Relevant bibliographies by topics / Te Toi o Matariki

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Te Toi o Matariki'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Te Toi o Matariki"

1

Hardy, Ann. "Matariki hunganui: te papa tongarewa and the celebration of matariki, the māori new year." Material Religion 12, no. 3 (July 27, 2016): 396–98. http://dx.doi.org/10.1080/17432200.2016.1192144.

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Pinot, Sophie. "« Je te parle pas à toi »." Revue des Collèges de Clinique psychanalytique du Champ Lacanien N° 20, no. 1 (March 25, 2021): 154–62. http://dx.doi.org/10.3917/rccpcl.020.0154.

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Ngata, Wayne, Hera Ngata-Gibson, and Amiria Salmond. "Te Ataakura: Digital taonga and cultural innovation." Journal of Material Culture 17, no. 3 (September 2012): 229–44. http://dx.doi.org/10.1177/1359183512453807.

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The Te Ataakura project is among the latest in a series of initiatives undertaken by the Ma-ori tribal organization Toi Hauiti to revisit, rekindle and restore knowledge of their ancestral taonga (artefacts), many of which are now dispersed among collections throughout New Zealand and internationally. This article describes some of these earlier projects, which deployed digital technologies in innovative ways, as part of a broader strategy of artistic and economic revitalization. It outlines Toi Hauiti’s continuing efforts to build relationships with holding institutions at home and abroad, and to explore possibilities offered by recent technological developments. Setting this work in the context of similar initiatives on the part of other Ma-ori, with a focus on cultural revitalization and institutional collaboration, we consider the role of digitization in cultural endurance and dynamism, offering a critical view of emergent concepts including ‘digital taonga’ and ‘virtual repatriation’.
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MacDonald, F., D. Hartnett, D. Ward, and G. Walker. "Biocontrol agent risk assessment: A surprise find ..." New Zealand Plant Protection 70 (July 26, 2017): 318. http://dx.doi.org/10.30843/nzpp.2017.70.79.

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A Better Border Biosecurity (B3)-funded project investigating the interactions between the self-introduced generalist hymenopteran parasitoid Meteorus pulchricornis and native parasitoids of lepidopteran larvae throughout Auckland involved three years of eld work. The last eld trip was to Te Hauturu-o-Toi (Little Barrier Island) in December 2016 to survey some of the least-modi ed native forest in the North Island. Forty Cleora scriptaria moth larvae were collected by hand from Piper excelsum (kawakawa) host plants into ziplock bags, with a small amount of leaf material to support feeding. They were transported to the laboratory and reared to fate in a temperature-controlled room. Of the 40 larvae collected, twelve were parasitised by M. pulchricornis. This is the rst record of M. pulchricornis from Te Hauturu-o-Toi. In addition, nine larvae were parasitised by an undescribed parasitoid (Casinaria sp. 3). This new species may be endemic only to Te Hauturu-o-Toi, but it may have been out-competed on the more modi ed habitat of mainland Auckland, and found refuge in a more pristine environment. Further surveys of island and mainland parasitoid complexes would provide better baseline risk-assessment data prior to border invasions or importing biocontrol agents.
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Hammond, Catherine. "Escaping the digital black hole: e-ephemera at two Auckland art libraries." Art Libraries Journal 41, no. 2 (April 2016): 107–14. http://dx.doi.org/10.1017/alj.2016.10.

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The collections of e-ephemera of two Auckland art libraries are discussed here: the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki, a specialist art library within one of New Zealand's major public art galleries, and the Fine Arts Library Te Herenga Toi at the University of Auckland which supports the research and teaching needs of the Elam School of Fine Arts and the Department of Art History. While there are differences in approach both institutions see the value in preserving print and e-ephemera and are looking to make this material more accessible to users, despite numerous challenges.
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Gérard, Benoît, and Ludivine Redslob. "« Si je diffère de toi, loin de te léser, je t'augmente »." Comptabilité - Contrôle - Audit 16, no. 3 (2010): 79. http://dx.doi.org/10.3917/cca.163.0079.

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Buchanan, Sandra. "“Dance Me Through the Panic Till I’m Gathered Safely In”." Ata: Journal of Psychotherapy Aotearoa New Zealand 21, no. 1 (December 31, 2017): 69–84. http://dx.doi.org/10.9791/ajpanz.2017.07.

