This thesis depicts the development of the Church of Jesus Christ of Latter-day Saints in the Hawaiian Islands from the landing of the first LDS missionaries in 1850 up to the 1970's. Church policy in Hawaii may be seen as an ordered, phasal development respectively involving spiritual, educational, and cultural spheres of interaction.

This paper covers the portrayals of Captain James Cook within Hawaiian education. It begins by providing a backdrop to early European portrayals of Captain Cook and then proceeds to investigate how these portrayals changed as they were incorporated into Hawaiian textbooks. The paper then continues to illustrate the changes made in Cook’s portrayal within Hawaiian textbooks and how these changes coincide with the prevailing interests of the eras in which the authors wrote them.

One of the first important efforts at foreign missionary work by American churches was the conversion of the Hawaiian Islands, or Sandwich islands as they were commonly called in the early days of their discovery, the first missionaries to the islands had heard reports from traders and whalers and accounts from native youths as to conditions in the islands, and from these facts they had imagined what would await them upon their arrival. When they arrived at the islands, they found great changes had taken place, such great changes that to the missionaries they could only be explained as "miraculous" and the "work of God." These changes had been brought about almost entirely from contact with foreigners who had visited the islands since their discovery.

"Hawaiian glossary": leaves 604-615. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references (leaves 616-639) / Microfiche. / xxiv, 639 leaves, bound ill. 29 cm

This thesis examines poetry by Native Hawaiian activists written between 1970 and 2016 in order to develop a detailed understanding of the multi-faceted ways poetry incorporates, transmits and enacts contemporary political identity. Whilst fundamentally a literary analysis, my methodology is discursive, and draws on a range of critical approaches, archival research and interviews with poets, in order to address why poetry is such a powerful form of resistance to American hegemony. By reading contemporary poetry as an expression of deeply held cultural and political beliefs, this thesis suggests that writing and performing poetry are powerful forms of political resistance. Adopting a lens that is attentive to both the indigenous and colonial influences at play in Hawaiʻi, it elucidates the nuanced ways that traditional literary techniques enter contemporary Native Hawaiian poetry as vehicles for cultural memory and protest. Attention to the continuities between traditional Hawaiian epistemology and the ways those same methods and values are deployed in twentieth and twenty-first century poetry, means this thesis is a part of a growing body of work that endeavours to understand indigenous literature from the perspective of its own cultural and political specificity. The introduction establishes the historical and critical context of the Hawaiian Sovereignty Movement and the Hawaiian Renaissance. It outlines the main developments in Native Hawaiian literary criticism since the late 1960s, including the reclaiming of traditional narratives and the privileging of indigenous epistemologies. Chapters One to Seven proceed chronologically, each addressing a particular collection, anthology or body of work. Chapter One focuses on Wayne Kaumualiʻi Westlake's radical rejection of Westernised Waikīkī, whilst Chapter Two explores the anthologies Mālama: Hawaiian Land and Water and HoʻiHoʻi Hou: A Tribute to George Helm and Kimo Mitchell, in relation to the Sovereignty Movement's dedication to Aloha ʻĀina (love the land). Chapters Three to Five deal with five poetry collections, two by Haunani-Kay Trask, and one each by Imaikalani Kalahele, Brandy Nālani McDougall and Māhealani Perez-Wendt. The chapters address how these poets articulate Native Hawaiian identity, nationalism and continuity through traditional moʻolelo (stories), which underpin the political beliefs of three generations of sovereignty activists. Chapters Six and Seven address contemporary performance poetry in both published and unpublished formats by Jamaica Osorio, David Kealiʻi MacKenzie, Noʻukahauʻoli Revilla and Kealoha, demonstrating how a return to embodied performance communicates aloha (love, compassion, grace). The conclusion, Chapter Eight, indicates projects that are already productively engaging Hawaiian epistemology in the areas of geography and science, and points towards developments in the digital humanities that could extend this indigenised methodology into literary studies, in order to further engage with the depth and multiplicity of storied landscapes in Hawaiʻi.

