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Retells a traditional Hawaiian tale of how the island of Hawaii was formed. Island beginnings introduces the formation of various types of islands. Suggested level: primary.
Maui's jealous brothers don't want him to come fishing with them. Maui is cleverer than they are, however, and not only does he trick them, but he catches the best fish of all.
Long ago, when the world was new and little Maui was born, the great god Tama carried him away to the underworld to learn magic. When Maui came back to earth, his brothers made fun of him and wouldn't take him out fishing. They stole away in their boat, laughing at him and thinking he was still asleep -- but Maui outwitted his brothers, caught the biggest fish in the ocean, and in the process created something amazing! This charming tale of Maui of the Thousand Tricks is accompanied by the brilliant, sun-splashed artwork of illustrator Frane Lessac.
Four brothers, each bearing the name of Maui, belong to Hawaiian legend. They accomplished little as a family, except on special occasions when the youngest of the household awakened his brothers by some unexpected trick which drew them into unwonted action. The legends of Hawaii, Tonga, Tahiti, New Zealand and the Hervey group make this youngest Maui "the discoverer of fire" or "the ensnarer of the sun" or "the fisherman who pulls up islands" or "the man endowed with magic," or "Maui with spirit power." The legends vary somewhat, of course, but not as much as might be expected when the thousands of miles between various groups of islands are taken into consideration. Maui was one of the Polynesian demi-gods. His parents belonged to the family of supernatural beings. He himself was possessed of supernatural powers and was supposed to make use of all manner of enchantments. In New Zealand antiquity a Maui was said to have assisted other gods in the creation of man. Nevertheless Maui was very human. He lived in thatched houses, had wives and children, and was scolded by the women for not properly supporting his household. The time of his sojourn among men is very indefinite. In Hawaiian genealogies Maui and his brothers were placed among the descendants of Ulu and "the sons of Kii," and Maui was one of the ancestors of Kamehameha, the first king of the united Hawaiian Islands. This would place him in the seventh or eighth century of the Christian Era. But it is more probable that Maui belongs to the mist-land of time. His mischievous pranks with the various gods would make him another Mercury living in any age from the creation to the beginning of the Christian era. The Hervey Island legends state that Maui's father was "the supporter of the heavens" and his mother "the guardian of the road to the invisible world." In the Hawaiian chant, Akalana was the name of his father. In other groups this was the name by which his mother was known. Kanaloa, the god, is sometimes known as the father of Maui. In Hawaii Hina was his mother. Elsewhere Ina, or Hina, was the grandmother, from whom he secured fire. The Hervey Island legends say that four mighty ones lived in the old world from which their ancestors came. This old world bore the name Ava-iki, which is the same as Hawa-ii, or Hawaii. The four gods were Mauike, Ra, Ru, and Bua-Taranga. It is interesting to trace the connection of these four names with Polynesian mythology. Mauike is the same as the demi-god of New Zealand, Mafuike. On other islands the name is spelled Mauika, Mafuika, Mafuia, Mafuie, and Mahuika. Ra, the sun god of Egypt, is the same as Ra in New Zealand and La (sun) in Hawaii. Ru, the supporter of the heavens, is probably the Ku of Hawaii, and the Tu of New Zealand and other islands, one of the greatest of the gods worshiped by the ancient Hawaiians. The fourth mighty one from Ava-ika was a woman, Bua-taranga, who guarded the path to the underworld. Talanga in Samoa, and Akalana in Hawaii were the same as Taranga. Pua-kalana (the Kalana flower) would probably be the same in Hawaiian as Bua-taranga in the language of the Society Islands.
This work is an excellent introduction to the history of Maori and their myths and legends. It contains some of the best-drawn art inspired by Maori legend and tradition, and the illustrations are so impactful that they stay with you forever. Te Tohunga in Maori means a talented practitioner of any craft or art, religious or otherwise. Hamburg-born artist, Wilhelm Dittmer, has described the art with great detail and precision. The language remains easy to comprehend throughout the book. He includes descriptions of famous Maori art pieces titled: Tiki—the Ancestor of Mankind; The Creation of Hawaiki; The Battle of the Giants; The Death of Maui; The Fight of Night and Day, and many more. Maori Art is a traditional New Zealand art that consists of the art of the Maori people, who initially settled the island between 1250–1300 CE. Maori graphic art comprises mainly of four forms: carving, tattooing, weaving, and painting. Traditional Maori art was favorably spiritual and told details about their ancestry and other culturally essential topics. The dominant colors in the art were black, white, and red dominated.
Evolutionary science has long viewed language as, basically, a fortunate accident—a crossing of wires that happened to be extraordinarily useful, setting humans apart from other animals and onto a trajectory that would see their brains (and the products of those brains) become increasingly complex. But as Michael C. Corballis shows in The Truth about Language, it’s time to reconsider those assumptions. Language, he argues, is not the product of some “big bang” 60,000 years ago, but rather the result of a typically slow process of evolution with roots in elements of grammatical language found much farther back in our evolutionary history. Language, Corballis explains, evolved as a way to share thoughts—and, crucially for human development, to connect our own “mental time travel,” our imagining of events and people that are not right in front of us, to that of other people. We share that ability with other animals, but it was the development of language that made it powerful: it led to our ability to imagine other perspectives, to imagine ourselves in the minds of others, a development that, by easing social interaction, proved to be an extraordinary evolutionary advantage. Even as his thesis challenges such giants as Chomsky and Stephen Jay Gould, Corballis writes accessibly and wittily, filling his account with unforgettable anecdotes and fascinating historical examples. The result is a book that’s perfect both for deep engagement and as brilliant fodder for that lightest of all forms of language, cocktail party chatter.