by treaty between the British Crown and Maori in 1840, the discourse of the élites in government has reflected the constitutive duality of the New Zealand identity. The Treaty of Waitangi recognised the presence and the rights of the indigenous people and tried to establish a basis for a harmonious cohabitation between Maori and British settlers, soon to be known as Pakehas. The indigenous element was therefore included in the national identity as it started to emerge towards the end of the nineteenth century. This work analyses the various policies of management of diversity conducted by government: from early « amalgamation » to assimilation, then from integration in the 1960s to biculturalism in the 1980s to 2000. The issue of « race relations » has thus appeared as an essential element of the discourse of identity and has been used by successive governments to project a flattering image of New Zealand. The policy of reconciliation initiated in the 1980s resulted in a necessary introspection into the abuses of colonisation and in a more balanced reformulation of national identity. Official biculturalism has nevertheless been questioned since the early 2000s by a multicultural discourse founded on the new ethnocultural diversity of the nation brought about by the opening of the country to non-British immigration since the late 1980s
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Książki na temat "Maoris"

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Lucas, D. V. The Maoris of New Zealand. Toronto: W. Briggs, 1995.

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Marryat, Emilia. Amongst the Maoris. Wellington, N.Z: Tui Books, 2010.

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Rusden, G. W., red. Aureretanga: Groans of the Maoris. Cambridge: Cambridge University Press, 2009. http://dx.doi.org/10.1017/cbo9781139109192.

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1819-1903, Rusden George William, red. Aureretanga =: Groans of the Maoris. Christchurch [N.Z.]: Kiwi Publishers, 2001.

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O'Malley, Vincent, 1967- author, writer of introduction, MacDonald Liana author, Roa Tom 1953 author i Wallis Keziah author, red. Fragments from a contested past: Remembrance, denial and New Zealand history. Wellington, New Zealand: Bridget Williams Books, 2022.

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Essertel, Yannick. Jean-Baptiste Pompallier: Vicaire apostolique des Maoris (1838-1868). Paris: Cerf, 2014.

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Doak, Wade. The burning of the 'Boyd': A saga of culture clash. London: Hodder and Stoughton, 1985.

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Puketapu-Hetet, Erenora. Maori weaving with Erenora Puketapu-Hetet. Auckland, N.Z: Pitman, 1989.

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Puketapu-Hetet, Erenora. Maori weaving with Erenora Puketapu-Hetet. Auckland, N.Z: Addision Wesley Longman New Zealand Ltd., 2004.

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Cam, Georges-Goulven Le. Mythe et stratégie identitaire chez les Maoris de Nouvelle Zélande. Paris: Editions L'Harmattan, 1992.

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Części książek na temat "Maoris"

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Martin, Susan K., Caroline Daley, Elizabeth Dirnock, Cheryl Cassidy i Cecily Devereux. "Maoris in Town." W Women and Empire, 1750–1939, 352–57. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003101864-70.

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Martin, Susan K., Caroline Daley, Elizabeth Dirnock, Cheryl Cassidy i Cecily Devereux. "Work Among Maoris." W Women and Empire, 1750–1939, 334–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003101864-65.

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Martin, Susan K., Caroline Daley, Elizabeth Dirnock, Cheryl Cassidy i Cecily Devereux. "Chapter II. The Maoris*". W Women and Empire, 1750–1939, 326–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003101864-64.

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Wang, Ming-Feng. "Field Survey: The Taos and Maoris". W Cultural Realism and Virtualism Design Model, 31–66. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2271-0_3.

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Condliffe, J. B. "The Economic Status of the Maoris". W New Zealand in the Making, 47–89. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003407065-2.

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Martin, Susan K., Caroline Daley, Elizabeth Dirnock, Cheryl Cassidy i Cecily Devereux. "Chapter X The King of the Maoris". W Women and Empire, 1750–1939, 359–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003101864-71.

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Essertel, Yannick. "Mgr Jean-Baptiste Pompallier, apôtre des Maoris en Nouvelle-Zélande de 1838 à 1868". W Anthologies de textes et documents missionnaires, 147–60. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.atdm-eb.4.00007.

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Durie, Mason. "Maori". W Encyclopedia of Medical Anthropology, 815–22. Boston, MA: Springer US, 2004. http://dx.doi.org/10.1007/0-387-29905-x_83.