This dissertation examines the intersection of gender and culture in the process of identity formation among Kanaka 'Oiwi Maoli (Indigenous Hawaiian) men in the Hale Mua 0 Maui. Throughout the neocolonial Pacific, indigenous Oceanic men have engaged in gender practices that historically have had widely different consequences for their positions of power or marginality; the cases of Hawai'i and Aotearoa/New Zealand offer important insights into the gendered dynamics of colonialism, decolonization, and reclamation. Focusing in on a deeper history of colonization and revitalization at Pu'ukohola heiau (Kawaihae, Hawai'i), I highlight the ways in which the birth of a newly gendered tradition of bravery and warriorhood in Na Koa (The Courageous Ones) led to a reconsideration of men's roles in different sectors of the Hawaiian community. One outcome was the formation of the Hale Mua, or the "Men's House," on the island of Maui. Against the legacy of American colonialism and its concomitant discourses of death, disappearance, feminization, and domestication, the Hale Mua has endeavored to build strong, culturally grounded men that will take up their kuleana (rights and responsibilities) as members of their 'ohana (families) and the larger lahui (nation). In particular, I examine the role of discursive and embodied practices of ritual, performance, and narrative in the transformation, (re)definition, and enactment of their subjectivities as Hawaiian men. The processes through which the members of the group come to define, know, and perform these kuleana articulate with the larger projects of cultural revitalization, moral regeneration, spiritual/bodily healing, national reclamation, and the uncertain and ambiguous project of mental and political decolonization. Likewise, the very writing of this dissertation has fore-grounded both the possibilities and problematics of conducting indigenous anthropology and research at home.

In most texts about Hawaiian history, the Hawaiian Kingdom was overthrown in 1893. Hawai'i, as a result, was then governed first by a Provisional Government, then by the Republic of Hawai'i. Such texts further note that in 1898, Hawai'i was annexed to the United States and, subsequently, became the State of Hawai'i through a vote of the people in 1959. This dissertation examines Hawaiian history from a different perspective, one based on the issue of 'legality', and on documentation that surfaced in the 1990s that challenges the United States' claim to annexation of Hawai'i. The illegality of the takeover by haole businessmen, the resistance of Queen Lili'uokalani and her loyal subjects to the takeover, statements by then-President Grover Cleveland referencing the overthrow as an "Act of War," in many ways set the tone for the present-day sovereignty movement. Highlighted are some of the activities within the Hawaiian sovereignty movement during the 1990s and the first few years of this century that are turning points in the struggle for Hawaiian sovereignty. Identified spokespersons for the movement are extensively cited, as well as individuals with strong but thoughtful opinions. Many of the citations used were gathered and saved from emails or from relevant websites. Prophecy, and the acknowledgement of spirituality as a grounding force in a unified movement, is a significant element, and serves to remind activists, and especially Hawaiian activists, that the work to re-establish the nation can only succeed if it is based in Hawaiian cultural concepts that are pono (correct or in proper relationship). Maintaining 'right relationships' between the people, the heavens and the earth is necessary to successfully carry forward the reclaimed Hawaiian nation and the identity of the people as Hawaiian nationals, as the Queen directed a century ago. Most importantly, it allows those involved in the struggle to see themselves, not as victims, but as masters of their own fate.

Thesis (M.A.)--University of Hawaii at Manoa, 2003. / Includes bibliographical references (leaves 121-125). / iv, 126 leaves, bound 29 cm

Typescript. / Thesis (Ph. D.)--University of Hawaii, 1969. / Bibliography: leaves [158]-160. / xiii, 160 l maps, tables

Thesis (M.A.)--University of Hawaii at Manoa, 2008. / Includes bibliographical references (leaves 164-170). / xvi, 170 leaves, bound ill. 29 cm