Hawaiian Language and Literature
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ItemKa Papakū Makawalu: He Inoa No Hiʻiaka( 2021-12)
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ItemMaunakea: He Hōʻailona o ke kaiāulu Hawaiʻi hou( 2019-08)Ma ka lā 24 o Iune, 2015, ua ʻākoakoa ma ʻō aku o 500 kānaka ma Hale Pōhaku ma Maunakea e kūʻē i ke kūkulu ʻia o ka Thirty Meter Telescope, ka hale kilo hōkū ʻoi kelakela o kona ʻano ma ka honua nei. Ma kaʻu piʻi pū ʻana ma Maunakea, ua ʻike wau i nā helehelena kamaʻāina o koʻu hanauna, ʻo ka haunauna millennial hoʻi, a ua lohe wau i ka ʻōlelo Hawaiʻi i hoʻopuka wale ʻia ma waena o ka poʻe. ʻO kēia pepa nei, he kālailaina i nā kumu nui o ke kūʻē ma Maunakea ma ia lā a me kona mau hiʻohiʻona kūikawā ʻo ke komo nui o ka hanauna millennial a me ka laulaha o ka ʻōlelo Hawaiʻi. Hoʻākāka wau i ʻekolu kumu ʻo ia hoʻi ka: 1. Pōʻaiapili – ʻo ia ka moʻolelo o ka hoʻolilo ʻāina Hawaiʻi, ka hoʻoholomua nohona Hawaiʻi, a me ka papahana hoʻōla ʻōlelo Hawaiʻi; 2. Pāpaho – ʻo ia ke kahua ʻenehana o kēia au i kūkulu i nā alahele hou no ka hoʻokaʻaʻike; a me ka 3. Poʻe – ʻo ia ka hanauna hoʻōla ʻōlelo Hawaiʻi ma loko o ka hanauna millennial, ka ikehu e hoʻoholomua ana i ko kākou kaiāulu. Hāpai pū wau i nā kaʻakālai hou e hoʻākea i ka hana o ke Keʻena Kuleana Hawaiʻi ma ke aupuni o Hawaiʻi a me kekahi ʻōnaehana mālama ʻāina hou no Maunakea.
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ItemKa Papa Kūʻauhau Aliʻi Ma Ka Wā O Kalākaua He Mōʻī( 2018-08)Hōʻuluʻulu ʻO ke kūʻauhau o ke kanaka ke kahua o kona kuleana. Ua ʻike ʻia kēia ma ka wā kahiko a ua mālama ʻia nā kūʻauhau i mōakāka loa ke kūlana a me ke kuleana o kēlā me kēia kanaka o ka lāhui Hawaiʻi. ʻO ke kumuhana o kēia pepa ka nānā ʻana i ka hana a ka Papa Kūʻauhau Aliʻi o Nā Aliʻi Hawaiʻi i hoʻokumu ʻia ma ka wā o Kalākaua he mōʻī i mea e mōakāka ai ka pahuhopu a ka papa a me ke kuleana o ke kūʻauhau ma ka wā o Kalākaua. Ma ka hala ʻana o Kamehameha V he hōʻoilina ʻole ma 1872, a laila ʻo Lunalilo ma 1874 he hoʻoilina ʻole, ʻo ke koho pāloka ʻana ka hana. Pēlā i piʻi aʻe ai ʻo Kalākaua he mōʻī. No Kalākaua nō ka hoʻopaʻa pono ʻana i kona aupuni i kāna mau hoʻoilina hoʻi. Pēlā nō kāna hana mua i ke koho ʻana i kona kaikaina aloha ʻia ʻo Leleiohoku a ʻo kona kaikuahine ʻo Liliʻuokalani ka lua. Akā, ʻaʻole nō ʻo ka hoʻoilina wale nō kā Kalākaua i ʻimi ai. Ma ka pau ʻana o kenekulia ʻumikūmāiwa, ua maopopo ʻole nā ʻohana aliʻi a ua nele nō nā aliʻi ma ka ʻahaʻōlelo. No ia kumu i hoʻokumu ʻia ai ʻo Kalākaua i ka Papa Kūʻauhau Aliʻi o Nā Aliʻi Hawaiʻi. He papa ia i kūhelu i ke kānāwai, he papa ia i hoʻomana pū ʻia e ka ʻahaʻōlelo. ʻO ka pahuhopu nui o ka papa ka ʻimi a loaʻa nā kūʻauhau ʻohana aliʻi me ka hoʻopiha pū ʻana i ka moʻolelo o ka Hawaiʻi. Ma kēia pepa, ua hoʻohana ʻia ka puke moʻolelo a ka papa. ʻO ia hoʻi ka puke i palapala ʻia ai nā moʻolelo o nā hālāwai. Ua nānā nui ʻia ka papahana nonoi kūʻauhau i hoʻokumu ʻia e ka papa i mea e hōʻoia ai nā kūʻauhau aliʻi e ola ana ma ka wā o Kalākaua; a ua noʻonoʻo nui ʻia nā hiʻohiʻona o ka ʻāina, ke aliʻi, a me ke kanaka i hāpai ʻia i ka hālāwai o ka papa i mea e maopopo ai nā moʻolelo o kēlā me kēia ʻāina o Hawaiʻi. ʻO ka hua o kēia hana ka maopopo ʻana i ka pahuhopu nui a ka papa ma ʻō aku o ka hoʻomaoʻopopo ʻana i nā kūʻauhau aliʻi. Ua hoʻāʻo nō ka papa i hoʻopihapiha maoli i ka moʻolelo Hawaiʻi. I loko nō o ka hana nui a lākou, ʻaʻole nō i kō piha nā pahuhopu. Eia nō naʻe, ua waiwai nō kēia pāhana i ka ʻike i ʻohi ʻia a ʻo kekahi hua o kēia pepa ka hoʻonohonoho ʻana i ia ʻike i mea e maʻalahi ai ka lālau ʻana o kākou me ka hoʻopōʻaiapili hou ʻana i mea e poina ʻole ai. He mea nui pū ka hiki ke kālailai ʻia ka hana a ka papa i maopopo ai ke kuleana o ke kūʻauhau i ke aupuni Hawaiʻi kahiko a me ke aupuni Hawaiʻi hou e hoʻokumu ʻia ana i ka wā e hiki mai ana.