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Davidson, Janet. "Maori". W Encyclopedia of Prehistory, 222–42. Boston, MA: Springer US, 2001. http://dx.doi.org/10.1007/978-1-4615-1189-2_24.

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Pool, Ian. "Colonization and Maori". W Colonization and Development in New Zealand between 1769 and 1900, 49–67. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16904-0_3.

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Streszczenia konferencji na temat "Maoris"

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Smith, Valance, James Smith-Harvey i Sebastian Vidal Bustamante. "Ako For Niños: uma série de animação infantil que une a participação de migrantes e o codesign intercultural para trazer Tikanga significativa para Tauiwi". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.142.g299.

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Esta apresentação desenvolve um estudo de caso para um projeto de animação intercultural em andamento, que visa educar significativamente os Tauiwi da Nova Zelândia (os diversos grupos do país, incluindo migrantes e refugiados) sobre os valores, costumes e protocolos (Tikanga) dos Maori (o povo indígena de Aotearoa, Nova Zelândia). Ako For Niños (“Educação para Crianças”), implementado por uma organização de serviços sociais de migrantes e uma equipe de design de mídia, apresenta Tauiwi latino-americano ao Tikanga por meio de uma série de animação infantil, desenvolvida com um concurso de redação de contos da comunidade e codesign com um kaitiaki (tutor/conselheiro maori). Os Maori são reconhecidos no Te Tiriti o Waitangi (o documento fundador da Nova Zelândia) como parceiros de Pākeha (neozelandeses europeus), e o conhecimento maori e o Tikanga são importantes para a sociedade e a cultura em Aotearoa. Não obstante, tem havido uma histórica falta de atenção ao desenvolvimento de compreensões significativas das perspectivas maori para os Tauiwi da Nova Zelândia (Kukutai e Rata, 2017). A Ako For Niños esforça-se para abordar a atual escassez de recursos nas visões de mundo Māori para as comunidades Tauiwi, criar oportunidades para que os Tauiwi se beneficiem das epistemologias maori e promover relacionamentos comunitários saudáveis entre os maori e os Tauiwi latino-americanos. Por meio do concurso de contos do projeto, Tauiwi recebeu definições de Tikanga por meio de uma campanha de mídia social e, em seguida, foi solicitado a escrever um conto infantil baseado em um deles em sua língua nativa. Isso encorajou Tauiwi a obter uma compreensão mais profunda dos valores maori e interpretar Tikanga em suas próprias expressões. Três vencedoras foram selecionadas e, em seguida, adaptadas para animações em stop motion e 2D. Ao converter as histórias em episódios de animação esteticamente agradáveis, o Tikanga e as narrativas podem se tornar mais cativantes para o público jovem e famílias, apelando aos sentidos e emoções por meio de narrativa visual, design de som e música. A equipe de design de mídia trabalhou em estreita colaboração com um kaitiaki durante este processo para melhor compreender e comunicar o Tikanga, adaptando e coprojetando as narrativas em um processo culturalmente seguro. Isto garantiu que o conhecimento, valores e interesses maoris fossem disseminados de maneira correta e respeitosa. Defendemos a importância da participação criativa de Tauiwi, juntamente com o codesign com os Maori, para produzir projetos de design intercultural educacional em visões de mundo maori. A participação criativa encoraja novos conhecimentos culturais a serem transliterados com imaginação em interpretações e expressões pessoais de Tauiwi, permitindo que as perspectivas indígenas se tornem mais significativas. Este envolvimento significativo com os valores maori, que são mais baseados em conceitos relacionais e centrados no ser humano (Brannelly et al., 2013; Kukutai e Rata, 2017), pode capacitar Tauiwi a se sentir mais cuidado e interconectado com sua nova casa e cultura. Além disso, o codesign com Māori pode ajudar a homenagear Te Tiriti e criar espaços onde Tauiwi, Pākeha e Maori se relacionam em uma parceria genuína com a agência (rangatiratanga), aumentando a credibilidade e o valor dos resultados. Esta sessão revela os contextos informativos e os métodos empreendidos para desenvolver a série, apresentando os resultados atuais e as direções esperadas (incluindo uma triagem e uma exibição). Também destacaremos o potencial da metodologia a ser aplicada de novas maneiras no futuro, como com outras comunidades Tauiwi, conhecimento cultural diferente e maior codesign colaborativo com os Maori.
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Mielle, Malcolm, Martin Magnusson i Achim J. Lilienthal. "A Method to Segment Maps from Different Modalities Using Free Space Layout MAORIS: Map of Ripples Segmentation". W 2018 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2018. http://dx.doi.org/10.1109/icra.2018.8461128.

