Дисертації з теми "Hawaiian politics"
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1
Janssen, Savanah. "Haole Like Me: Identity Construction and Politics in Hawaii." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/english_theses/12.
Повний текст джерелаАнотація:
Haole is a contested, multi-faceted word in Hawaii. It generally means “foreigner,” or “white person.” It is used to refer to both tourists, and haoles like me, or those who are born and raised in Hawaii. In either case, it is always negative, referring to something “other” and really, colonial. Paraphrasing rhetorician Kenneth Burke, this thesis analyzes how this word “works in the world,” and from there, explores how identity, culture, and belonging are constructed through language. The essential questions become: are culture and identity constructed and performed, through language, tradition, and cultural engagement? Or is some blood content or ethnicity warranted to claim cultural belonging, and in this case, a Hawaiian identity? The method for this research began with seven interviews with people from Hawaii—a mix of haoles, hapa (mixed race) people, and ethnic Hawaiians—followed by the analyzing of these interviews, and ending with my personal engagement with these findings autoethnographically. Writing this thesis has changed how I see my own identity in Hawaii. I have used this autoethnographic method to share this transformation, explore it, and through it, mimic the in-flux nature of identity construction and language at large. I see this thesis as fluid and subject to change; as a jumping off point for future research on an otherwise “silent” topic, silent in that people in Hawaii do not openly discuss this issue; as the beginning of a necessary dialogue on what it means to be haole, what it means to be Hawaiian, and the nature of identity and cultural construction at large.
2
Medeiros, Megan. "Hawaiian History: The Dispossession of Native Hawaiians' Identity, and Their Struggle for Sovereignty." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/557.
Повний текст джерелаАнотація:
In Hawaiian History: The Dispossession of Native Hawaiians’ Identity and Their Struggle for Sovereignty, three of the Western constructed narratives of Hawai’i are identified and juxtaposed with Hawai’i’s historical facts taken primarily from the late 1800s through the mid 1900s. These Western narratives contribute to an identity crisis experienced by Native Hawaiians during a time when their culture was almost lost, due to the colonial powers assimilating Hawai’i to America. An account of the historical events of the Kingdom of Hawai’i is then reviewed, which includes the diplomatic moves of the Hawaiian monarchs, the changes in the statuses of the Kingdom, and the overthrow of Queen Lili’uokalani. Evidence explored throughout “The Hawaiian Kingdom” section, proves the native Hawaiians adjusted swiftly to a diplomatic means of resolving issues, which refute a frequently taught Western constructed narrative that the “savage native Hawaiian political leaders” needed Americas aid in governance. The Hawaiian sovereignty movement’s history is reviewed, leading up to the creation of U.S. Public Law 103-150. This resolution was made in response to the demand from Hawaiian sovereignty movements for the United States to acknowledge its role in the overthrow of the Kingdom of Hawai’i. The U.S. political agenda found in this resolution is so deeply embedded and disguised in the diplomatic language used, that without careful examination could go completely undetected by the reader. At the surface level, the Apology Resolution acknowledges the historical injustices faced by the native Hawaiians, apologizes for the events, and seeks reconciliation with the native Hawaiians. Concealed in the U.S. Public Law 103-150, is the manipulation of language as means to use the apology as a disclaimer, which allows the United States to continue to suppress the inherent sovereignty of the Kingdom of Hawai’i and nullifies any claims to rights, titles, and possessions against the United States.
3
Scanlan, Emma. "Ominous metaphors : the political poetics of native Hawaiian identity." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/71812/.