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When Leonard Cohen died in November 2016, many people the world over felt very sad and indeed bereft, at the loss of such a great artist, poet and songwriter. It felt, in Auden’s (1958) words on Freud’s death, another example of: For every day they dieamong us, those who were doing us some good, who knew it was never enough buthoped to improve a little by living. (p. 68) The title of this paper comes from Leonard’s 1984 song “Dance Me to the End of Love”, and has often seemed a powerful description of what a mother provides for her baby and what we as therapists provide to our clients. We try to help them “dance through the panic” and ultimately to feel safely gathered in — firstly with us, within the therapeutic relationship, and in due course within themselves. We provide a “promise of home”, or at least some hope for our clients that they might be able to find that individual sense of self within themselves and connection to others, which feels like “home”. Whakarāpopotonga I te matenga o Leonard Cohen i te Whiringa-a-rangi 2016, pōuri kau ana te tini te mano huri noa i te ao mōteatea kau ana i te ngarohanga atu o te tohunga tito waiata, toikupu mahi toi nei. E ai ki tā Ōtene kī (1958) i te matenga o Whoritu: Mō ia rā taki hingarō ngai tātau, rātau e whai hua nei mō tātau, mōhio tonu kore rawa i rahi engaritōminahia mā te kaiao e whakawhanake. (w. 68) I ahu mai te pane o tēnei pepa mai i te waita a Renana o te tau 1984 “Kanikanihia au ki te Mutunga o te Aroha”, ā, tērā ia e whakaarohia ana he whakaahuatanga mārohirohi o te o te āhua whakarato a te whaea i tana pēpē me tā tātau ngā kaiwhakaora hinengaro hoki ki ā tātau kiritaki. Ko tā tātau he nana ki te āwhina i a rātau, “pīkarikari i te maurirere” ā, taioreore kia tau te mauritau ki a tātau, i tō tātau whanaungatanga haumanutau tae atu ki te wā e tau ai tō rātau ake mauri. Ko tā tātau he whakarato “oati mauri tau”, he maramara wawata rānei e kitea ai e ā tātau kiritaki he kiritau, he whanaungatanga ki ētahi atu pēnei tonu i te “kāinga”.
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Bel, Marine, Michael Berger, and Robert K. Paterson. "Administrative Tribunal of Rouen, Decision No. 702737, December 27, 2007 (Maori Head case)." International Journal of Cultural Property 15, no. 2 (May 2008): 223–26. http://dx.doi.org/10.1017/s0940739108080156.

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In October 2007, the mayor of the French city of Rouen agreed to return to New Zealand a preserved tattooed head of a Maori warrior (called toi moko by Maori) from that city's Museum of Natural History, whose collection the head had been part of since 1875. The decision to return the head was based on an initiative by the Museum of New Zealand (Te Papa Tongarewa), which has successfully secured the return of other such heads from museums in various European countries and the United States. Before the Rouen head could be handed over, however, the French Ministry of Culture intervened, arguing that its return was unauthorized under French law as being part of a French museum collection and thus inalienable.
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O'Connor, John. "Madness of the Mind." Ata: Journal of Psychotherapy Aotearoa New Zealand 22, no. 1 (October 15, 2018): 63–84. http://dx.doi.org/10.9791/ajpanz.2018.06.