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Smith, Valance, James Smith-Harvey i Sebastian Vidal Bustamante. "Ako for Niños: una serie animada para niños que une la participación de los migrantes y el co-diseño intercultural para traer un Tikanga significativo a Tauiwi". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.142.g298.

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Esta presentación muestra un estudio de caso de un proyecto de animación intercultural en curso que busca educar significativamente a los Tauiwi de Nueva Zelanda (grupos diversos del país, incluidos los migrantes y refugiados) sobre los valores, costumbres y protocolos (Tikanga) de los maoríes (pueblos indígenas de Aotearoa, Nueva Zelanda). Ako For Niños (“Educación para niños”), implementada por una organización de servicios sociales para migrantes y un equipo de diseño de medios, introduce a los Tauiwi latinoamericanos al Tikanga a través de una serie animada para niños, desarrollada con un concurso comunitario de escritura de cuentos y co-diseño con un kaitiaki (tutor/asesor maorí). Los maoríes son reconocidos en el Te Tiriti o Waitangi (documento fundacional de Nueva Zelanda) como socios de Pākeha (neozelandeses europeos), y el conocimiento maorí y Tikanga son importantes para la sociedad y la cultura en Aotearoa. No obstante, ha habido una falta histórica de atención prestada al desarrollo de una comprensión significativa de las perspectivas maoríes para los Tauiwi en Nueva Zelanda (Kukutai y Rata, 2017). Ako For Niños se esfuerza por abordar la escasez actual de recursos atractivos sobre las cosmovisiones maoríes para las comunidades Tauiwi, crear oportunidades para que los Tauiwi se beneficien de las epistemologías maoríes y fomentar relaciones comunitarias saludables entre los maoríes y los Tauiwi latinoamericanos. A través del concurso de cuentos del proyecto, a los Tauiwi se les dieron definiciones del Tikanga a través de una campaña en las redes sociales, y luego se les pidió que escribieran un cuento infantil basado en uno de estos en su idioma nativo. Esto alentó a los Tauiwi a obtener una comprensión más profunda de los valores maoríes e interpretar el Tikanga en sus propias expresiones. Se seleccionaron tres escritos ganadores, luego se adaptaron a animaciones en 2D y stop-motion. Al convertir las historias en episodios animados estéticamente agradables, el Tikanga y las narrativas podrían ser más cautivadoras para el público joven y las familias, apelando a los sentidos y las emociones a través de la narración visual, el diseño de sonido y la música. El equipo de diseño de medios trabajó en estrecha colaboración con un kaitiaki durante este proceso, para comprender y comunicar mejor el Tikanga, adaptando y codiseñando las narrativas en un proceso culturalmente seguro. Esto aseguró que el conocimiento, los valores y los intereses de los maoríes se difundieran de manera correcta y respetuosa. Defendemos la importancia de la participación creativa del Tauiwi, junto con el co-diseño con los maoríes para producir proyectos educativos de diseño intercultural sobre las cosmovisiones maoríes. La participación creativa fomenta la transliteración imaginativa de nuevos conocimientos culturales en interpretaciones y expresiones personales del Tauiwi, lo que permite que las perspectivas indígenas sean más significativas. Este compromiso significativo con los valores maoríes, que se basan más en conceptos relacionales y centrados en el ser humano (Brannelly et al., 2013; Kukutai y Rata, 2017), puede empoderar a los Tauiwi para que se sientan más cuidados e interconectados con su nuevo hogar y cultura. Además, el co-diseño con maoríes puede ayudar a honrar a Te Tiriti y crear espacios donde los Tauiwi, Pākeha y maoríes interactúen en una asociación genuina con la agencia (rangatiratanga), mejorando la credibilidad y el valor de los resultados. Esta sesión desentraña los contextos que informan y los métodos adoptados para desarrollar la serie, presentando los resultados actuales y las direcciones esperadas (incluida una proyección y una exhibición). También destacaremos el potencial para que la metodología se aplique de nuevas maneras en el futuro, así como con otras comunidades Tauiwi, diferentes conocimientos culturales y un mayor co-diseño colaborativo con los maoríes.
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Williams, Toiroa. "No hea koe? ¿De dónde eres?" W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.g114.