Повний текст джерелаАнотація:
This thesis examines poetry by Native Hawaiian activists written between 1970 and 2016 in order to develop a detailed understanding of the multi-faceted ways poetry incorporates, transmits and enacts contemporary political identity. Whilst fundamentally a literary analysis, my methodology is discursive, and draws on a range of critical approaches, archival research and interviews with poets, in order to address why poetry is such a powerful form of resistance to American hegemony. By reading contemporary poetry as an expression of deeply held cultural and political beliefs, this thesis suggests that writing and performing poetry are powerful forms of political resistance. Adopting a lens that is attentive to both the indigenous and colonial influences at play in Hawaiʻi, it elucidates the nuanced ways that traditional literary techniques enter contemporary Native Hawaiian poetry as vehicles for cultural memory and protest. Attention to the continuities between traditional Hawaiian epistemology and the ways those same methods and values are deployed in twentieth and twenty-first century poetry, means this thesis is a part of a growing body of work that endeavours to understand indigenous literature from the perspective of its own cultural and political specificity. The introduction establishes the historical and critical context of the Hawaiian Sovereignty Movement and the Hawaiian Renaissance. It outlines the main developments in Native Hawaiian literary criticism since the late 1960s, including the reclaiming of traditional narratives and the privileging of indigenous epistemologies. Chapters One to Seven proceed chronologically, each addressing a particular collection, anthology or body of work. Chapter One focuses on Wayne Kaumualiʻi Westlake's radical rejection of Westernised Waikīkī, whilst Chapter Two explores the anthologies Mālama: Hawaiian Land and Water and HoʻiHoʻi Hou: A Tribute to George Helm and Kimo Mitchell, in relation to the Sovereignty Movement's dedication to Aloha ʻĀina (love the land). Chapters Three to Five deal with five poetry collections, two by Haunani-Kay Trask, and one each by Imaikalani Kalahele, Brandy Nālani McDougall and Māhealani Perez-Wendt. The chapters address how these poets articulate Native Hawaiian identity, nationalism and continuity through traditional moʻolelo (stories), which underpin the political beliefs of three generations of sovereignty activists. Chapters Six and Seven address contemporary performance poetry in both published and unpublished formats by Jamaica Osorio, David Kealiʻi MacKenzie, Noʻukahauʻoli Revilla and Kealoha, demonstrating how a return to embodied performance communicates aloha (love, compassion, grace). The conclusion, Chapter Eight, indicates projects that are already productively engaging Hawaiian epistemology in the areas of geography and science, and points towards developments in the digital humanities that could extend this indigenised methodology into literary studies, in order to further engage with the depth and multiplicity of storied landscapes in Hawaiʻi.
4
Chandler, Andrew. "Innovating for a Sleeker, Greener, Friendlier Ride." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1715.
Повний текст джерелаАнотація:
Innovating for Sleeker, Greener, Friendlier Rides critiques the ethical implications behind the meaning of sustainability in the surfboard manufacturing industry because surfers by origin have a kinship with the environment. First the paper discovers the origins of surfers, how surfing became a sport, and who are the major influencers in the industry. Second, this thesis analyzes three different sustainability approaches, repurpose, reduce, and self-sustainment. Repurpose method examines to decrease the amount CO2 in inputs and outputs of materials throughout surfboard construction. Reduce method innovates surfboard that are more durable so that there are less wasted surfboards going into landfills. Self-sustainment practices a variant of permaculture to construct surfboards out of only natural materials from the earth in order to diminish non-ecofriendly byproducts. Thirdly, the conversation regards towards permaculture as the better option, which requires comprehensive experiments to produce materials meeting the performance of non-sustainable resources. Lastly, the thesis provides areas of research for possible raw materials and a way to implement into the industry.
5
Otsuka, Cuyler. "Aloha, Marriage Equality: Unsettling Gay Constructions of Paradise." Oberlin College Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1399982466.
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6
Cummings, Tracie Kuʻuipo. "Hawaiian sovereignty and nationalism : history, perspectives and movements." Thesis, 2004. http://hdl.handle.net/10125/11780.
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7
Isaki, Bianca. "A decolonial archive : The historical space of Asian settler politics in a time of Hawaiian nationhood." Thesis, 2008. http://hdl.handle.net/10125/20837.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--University of Hawaii at Manoa, 2008.I task this archive with creating a place of pausing. Outside of the prescriptive and diagnostic temporalities that are usual to politics, this locale paces un-thinking intimate attachments to colonial orders. Here, "un-thinking" hosts a double valence. As an adjective, it describes those attachments as unconscious directives of hegemony in everyday movements. As a verb, it acts on those attachments in material things that are inclusive, and in excess, of thought. Things like inheriting a family name, "everyday life," and feelings have political and economic rhythms that suffuse relationships to the colonial state (government, U.S. militaries, juridical institutions) and society (plantation owning elites, the health sector, academia, and the faith community).
The decolonial archive is a theoretical apparatus for approaching structures that alternately invest Asian settlers in an American-Hawaii, tense against U.S. hegemony, and recuperate those tensions into attachments to America.