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The art of psychotherapy has been defined as the capacity of the psychotherapist’s mind to receive the psyche of the patient, particularly its unconscious contents. This deceptively simple definition implies the enormously complex art of receiving the most disturbed, dissociated, maddening, often young and primitive, frightening, and fragmented aspects of the patient’s multiple ages and selves, in the hope perhaps that we might make available to our own mind, to the patient’s mind, and within the therapeutic relationship, whatever it is that we discover together, perhaps with the possibility that this may allow that these dissociated, fragmented, lost, and potentially transformative aspects of self might become more accessible to both therapist and patient. The complexity of this process is further intensified when cultural difference is an important aspect of therapeutic engagement. This paper will explore this rich and complex art. It will include exploration of psychoanalytic, relational, and transpersonal psychotherapeutic perspectives as they inform the potentials and mysteries of this deeply receptive process. The paper will consider the potential this receiving of the other might have for the growth of both the therapist and patient within the life span of clinical engagement and will include consideration of implications for cross cultural clinical work. Clinical vignettes illustrating and informing the ideas explored in this paper will be woven throughout the paper. Whakarāpopotonga Kua tautuhia te toi whakaora hinengaro ko te kaha o te hinengaro o te kaiwhakaora hinengaro ki te pupuri i te hinengaro o te tūroro, mātuatua nei ko ngā matū maurimoe. E tohu ana te tautuhinga ngāwari nei i te kaha uaua o te mahi pupuri i ngā maramara tirohanga, ngā tau, ngā whaiaro tini o ngā tūroro arā noa atu te wairangi, te noho wehe, te kārangirangi, he taiohi, he māori, whakawehiwehi, i runga i te wawata tērā pea ka tuwhera ki ō tātau ake hinengaro, ko tō te tūroro ki waenga hoki i te whakapiringa haumanu. E kene pea mā te mea ka kitea, e tuku ēnei tirohanga pūreirei, kongakonga, ngaro, ā, ngā tirohanga hurihanga whaiaro e whakamāmā ake ki te kaiwhakaora me te tūroro. Ka kaha ake te auatanga o tēnei hātepe i te mea ko te rerekētanga o te ahurea te wāhanga nui o te mahi haumanu. Ka wheraina e tēnei tuhinga te tirohanga toitaurea mōmona nei. Ka whakaurua te wherawherahanga o te wetewetenga hinengaro, te tātanga, me ngā tirohanga whakaoranga hinengaro wairua i te mea ko ēnei ngā kaiwhakamōhio i ngā pirikoko o tēnei hātepe toropupū tino hōhonu. Ka whakaarohia e te pepa nei te ēkene pea o te whakaurunga mai o tētahi kē atu mō te whakatipuranga o te kaihaumanu me te tūroro i roto i te wā huitahi ai. Ka whakaarohia ake anō hoki ngā hīkaro mō te mahi haumanu ahurea whakawhiti. Ka rarangahia ngā kōrero haumanu e whakaahua e whakaatu ana i ngā whakaaro tūhuraina i roto i tēnei tuhinga.
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Perre, Didier, and Éliane Gauzit. "Faridondeta, revira-te! Jòcs cantats, ròdas, coblets de dançar Faridoundette, retourne-toi! Jeux chantés, rondes, couplets à danser." Cahiers de musiques traditionnelles 19 (2006): 282. http://dx.doi.org/10.2307/40240652.

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Dissertations / Theses on the topic "Te Toi o Matariki"

1

Wiri, Robert K. J. "The Prophecies of the Great Canyon of Toi: a history of Te Whāiti-nui-a-Toi in the western Urewera Mountains of New Zealand." 2001. http://hdl.handle.net/2292/800.

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This doctoral thesis is a social history of the lands and people Te Whāiti-nui-a-Toi, also known as The Great Canyon of Toi, a small isolated valley located on the western borders of the Urewera mountains of New Zealand. In the first chapter, the prophecies of the Great Canyon of Toi are revealed which is followed by a discussion of the theoretical model of the thesis in chapter two. In chapter three, an interesting historiography of Te Whāiti-nui-a-Toi and the scholar, Elsdon Best, is presented. These three preliminary chapters set the scene for the three main parts of the thesis. The first two parts of the thesis retrace the evolution of the Māori and Pākeha social histories of Te Whāiti, from their earliest origins, to the present day. In Part I of the thesis, chapters four to six, the mana Māori model is presented, which proposes the view that there is a peculiarly Māori way of knowing the social history of Te Whāiti-nui-a-Toi. Part I is divided into three domains of the spiritual, human and earthly authorities. In Part II, chapters seven to nine, the mana Pākeha model is presented, which argues that there is a peculiarly Pākeha way of knowing that same social history. Part II is divided into the three domains of initial alienation, legal imperialism, and neo-colonialism. Part III, chapter ten, analyses the power-struggle between the models of mana Māori and mana Pākeha and explores the dynamics of the relationship between Māori and Pākeha ways of knowing the social history of Te Whāiti-nui-a-Toi. The title of this thesis, 'The Prophecies of the Great Canyon of Toi', is a direct reference to a song composed by Te Kooti at Te Whāiti-nui-a-Toi in 1884. The lyrics of this song form a theoretical framework for this thesis and the song provides a new and fresh way of seeing the history of New Zealand. Finally, the events foretold in the song have all been fulfilled and are confirmed by historical events that are explained throughout the body of the thesis. Kia mau ki ngā kupu whakaari e pānuitia nei!
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2