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Este artículo relata un viaje del proyecto de doctorado dirigido por la práctica del investigador, Tangohia mai te taura (“Toma esta soga”). El estudio implica investigar, dirigir y producir un documental sobre agravios históricos dentro de Te Whakatōhea y Te Whānau ā Mokomoko. Específicamente, explora el potencial de la práctica y la forma documental en relación con Mātauranga Māori (costumbres y conocimientos maoríes) y kaupapa Māori (enfoques de investigación maoríes). El estudio busca cuestionar ciertas narrativas construidas por Pākehā sobre el exotizado asesinato del misionero, el reverendo Carl Sylvius Völkner en 1885. Como consecuencia de una acusación de asesinato, mi antepasado Mokomoko fue arrestado por el crimen, encarcelado y ahorcado, mientras protestaba su inocencia. En represalia, a nuestro pueblo le confiscaron sus codiciadas tierras por parte del gobierno y se convirtieron en parias de múltiples relatos históricos. La tesis pregunta cómo un documentalista maorí de esta iwi (tribu) podría llegar al dolor y la injusticia de tal evento de maneras culturalmente sensibles, para contar la historia del impacto generacional. La investigación considera cuatro rasgos distintivos del enfoque del autor como cineasta indígena. WHAKAPAPA - GENEALOGÍA: En el pensamiento maorí, whakapapa conecta al realizador con la película, los entrevistados y la comunidad. Sin embargo, las conexiones de whakapapa conllevan la responsabilidad de navegar la realización de películas con respeto y cuidado. WHENUA y WHANAU - TIERRA Y FAMILIA: Metodológicamente mi enfoque a través de la encarnación. Paso tiempo viviendo y reconectando con mi familia extendida y las tierras en las que vivimos. Camino, pienso,escucho y siento mi camino a través de un mundo complejo, buscando activamente oportunidades para asistir a wānanga (discusiones) y apoyar las kapa haka (artes escénicas maoríes) relacionadas con nuestra tierra y nuestra familia. Mi posición es de humildad y cocreación. Soy consciente de que el rōpū (equipo) con el que trabajo será llamado al corazón confiado de mi whanau. Así, semanas antes de que comience la producción, vivimos con el mundo que el documental busca grabar. TIKANGA - ADUANAS: El proceso y las estructuras de realización de esta película siguen siendo conscientes de tikanga Māori (costumbres maoríes). Karakia y waiata (oraciones y canciones maoríes) acompañan el proceso de creación de la obra. La tripulación, en gran parte maorí, está atenta a los protocolos y sensibilidades. Estas prácticas también afirman nuestro rōpū (grupo) como familia. KOHA - RECIPROCACIÓN: A diferencia de muchos enfoques convencionales para la realización de documentales, donde las películas se “filman” de manera económica y eficiente, este proyecto se basa en el concepto de koha (reciprocidad). Se entiende que las comunidades regalan su tiempo e historias y, en respuesta, los regalos del proyecto regresan. Como artista, hago esfuerzos conscientes para apoyar a la iwi, repatriar conocimientos y artefactos que ubico en mi investigación, ser un miembro activo dentro de la ciudad y apoyar iniciativas comunitarias. Como cineasta, soy miembro de una generación que se ha ido alejando gradualmente de la historia y encarnado el dolor de mi whanau. Vengo a buscar mi pasado en un esfuerzo por comprender y contribuir con algo útil que apoye las aspiraciones y la capacidad de mi pueblo para lograr valor, curación y reparación histórica.
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J. Kovacic, Zlatko. "Positioning of Maori Web Sites in the Space Generated by the Key Concepts in Maori Culture". W 2001 Informing Science Conference. Informing Science Institute, 2001. http://dx.doi.org/10.28945/2353.