To access the micrological textured of colonization, I've looked to the intimate paper-trails that my own family-names generate into one of Hawai'i's defining colonial institutions, the Territorial-era (1900-1959) plantation. These plantation communities were crucial arenas of the labor organizing, wartime economic expansion, patriotism and consumer socialization that contributed to the emergence of a new multiracial local ruling class in a post-Statehood epoch (1959). Their political and economic enfranchisement, gauged in increased property ownership, professional employment and public office-holding, has been adorned with liberatory signs of racial justice. But this format assumes only political-economic investments secure Asian settler allegiance to Hawai'i's U.S. occupation. To stop the translation of this history (acceleration of multiculturalism under globalization) into that evidence (proofs of American capitalism's capacity to incorporate difference), I archive Asian settlers colonialism in new capillary forms of power that target affect, feeling, sensation and memory. My use of the decolonial archive derails kinship's commitments to heteronormative conventions, while exploiting genealogy's idiomatic kinship with reproductive familiality to turn a (hetero)normative narrative of existential continuity into a narrative of political accountability to a Hawaiian-Hawaii.
Includes bibliographical references (leaves xxx-xxx).
Also available by subscription via World Wide Web
282 leaves, bound 29 cm
8
Tamaira, Andrea Marata. "Frames and counterframes: envisioning contemporary Kanaka Maoli art in Hawai'i." Phd thesis, 2015. http://hdl.handle.net/1885/13866.
Повний текст джерелаАнотація:
Since the overthrow of the Hawaiian Kingdom in 1893 and the subsequent illegal
annexation of the Islands by the United States in 1898, Native Hawaiians (Kānaka
Maoli) have vigilantly contested U.S. colonialism in Hawaiʻi and have resolutely sought
to defend and affirm their existence as the still sovereign people of their homeland
through political, legal, cultural, and artistic means. While the first three instances of
indigenous resistance have been well documented in numerous books, journal articles,
and theses, there remains a largely untapped field of academic enquiry concerning the
role of contemporary Kanaka Maoli art within this milieu. This dissertation seeks to
close the gap with an examination of how Native Hawaiian artists use the visual arts as
a tool to assert their socio-political aspirations, affirm their sovereign identity, and
disrupt the colonial status quo by representing themselves on their own terms. Here, the
visual arts function as an abstract expression of Native power.
As an analytical anchor, I use Tuscarora scholar Jolene Rickard’s term “visual
sovereignty” to investigate three discrete contexts in which Kanaka Maoli art is
produced: “high” art, commercial art, and public art. For the purpose of this study, I
define visual sovereignty as an aesthetic strategy through which Kanaka Maoli artists
articulate an indigenous-centered perspective that conveys Native epistemologies,
ongoing political struggles, and ancestral connection to place. An examination of
contemporary Kanaka Maoli art using this paradigm has not yet been advanced in the
Hawai‘i context but a growing body of scholarship by Native American and First
Nations academics and art practitioners indicates the indispensability of opening up a
discussion that attends to Kanaka Maoli visual culture as an articulation of indigenous
sovereignty. This thesis is a nascent step toward that end.
9
Earle, David William. "Coalition Politics in Hawaii--1887-90: Hui Kalai'aina and the Mechanics and Workingmen's Political Protective Union." 1993. http://hdl.handle.net/10125/21097.
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10
Lirette, Mélodie. "Ku Kia'i Mauna: Warriors Rising in Kapu Aloha Re-Branding the Hawaiian Identity Through the Revival of Place Authenticity." Thèse, 2016. http://hdl.handle.net/1866/18836.