Joseph, Darryn James. "He pātaka momo-kōrero, he kete momo kīpeha : Māori text types and figures of speech : he kaupapa i tuhia mō te Tohu Kairangi, Te Pūtahi-ā-Toi, Te Kunenga ki Pūhuroa, Papaioea, Aotearoa." 2008. http://hdl.handle.net/10179/1677.

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I roto i ngā toru ngahuru tau kua tupu haere ngā kaupapa mātauranga mō te reo Māori mai i te kōhanga reo, ki te kura kaupapa Māori, ki te whare kura tae atu ki ngā whare wānanga Māori. Nā tērā whanaketanga o ngā kura reo Māori i rerekē ai te whakaako. Ka kitea ka huri te reo Māori hei kaupapa ako, ā, nā reira ka nui haere ngā kupu ā-kaupapa. technical language, subject specific Kātahi ka whakaputaina he marautanga reo Māori hei āwhina mā ngā kaiako ki te whakatutuki i ngā whāinga ako i roto i te akomanga. Engari, kāore i kitea te whānuitanga o ngā momo-kōrero i roto i te marautanga reo Māori, ahakoa e tāia ana te manomano rauemi. Kāore i whakanahanaha te takoto i ngā momo-kōrero hei āwhina mā ngā pouako reo Māori. Ahakoa he mea nui tērā inā ka whakaakona te reo matatini literacy ki te reo Māori. Kei te tapanga, He Pātaka Momo-Kōrero, He Kete Momo Kīpeha, ngā whāinga nui o tēnei rangahau mō te reo matatini, mō te mātātuhi literature hoki. Tuatahi, ka whakaemia tētehi huinga momo-kōrero Māori, kātahi ka whakarōpūtia aua momo-kōrero ki ētehi anga momo-kōrero. He tātai momo-kōrero, me kī. Tuarua, ka tīpakohia tētehi o aua rōpū hei āta tātari. Koia ko te kīpeha me ngā anga momo kīpeha. Ka whakaaturia te wetereo, te tikanga, te whakamahia o aua kīpeha ki ngā kupu ake a ngā kaiuru me ētehi tauira mātātuhi. Ka tohea he tino whai pānga aua āhuatanga reo kia mōhio ai te tangata ki te whakakounga i te reo Māori. Ka toko ake ngā kōrero nei i ngā whakawhitinga kōrero a ngā kaiuru 28. Ka arotakea ngā anga reo e tētehi atu rōpū tāngata, tekau nei, kia kitea ai mēnā he whai hua, he whai māramatanga ki te hapori reo Māori. He nui kē atu ngā kōrero ka whakahokia mai mō te kounga o te reo pērā i te aronga Māori, i te kaupapa Māori, i te takotoranga Māori. Heoi, ko tētehi kitenga nui o tēnei rangahau, ki tā te Māori titiro, he wāhanga nui te reo peha kia kounga te momo-kōrero, ā, kei tēnei tuhinga kairangi ētehi whakamāramatanga o aua kīpeha hei manaaki i te mauri ora o te reo Māori.
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Books on the topic "Te Toi o Matariki"

1

Trapski, Peter J. Report of the 1993 Reserved Lands Panel =: Toi te Kupu, Toi te Mana, Toitū te Whenua ... Wellington, New Zealand: Te Puni Kōkiri, [Ministry of Māori Development], 1994.

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2

Gounare, Maria. Ateleio toi stichoi te s Marias Gounare . Thessalonike: [s.n.], 1991.

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3

Audouard, Marie-Jo. S'il te plaît, emmène-moi chez toi. Paris: Fixot, 1991.

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Zurhorst, Eva-Maria. Aime-toi toi-même: [et peu importe avec qui tu te maries!]. Paris: Leduc. S éd., 2008.

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Mead, Sidney M. Te toi whakairo =: The art of Maori carving. Auckland: Reed, 1986.