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We examine how accurately the belief system or cultural concepts of Maori, the indigenous people of New Zealand, is reconstructed in the virtual world of the Internet. Nine Maori web sites were searched using a list of 44 key concepts in Maori culture. We registered how many pages within a particular web site contain each of the key concepts. These numbers were set up in a data matrix for further statistical analysis. The Multidimensional Scaling method was used to construct a spatial representation of Maori web sites in the space generated by the key concepts in Maori culture. Using the correlation coefficients between derived dimensions and the key concepts we interpreted three dimensions as General Cultural, Intra-tribe Dynamics and Educational. The position of each Maori web site in this space has been located and described.
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Ser, Qi Min, Omprakash Rudhru i Eduardo Benitez Sandoval. "Robot Maori Haka". W 2016 11th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2016. http://dx.doi.org/10.1109/hri.2016.7451850.

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Williams, Toiroa. "No hea koe? De onde você é?" W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.g115.

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Este artigo relata uma jornada do projeto de doutorado conduzido pelo pesquisador, Tangohia mai te taura (Pegue esta Corda). O estudo envolve pesquisar, dirigir e produzir um documentário sobre as queixas históricas de Te Whakatōhea e Te Whānau ā Mokomoko. Especificamente, explora os potenciais da prática e forma documental em relação a Mātauranga Māori (costumes e conhecimento maori) e kaupapa Māori (abordagens de pesquisa maori). O estudo busca questionar certas narrativas construídas por Pākehā sobre o assassinato exoticizado do missionário, o reverendo Carl Sylvius Völkner, em 1885. Como consequência de uma acusação de assassinato, meu ancestral Mokomoko foi preso pelo crime, preso e enforcado, protestando o tempo todo por sua inocência. Em retribuição, nosso povo teve suas cobiçadas terras confiscadas pelo governo e se tornaram párias de vários relatos históricos. A tese pergunta como um documentarista maori desta iwi (tribo) pode chegar ao luto e à injustiça de tal evento de maneiras culturalmente sensíveis, para contar a história do impacto geracional. A pesquisa considera quatro características distintas da abordagem do autor como um cineasta indígena. Whakapapa – genealogia– Em maori, o pensamento whakapapa conecta o realizador com o filme, os entrevistados e a comunidade. No entanto, as conexões do whakapapa carregam a responsabilidade de navegar na produção de filmes com respeito e cuidado. Whenua e whanau – terra e família – Metodologicamente, minha abordagem através da incorporação. Passo o tempo residindo e reconectando-me com minha família extensa e as terras em que vivemos. Eu ando, penso,ouço e sinto meu caminho através de um mundo complexo, buscando ativamente oportunidades de participar de wānanga (discussões) e apoiar kapa haka (artes performáticas maori) relacionadas à nossa terra e família. Minha posição é de humildade e cocriação. Estou ciente de que o rōpū (tripulação) com quem trabalho será chamado ao coração confiante de meu whanau. Assim, semanas antes do início da produção, convivemos com o mundo que o documentário busca registrar Tikanga – alfândega – O processo e as estruturas de fazer este filme permanecem cientes de tikanga Māori (costumes maori). Karakia e waiata (orações e canções maori) acompanham o processo de criação da obra. A grande tripulação maori está atenta aos protocolos e sensibilidades. Estas práticas também afirmam nosso rōpū (grupo) como uma família. Koha – reciprocidade – Ao contrário de muitas abordagens convencionais para a produção de documentários, onde os filmes são “filmados” de maneira econômica e eficiente, este projeto é baseado no conceito de koha (reciprocidade). As comunidades são entendidas como presenteando seu tempo e suas histórias e, em resposta, há os presentes do projeto de volta. Como artista, faço esforços conscientes para apoiar os iwi (tribos locais); repatriar conhecimentos e artefatos que localizo em minhas pesquisas, sendo um membro ativo dentro da cidade e apoiando iniciativas comunitárias. Como cineasta, sou membro de uma geração que foi cada vez mais afastada da história e da dor incorporada de meu whanau. Venho em busca de meu passado, em um esforço para compreender e contribuir com algo útil que apoie as aspirações e a agência do meu povo na obtenção de valor, cura e reparação histórica.
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Abdul Razak, Norhanim. "FROM CREATION OF THE UNIVERSE TO A WHALE RIDER: EXPLORING TRADITIONAL TALES IN THE DIGITAL PROMOTION OF NEW ZEALAND". W GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.027.

