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Vols. for 1892-1941 contain the transactions and proceedings of the society.
Today's New Zealand is an emerging paradigm for successful cultural relations. Although the nation's Maori (indigenous Polynesian) and Pakeha (colonial European) populations of the 19th century were dramatically different and often at odds, they are today co-contributors to a vibrant society. For more than a century they have been working out the kind of nation that engenders respect and well-being; and their interaction, though often riddled with confrontation, is finally bearing bicultural fruit. By their model, the encounter of diverse cultures does not require the surrender of one to the other; rather, it entails each expanding its own cultural categories in the light of the other. The time is ripe to explore modern New Zealand's cultural dynamics for what we can learn about getting along. The present anthropological work focuses on religion and related symbols, forms of reciprocity, the operation of power and the concept of culture in modern New Zealand society.
Fairies have been revered and feared, sometimes simultaneously, throughout recorded history. This encyclopedia of concise entries, from the A-senee-ki-waku of northeastern North America to the Zips of Central America and Mexico, includes more than 2,500 individual beings and species of fairy and nature spirits from a wide range of mythologies and religions from all over the globe.
Tongan barkcloth, made from the inner bark of the paper mulberry tree, still features lavishly in Polynesian ceremonies all over the world. Yet despite the attention paid to this textile by anthropologists and art historians alike, little is known about its history. Providing a unique insight into Polynesian material culture, this book explores barkcloth's rich cultural history, and argues that its manufacture, decoration and use are vehicles of creativity and female agency. Based on twelve years of extensive ethnographic and archival research, the book uncovers stories of ceremony, gender, the senses, religion and nationhood, from the 17th century up to the present-day. Placing the materiality of textiles at the heart of Tongan culture, Veys reveals not only how barkcloth was and continues to be made, but also how it defines what it means to be Tongan. Extending the study to explore the place of barkcloth in the European imagination, she examines international museum collections of Tongan barkcloth, from the UK and Italy to Switzerland and the USA, addressing the bias of the European 'gaze' and challenging traditional gendered understandings of the cloth. A nuanced narrative of past and present barkcloth manufacture, designs and use, Unwrapping Tongan Barkcloth demonstrates the importance of the textile to both historical and contemporary Polynesian culture.