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Bright, Debbie. Te waihanga toi hei ara mātau: Art-making as a way of knowing. Hamilton, New Zealand: D.A. Bright, 2015.

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Williams, Mark, and Laura Preston. Object lessons: A musical fiction : Adam Art Gallery, Te Pātaka Toi, 7 August-10 October 2010. [Wellington, N.Z.]: Adam Art Gallery, 2010.

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Cleave, Peter. Dance and identity in Aotearoa and the world: Contemporary Maori dance and other essays, an edition of Te Pu Tapere. Palmerston North [N.Z.]: Campus Press, 2012.

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Cleave, Peter. Kōwhiti Atarau. Palmerston North, New Zealand: Go Press, 2015.

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Xenos, Stephanos Th. E e ro is te s Elle nike s Epanastaseo s, e toi, Ske nai en Elladi apo etous 1821-1828. Athe na: Idryma Ko sta kai Elene s Ourane, 1988.

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Book chapters on the topic "Te Toi o Matariki"

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Proctor, Liz. "Toi tu te whenua, toi tu te tangata: A Holistic Māori Approach to Flood Management." In Ethnographic Worldviews, 109–23. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6916-8_9.

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"2. “The Original Queequeg”? Te Pehi Kupe, Toi Moko, and Moby-Dick." In Tattooing the World, 52–73. Columbia University Press, 2008. http://dx.doi.org/10.7312/elli14368-005.

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Artières, Philippe, and Michelle Zancarini-Fournel. "De Mai, souviens-toi de ce qu'il te plaît : mémoire des années 68." In Les guerres de mémoires, 128–36. La Découverte, 2008. http://dx.doi.org/10.3917/dec.blanc.2008.01.0128.

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Jaussi, Sophie. "La mort de l’enfant ou la littérature comme passeur chez Philippe Forest : « Rappelle-toi ce dont nos livres te parlaient à mi-voix »." In Le Bon Passage, 249–58. Presses Universitaires de Bordeaux, 2016. http://dx.doi.org/10.4000/books.pub.15481.

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"« Les nouvelles formes habitent et conditionne en le suicide, comme pas mal de d’expression qui apparaissent partie leur scolarité et leur filles de la cité. Quand tu vis là-chez les jeunes Maghrébins de accès au monde professionnel. dedans, tu es convaincue que France portent souvent la Dans une monographie, un ça été voulu comme ça, qu’on marque d’une longue jeune qui avait vécu dans les t’as mis sur la touche [4] pour expérience et d’un profond années soixante dans le plus que t’y restes, pour que tu te sentiment d’exclusion sociale, grand bidonville de la région sentes jamais chez toi, tu es là économique et politique. […] parisienne, « La Folie » à près de la sortie, et à tout Dans l’analyse de ce sentiment Nanterre, raconte: moment, on peut te mettre d’exclusion qu’expriment un – « Vraiment, je me carrément dehors ». (Malika, 25 grand nombre de ces jeunes, demande, qui est-ce qui a pu ans, Marseille) Pour d’autres plusieurs significations inventer le bidonville? Un jeunes, ceux qui ont grandi apparaissent: ils se sentent sadique certainement (…). Les dans les grands ensembles et exclus parce qu’ils sont ordures, on les laissait; les rats, les ZUP [5] qui ont été d’origine maghrébine, enfants on les laissait; les gosses construites à tour de bras [6] de manœuvres et d’ouvriers, tombaient malades, ils avaient dans les années soixante, le jeunes dans une société pas de place pour apprendre à sentiment d’être exclu est le vieillissante que leur jeunesse marcher. On avait honte, on même, mais il est différent effraie; ce sentiment était sales, et pourtant on dans sa nature: si on les a d’exclusion commence pour essayait d’être propres pour pas parqués à la périphérie des certains très tôt à l’école, qu’on sache [2] qu’on était du villes, ce n’est pas pour les ensuite, c’est le lieu bidonville ». exclure totalement de l’espace d’habitation, le manque de Plusieurs histoires allant urbain et social, mais pour les loisirs et de moyens, des dans le même sens sont empêcher d’y entrer. frustrations quotidiennes de racontées par des jeunes des leurs désirs et rêves d’enfants cités de transit de la région." In Francotheque: A resource for French studies, 61. Routledge, 2014. http://dx.doi.org/10.4324/978020378416-8.

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