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The paper applied a content analysis method to examine how myths and legends have been employed by the promotional organization in portraying New Zealand on the official tourism website. The assessment of the website uncovered six main legends which have been presented in the promotion of New Zealand to potential tourists. These traditional tales have been incorporated into the website chiefly as part of Maori heritage attributes in which purakau (the Maori term for legends) represents among crucial aspects in understanding their worldviews and cultural identities. Legends narrating fishing voyages involving demi gods offers a mythological explanation of the origin of the geological formation of islands of New Zealand were presented more than once on the website. Among the legends presented to readers on the websites encompass stories of Tane Mahuta, which depicts the tale of the sky father, the earth mother, and the creation of the world of light that humans live in today. Another unique legend, Paikea the whale rider, is featured as part of the description of a whale-watching attraction in Kaikoura, Christchurch. The overall analysis uncovered that legendary tales are incorporated into the website as the part historical origin of Maori people and in the promotion of several tourist attractions in New Zealand. From a tourism perspective, the representation of these tales enhances the appeal of destinations and make them stand out to visitors. The inclusion of the purakau offers tourists a deeper understanding of the cultural heritage of this country. Furthermore, Maori worldviews on the creation of the universe and formation of the natural environment are transpired. It is noticeable through these legends that Maori people strongly respect their ancestors and highly appreciated natural resources. Finally, the emphasis on environmental conservation and sustainability as ingrained in the tales further supported the overall promotional tagline of 100% Pure New Zealand and the inclusion of Tiaki Promise a commitment to care for New Zealand, for now, and for future generations on the official tourism website.
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Bennani, Hamza, Steven Mills, Richard Walter i Karen Greig. "Photogrammetric debitage analysis: Measuring Maori toolmaking evidence". W 2017 International Conference on Image and Vision Computing New Zealand (IVCNZ). IEEE, 2017. http://dx.doi.org/10.1109/ivcnz.2017.8402463.

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Rudhru, Omprakash, Qi Min Ser i Eduardo Sandoval. "Robot Maori Haka: Robots as cultural preservationists". W 2016 11th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2016. http://dx.doi.org/10.1109/hri.2016.7451860.

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Raporty organizacyjne na temat "Maoris"

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ARMY WAR COLL CARLISLE BARRACKS PA. The Maoist Insurgency in Nepal: 1996-2001. Fort Belvoir, VA: Defense Technical Information Center, kwiecień 2002. http://dx.doi.org/10.21236/ada404405.

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Kempton, Willett. Mid-Atlantic Offshore Wind Interconnection and Transmission (MAOWIT). Office of Scientific and Technical Information (OSTI), kwiecień 2016. http://dx.doi.org/10.2172/1329370.

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Yan, Wendi. Discovering an Antimalarial Drug in Mao’s China. Asimov Press, kwiecień 2024. http://dx.doi.org/10.62211/81bp-06ft.

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Mililani Ganivet, Mililani Ganivet. Re-membering nuclear stories from a Maohi lens. Experiment, listopad 2021. http://dx.doi.org/10.18258/22740.

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Cho, Tony K. Mao's War of Resistance: Framework for China's Grand Strategy. Fort Belvoir, VA: Defense Technical Information Center, marzec 2011. http://dx.doi.org/10.21236/ada553055.

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Kreuttner, Timothy R. The Maoist Insurgency in Nepal, 1996-2001: Implicating for U.S. Counterinsurgency Doctrine. Fort Belvoir, VA: Defense Technical Information Center, czerwiec 2008. http://dx.doi.org/10.21236/ada505200.

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Nesbitt, Wanda L. Jonas Savimbi and UNITA's Struggle for Independence. An Application of Mao's Theory of Warfare? Fort Belvoir, VA: Defense Technical Information Center, styczeń 1997. http://dx.doi.org/10.21236/ada442217.

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Uin, J., i S. Smith. Mobile Aerosol Observing System – Aerosols (MAOS-A) Instrument Handbook. Office of Scientific and Technical Information (OSTI), grudzień 2020. http://dx.doi.org/10.2172/1740015.

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Uin, Janek, i Scott Smith. Mobile Aerosol Observing System – Chemistry (MAOS-C) Instrument Handbook. Office of Scientific and Technical Information (OSTI), grudzień 2020. http://dx.doi.org/10.2172/1759987.

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'Effective e-therapy engagement, and improving Maori families early environment’ In Conversation Prof Sally Merry. ACAMH, maj 2021. http://dx.doi.org/10.13056/acamh.15746.

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