L Art de L Oceanie
Nicholas Thomas A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de L Art de L Oceanie Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
Mythologies des montagnes des for ts et des les
Pierre Grimal A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Mythologies des montagnes des for ts et des les Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
Arts des mers du sud
Du musée Barbier-Mueller, on connaît les superbes collections d'art africain : tout aussi remarquables, mais sans doute moins connues, sont ses collections d'Océanie et d'Insulinde. S'appuyant sur les études d'une trentaine de spécialistes, sous la direction de Douglas Newton, cet ouvrage présente un panorama très vaste et très détaillé de l'art traditionnel de cette région du monde : près de 500 objets - statues, bijoux, tissus, armes... - dont certains sont montrés ici pour la première fois. Un art d'une étonnante variété, aussi fascinant par la beauté de ses formes que par la richesse de son contenu mythologique et religieux.
This collection deals with an ancient institution in Eastern Polynesia called the rahui, a form of restricting access to resources and/or territories. While tapu had been extensively discussed in the scientific literature on Oceanian anthropology, the rahui is quite absent from secondary modern literature. This situation is all the more problematic because individual actors, societies, and states in the Pacific are readapting such concepts to their current needs, such as environment regulation or cultural legitimacy. This book assembles a comprehensive collection of current works on the rahui from a legal pluralism perspective. This study as a whole underlines the new assertion of identity that has flowed from the cultural dimension of the rahui. Today, rahui have become a means for indigenous communities to be fully recognised on a political level. Some indigenous communities choose to restore the rahui in order to preserve political control of their territory or, in some cases, to get it back. For the state, better control of the rahui represents a way of asserting its legitimacy and its sovereignty, in the face of this reassertion by indigenous communities.
Twelve Days at Nuku Hiva
"In August 1803 two Russian ships, the Nadezhda and the Neva, set off on a round-the-world voyage to carry out scientific exploration and collect artifacts for Alexander I's ethnographic museum in St. Petersburg. Russia's strategic concerns in the north Pacific, however, led the Russian government to include as part of the expedition an embassy to Japan, headed by statesman Nikolai Rezanov, who was given authority over the ships' commanders without their knowledge. Between them the ships carried an ethnically and socially disparate group of men: Russian educated elite, German naturalists, Siberian merchants, Baltic naval officers, even Japanese passengers. Upon reaching Nuku Hiva in the Marquesas archipelago on May 7, 1804, and for the next twelve days, the naval officers revolted against Rezanov's command while complex crosscultural encounters between Russians and islanders occurred. Elena Govor recounts the voyage, reconstructing and exploring in depth the tumultuous events of the Russians' stay in Nuku Hiva; the course of the mutiny, its resolution and aftermath; and the extent and nature of the contact between Nuku Hivans and Russians. Govor draws directly on the writings of the participants themselves, many of whom left accounts of the voyage. Those by the ships' captains, Krusenstern and Lisiansky, and the naturalist George Langsdorff are well known, but here for the first time, their writings are juxtaposed with recently discovered textual and visual evidence by various members of the expedition in Russian, German, Japanese - and by the Nuku Hivans themselves. Two sailor-beachcombers, a Frenchman and an Englishman who acted as guides and interpreters, later contributed their own accounts, which feature the words and opinions of islanders. Govor also relies on a myth about the Russian visit recounted by Nuku Hivans to this day. With its unique polyphonic historical approach, Twelve Days at Nuku Hiva presents an innovative crosscultural ethnohistory that uncovers new approaches to - and understandings of - what took place on Nuku Hiva more than two hundred years ago." --Publisher.
Asia in the Pacific Islands
"A spectacular transition is under way in the Pacific Islands, as a result of which all our lives will be radically different. In the last fifty years or so, Asia has begun to play a bigger and bigger role in all aspects of Islands life - migration, trade and investment, aid and development, information and media, religion, culture and sport. It is replacing the West. The process is irreversible. With his trademark breadth and depth of knowledge and understanding of the region, based on over half a century of experience, study and deliberation, Ron Crocombe documents the early connections between Asia and the Pacific, details recent and continuing changes, and poses challenging theories about the future."--Publisher.
The author, a professor of entomology at Harvard, looks back on his life, education, and career, and discusses his work.
Tapa, or barkcloth, is called 'hiapo' in the language of Niue island in central Polynesia. Most known pieces of hiapo were produced between 1850 and 1900. They are now dispersed, largely in museum collections, all over the world. The illustrations in this book, most of which are in full colour, bring together hiapo from all over the world. The authors have worked on the project for a decade, visiting museums, collecting information, travelling to Niue, talking to old people there, trying to find out how the paintings were done and who made them.
Art in Oceania
Art in Oceania is the product of a remarkable collaboration among a team of anthropologists, art historians and curators of both European and Pacific Islands descent. The product of years of engagement with communities across the Pacific, and research in the collections of dozens of museums, this book is a revelation of Oceanic art, past and present, reimagined for the twenty-first century. The book reveals the art of Oceania as profoundly dynamic, at once grounded in tradition and full of innovation. It ranges from the earliest archaeological evidence through the great historic works collected by such voyagers as Captain Cook to the arts of the last fifty years. It does justice to the variety of Pacific cultures, from those of the Highlands of New Guinea to the the furthest reaches of Polynesian settlement in New Zealand and Easter Island. It ranges across genres, from ancient rock art through ritual architecture to contemporary painting and installation art, as no previous survey has done. Its hallmark is the argument that art in Oceania is a product of history - from the changing relations among Pacific peoples to their resilience and creativity in the face of colonial intrusions and the challenges of globalization. Art in Oceania reinterprets icons of Oceanic art in the context of the colonial encounters that shaped them, and brings the story of Oceania's modernisms into view as part of contemporary history.
Charts Aboriginal history, from earliest prehistory to today, and details their survival through the millennia, to the stolen children issue.