Повний текст джерелаАнотація:
En 2010, la Thirty Meter Telescope Corporation, représentée par une alliance interuniversitaire de chercheurs en astronomie, a présenté le projet du Thirty Meter Telescope ayant comme lieu de prédilection la montagne sacrée Mauna Kea, située sur l’île d’Hawai’i. S’inspirant de Idle No More, un mouvement d’activisme Hawaiien est né afin d’empêcher la désacralisation de ce temple naturel. Rapidement, un mouvement est né : ‘A’ole TMT, signifiant « non au TMT ». Ce mémoire illustre les raisons motivant cette initiative sociale et les outils mobilisés par les agents actifs de ce mouvement. Cette dissertation montre comment – s’inscrivant dans le contexte, d’abord, du Mouvement des Droits Civiques aux États-Unis et, ensuite, du mouvement de justice sociale et environnementale Idle No More – les activistes du ‘A’ole TMT Movement ont su procéder au re-branding de leurs attributs culturels et spirituels et, ainsi raviver l’authenticité de leur nation et de leur environnement, caractérisée par la réappropriation des lieux de mémoire hawaiiens.In 2010, the Thirty Meter Telescope Corporation, composed of an inter-university alliance of researchers in astronomy, presented the Thirty Meter Telescope project, proposed to be built on the sacred mountain Mauna Kea, located on Hawai’i Island. Inspired by Idle No More, a grassroots Hawaiian activism movement was formed in an attempt to stop the desecration of this natural temple. Rapidly, a movement was born: ‘A’ole TMT, meaning “No to the TMT”. This dissertation shows the reasons motivating such a social initiative and presents the resources that active agents to the ‘A’ole TMT Movement mobilized to formally halt the TMT project. This thesis establishes how – in the context, first, of the accomplishments of the American Civil Rights Movement and, second, of the social and environmental justice movement Idle No More – Hawaiians have managed to re-brand their cultural and spiritual attributes and hence revive the authenticity of their nation as a singular and unique place through a renewed connection with Hawaiian lieux de mémoire.
11
Cachola-Abad, Carolyn Kēhaunani. "The evolution of Hawaiian socio-political complexity an analysis of Hawaiian oral traditions /." 2000. http://wwwlib.umi.com/dissertations/fullcit/9990230.
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12
Iwata, Taro. "When Injustice Becomes Justice: Western Domination Over Hawai'i Through Political Mythmaking." 1993. http://hdl.handle.net/10125/21104.
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13
Reeves, Jane. "Indigenous Rights: Hawaiians and Maori in the International Political Context." 1992. http://hdl.handle.net/10125/21119.
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14
Gonschor, Lorenz R. "Law as a tool of oppression and liberation: institutional histories and perspectives on political independence in Hawaiʻi, Tahiti Nui / French Polynesia and Rapa Nui". Thesis, 2008. http://hdl.handle.net/10125/20375.
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15
Kosasa, Eiko. "Predatory politics U.S. imperialism, settler hegemony, and the Japanese in Hawaiʻi /". Thesis, 2004. http://proquest.umi.com/pqdweb?index=0&did=775164831&SrchMode=1&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233281791&clientId=23440.
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16
Diamond, Heather A. "American aloha Hawaiʻi at the Smithsonian Folklife Festival and the politics of tradition /". Thesis, 2004. http://proquest.umi.com/pqdweb?index=1&did=813772971&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233778612&clientId=23440.
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17
Mykkanen, Juri. "Locke in a heathen land : cultural constructions of politics on the Kingdom of Hawaii, 1825-1845." Thesis, 1993. http://hdl.handle.net/10125/10144.
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18
Dolan, Timothy. "The politics of life cycles : service as a rite of passage to adult citizenship." Thesis, 1991. http://hdl.handle.net/10125/10122.
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19
Gabbard, Robert. "Fire and water must live together: a novella." Thesis, 2018. http://hdl.handle.net/2097/38899.
Повний текст джерелаАнотація:
Master of ArtsDepartment of English
Katherine Karlin
By the year 2037, climate change has destabilized the world’s ecology, politics, and culture. Hawaii has seceded from the United States, instituting the Cultural Reaffirmation, which champions a sustainable, traditional way of life. Eenie is an astronomer on the Big Island of Hawaii. In order to keep the observatory on Mauna Kea operational, she must appease the newly independent island nation by reenacting a mythical sled race between Poliahu, the Hawaiian snow goddess of Maunakea, and Pele, the fierce goddess of lava, personified by a rival geoscientist from Maunaloa’s volcanic laboratory. Once an Olympic contender in the women’s luge, Eenie has won this race twice before. This year, though, the greenhouse effect has caught up with her; there is no snow on Maunakea. Without it, she cannot prevail, and if she doesn’t, the priests of Hawaii’s Cultural Reaffirmation will pull the telescopes down from their most sacred mountain. Eenie struggles against nature’s increasing wrath, gods, monsters, pigs, and political rivals, though her biggest struggle is within herself. Fire and water must live together takes place in an ecodystopic future, though its story pulls from Hawaiian myth. The story’s projection into the future is based on current events, including the Hawaiian sovereignty movement, climate change science, and technology. An accompanying essay frames the novella through three critical lenses: ecocriticism, eco-politics, and post-colonial hybridity. The essay includes a focused look at the setting of Hawaii as it stands today in terms of environment, politics, and people.
