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Książki na temat „Once Were Warriors”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 28 stycznia 2023

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1

Alan, Duff. Once were warriors. London: Vintage, 1995.

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2

Once were warriors. St. Lucia, Qld., Australia: University of Queensland Press, 1991.

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3

Once were warriors. New York: Vintage International, 1995.

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4

Once were warriors. Honolulu: University of Hawaii Press, 1994.

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5

Once Were Warriors. Audio Literature, 1998.

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Duff, Alan. Once Were Warriors. Tandem Press, 1990.

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7

Duff, Alan. Once Were Warriors. Random House New Zealand, 2012.

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8

Duff, Alan. Once Were Warriors. Univ of Queensland Pr, 1995.

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9

Duff, Alan. Once Were Warriors. Penguin Random House, 1998.

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10

Birkenhead, Tandem Press. Once Were Warriors (Talanoa). University of Hawaii Press, 2006.

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11

Freeman, Jeffrey M. We Were Warriors Once. Xlibris Corporation LLC, 2010.

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12

Duff, Alan. Once Were Warriors (Talanoa). University of Hawaii Press, 1995.

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13

Freeman, Jeffrey. We Were Warriors Once, Revised Edition. Independently Published, 2018.

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14

Once Were Warriors: The Aftermath: The Controversy of Once Were Warriors in Aotearoa, New Zealand. Aksant Academic Publishers, 2007.

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15

Fox, Alistair. Confronting Domestic Violence and Familial Abuse: Once Were Warriors (Lee Tamahori, 1994). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0010.

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This chapter points to the presence of three often-overlooked coming-of-age narrative strands in Lee Tamahori’s Once Were Warriors, in what is ostensibly a social problem film. A comparison with Alan Duff’s autobiographical novel from which the film was adapted, reveals strategies that Tamahori adopted to invest the story with a more standardized generic complexion that relates it to the Hollywood action films of filmmakers like Robert Aldrich and Sam Peckinpah and Sergio Leone’s spaghetti westerns for the sake of enlarging its box office appeal for an international audience. Finally, the disc
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16

Fox, Alistair. Parental Abandonment and the Trauma of Loss: Boy (Taika Waititi, 2010). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0015.

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This chapter examines Taika Waititi’s hit film Boy as evidence of a shift in Māori filmmaking away from the ideals of the “Fourth Cinema” of the 1980s – that is, a purely indigenous type of representation in terms of content and form – to a new kind that is based on an acceptance of cultural hybridity and an awareness of, and receptivity to, global youth culture. In terms of the coming-of-age experience depicted in the film, the discussion links it to that which is shown in Tamahori’s Once Were Warriors, but identifies strategies Waititi adopts to palliate the representation by overlaying it w
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17

Long, Kathryn T. God in the Rainforest. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190608989.001.0001.

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This book tells the story of missionary work during the second half of the twentieth century among the Waorani (once known as “aucas”), an isolated and violent indigenous group in the Ecuadorian Amazon. The missionary-Waorani relationship began tragically in January 1956, when five young men, American missionaries, were speared to death by Wao warriors. Two years later, Elisabeth Elliot, the widow of one of the slain men, and Rachel Saint, the sister of another, with the help of a Wao woman named Dayomæ, made peaceful contact with the people who had killed their loved ones. Subsequent accounts
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18

Grieve, Victoria M. Little Cold Warriors. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190675684.001.0001.

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American children’s experiences during the Cold War were complex. Both conservative and liberal Baby Boomers have romanticized the 1950s as an age of innocence, but these nostalgic narratives obscure many other histories of postwar childhood, one of which has more in common with the war years and the Sixties, when children were mobilized and politicized by the US government, private corporations, and individual adults to fight the Cold War both at home and abroad. Children battled communism in its various guises on television, in the movies, and in comic books; they practiced safety drills, jo
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19

Fullagar, Kate. The Warrior, the Voyager, and the Artist. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300243062.001.0001.

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Today, the portrait of the Pacific Islander, Mai, painted by Joshua Reynolds is world-renowned as a symbol of empire and of the eighteenth century. But Reynolds painted other visitors from the New World, now forgotten. One especially haunting portrait was of a Cherokee warrior called Ostenaco, who visited Britain a dozen years before Mai. This book is less about Reynolds’s portraits than the full, complicated, and richly illuminating lives behind them. It tells the whole life story of Mai, the refugee from Ra‘iatea who voyaged with James Cook to London in the 1770s and returned home again to s
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20

Young, Serinity. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780195307887.003.0014.

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The conclusion summarizes some of the major commonalities of aerial women across time and geography, such as flying females as revealers of gender conflict. One answer to the question of why are there so many female fliers and so few male ones, is that women felt oppressed by patriarchy-induced domesticity, so tales about the freedom of aerial women were alluring to them; therefore they preserved and retold those tales. The stories and myths presented here also point to the “exceptional woman,” who has not always been a friend to other women. Additionally, aerial women have often been associat
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21

Borch, Fred L. “Asia for the Asians,” Bushido, and Japanese War Crimes in the Netherlands East Indies, 1942 to 1946. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198777168.003.0003.

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The 300,000 Europeans and Eurasians residing in the Indies in March 1942 soon learned that the Japanese occupiers planned to implement political, economic, and cultural policies that would integrate the newly “liberated” colony into the “Greater East Asian Co-Prosperity Sphere.” This goal of “Japanization” was to transform everyone living in the Indies into loyal subjects of the Emperor, with one important exception: “Asia for the Asians” meant there was no place for the white race in the Netherlands East Indies (NEI). Additionally, the Japanese in the archipelago were true believers in the wa
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