20
Menter, Ulrich. "Auf der Suche nach der Hawaiischen Nation." Doctoral thesis, 2009. http://hdl.handle.net/11858/00-1735-0000-0001-BBA3-6.
Повний текст джерелаАнотація:
Im Zentrum der Arbeit steht die Analyse des „Hawaiian Sovereignty Movement“, einer politische Bewegung indigener Hawaiier. Sie bestimmte in den 1990er Jahren – 1993 jährte sich der Sturz der Monarchie zum 100. Male – das politische Leben des Inselstaates mit und forderte kulturelle und politische Autonomie für den hawaiischen Bevölkerungsteil des Inselstaates. Fragen nach der Politisierung kultureller Prozesse sowie nach der Kulturalisierung und Ethnisierung vornehmlich politischer und sozialer Konflikte stehen dabei im Vordergrund der Betrachtung. Ausgangspunkt jeglichen Diskurses um Autonomie oder „Sovereignty“ ist dabei die bewegte politische Geschichte Hawai‘is im 19. Jahrhundert. Mit einer ständig wachsenden Zahl von Siedlern wurden die Hawaiier im Laufe des 19. Jahrhunderts zu einer Minderheit im eigenen Land.
Als Gegenbewegung zu diesem immer weiter reichenden Aufgehen der hawaiischen Minderheit in der Gesamtbevölkerung des Bundesstaates forcierte die so genannte „Hawaiian Renaissance“, eine Revitalisierungsbewegung der 1960er Jahre, eine Rückbesinnung auf traditionelle Kulturtechniken und die von ihr beschriebenen „hawaiischen Werte“. Sie lieferte dem entstehenden „Hawaiian Sovereignty Movement“ zahlreiche Ansatzpunkte zur Verknüpfung politischer Forderungen mit Kernsymbolen hawaiischer Identität.
Neben dem diachron ausgerichteten Blick auf Veränderungsprozesse und Entwicklungen der Deutungshoheit über die von den Hawaiiern reklamierten Traditionen steht die synchrone Betrachtung der Veranstaltungen und Ereignisse des Gedenkjahres 1993. Anhand der Analyse eines zentralen Themas des Autonomiediskurses, der Frage der Land¬nutzung und der Landrechte, kann ein umfassendes Bild der Autonomiebewegung, ihrer politischen Praxis und der mit ihr verwobenen kulturellen Deutungsmuster und Konfliktlösungsstrategien gezeichnet werden. Es entsteht dabei das Bild einer spezifisch hawaiischen Bewegung, die sich durch bestimmte Muster der Provokation, durch Gewaltfreiheit und durch ein ständiges Aufflammen und Zurücknehmen von Konflikten auszeichnet.
Mit dem Blick auf die hawaiische Kunstszene der Gegenwart rundet sich gewissermaßen die Darstellung der hawaiischen Autonomiebewegung. Stand doch die kulturelle Revitalisierung am Beginn der politischen Bewegung, die sich verschiedener Aspekte hawaiischer Kultur zur Untermauerung ihres Anspruches bediente. Heute haben sich die Gewichtungen verschoben: eine zunehmend autonom agierende Szene bildender Künstler hawaiischer Abstammung nimmt die von der Autonomiebewegung postulierten Fragestellungen und Ziele in ihre Produktion auf und propagiert so hawaiische „Sovereignty“ oder Autonomie. Die politische Bewegung der Hawaiier ist auf diese Weise eng verwoben mit einer öffentlichen hawaiischen Kultur der Gegenwart, die sich zunehmend von Rückgriffen auf Tradition und Vergangenheit löst und zugleich immer wieder neue und eigenständige Zeichen kultureller Autonomie setzt.
21
Monobe, Hiromi. "Shaping an ethnic leadership Takie Okumura and the "Americanization" of the Nisei in Hawai'i, 1919-1945 /." Thesis, 2004. http://proquest.umi.com/pqdweb?index=0&did=775157001&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1234481016&clientId=23440.
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22
Kam, Ralph Thomas. "Mediator and advocate the history of the Honolulu Community-Media Council /." Thesis, 2005. http://proquest.umi.com/pqdweb?index=0&did=913513571&SrchMode=2&sid=11&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1234301193&clientId=23440.
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