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ItemKE KŌ A KE AU: KE KIʻINA KĀKAU MOʻOLELO HAWAIʻI KUʻUNA MA KE ANAHULU MAKAHIKI 1860 ME KA LOLI I ʻIKE ʻIA I KE AU O KA MANAWA.( 2017-11)This thesis examines the writing style of native authors who wrote traditional stories published in the Hawaiian language newspapers during the 1860s. In Chapter 1, trends of creative change are explored within the writing style of this period by looking at traditional ethno-literary devices called “meiwi.” By calculating the frequency of four of these ethno-literary devices that specifically relate to creative evolution in literature, a trend is measurable in traditional written and published Hawaiian stories, starting with the earliest traditional newspaper story in 1834 until the end of the 1860s. Chapter 2 looks at language specific changes by focusing on common themes within a majority of the sample stories chosen, such as marriage/sex, eating, birth, and war. In Chapter 3 and in the second part of this paper, metaphoric language is defined through visual aides in order to help present-day readers understand native Hawaiian perspectives of the past. This would then increase our understanding of Hawaiian metaphoric language in order to perpetuate these perspectives into the future.
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ItemHe Kālailaina i nā Kāhulu Pepeke Poke Kiʻa a Waila hoʻi o ka ʻŌlelo Hawaiʻi a me ka Ili ʻana o ia mau Kāhulu Pepeke i Loko o ka Moʻolelo ʻo Kalapana( 2016-12)ʻŌWEHE He kālailaina kēia pepa i nā kāhulu pepeke poke kiʻa (KPPK) a me nā kāhulu pepeke poke waila (KPPW), ʻo ia hoʻi nā kāhulu pepeke i loaʻa ke poke kiʻa a poke waila paha ma ke kūlana poʻo o ke kāhulu pepeke. I mea kēia kālailaina e kākoʻo ʻia ai ke aukahi hoʻōla ʻōlelo Hawaiʻi o Ka Haka ʻUla O Keʻelikōlani e neʻe aku nei i mua me ka manaʻolana e lilo ia he kumu waiwai e kilo ʻia a e nānā ʻia e nā ʻahi kananā o nā hanauna hou nāna e kahukahu mau ana i ka mauli ola o ka ʻōlelo Hawaiʻi i ka wā e kōkua a kākoʻo ʻia ai ka ʻoihana hoʻōla ʻōlelo Hawaiʻi e ua kālailaina nei. He ala pū kēia pepa e ola hou ai ka ʻōlelo Hawaiʻi i ka palapala ʻia o ka ʻike e pili ana i ia mau hiʻohiʻona o ka ʻōlelo Hawaiʻi, ʻo ke KPPK a me ke KPPW hoʻi, i loko o kēia pōʻaiapili o ke kālaiʻike kulanui. Ua nui nā kālailai ʻia ʻana o nā kāhulu pepeke i loaʻa ka poke painu me ke kūlana poʻo, e like me ke kāhulu pepeke painu a kālele ʻākena hoʻi. He kākaʻikahi nō naʻe ke kālailai ʻia ʻana o ke KPPK a me ke KPPW a no ia kumu i piha pono ʻole ai ke kālailai ʻia ʻana o kēia kāhulu pepeke. He hōʻike kēia pepa i ke kālailai ʻana i kekahi mau ʻaoʻao a hiʻohiʻona hoʻi o ia mau kāhulu pepeke i kālailai mua ʻole ʻia, ʻo ia hoʻi ke kālailai ʻana i nā kāhulu pepeke poke kiʻa (KPPK) a waila (KPPW) pili a akapili hoʻi, ka helu ʻana i nā ʻano ʻami like ʻole o ka poke kiʻa i hiki ke lilo he poʻo kāhulu pepeke, ke kālailai ʻana i nā pepeke mole nona ia mau kāhulu pepeke, a me ke kālailai ʻana i ka lilo ʻana o nā ʻano kūlana like ʻole a me ka nonoʻa o ia mau kūlana he kiʻa, poke, a pepeke alakaʻi paha no ke kāhulu pepeke. ʻO ke aulaʻa kekahi ʻaoʻao nui e kaʻawale ai ke kāhulu pepeke ma nā waeʻanona pili a akapili hoʻi ma waho aku o ka pilinaʻōlelo. No laila, e ʻike ʻia ma kēia pepa ka hoʻohālikelike ʻana a me ka hoʻokūkū ʻana i nā KPPK a KPPW hoʻi o ka ʻōlelo Hawaiʻi me ke kaʻina makakoho kiʻa alakaʻi (Accessibility Hierarchy) a me ke ʻano o ka wehewehe ʻana o ke kāhulu pepeke no kona kiʻa alakaʻi e like me ke kālailai ʻana a Keenan lāua ʻo Comrie (1977) ma kā lāua noiʻi ʻana i nā lula o ke kāhulu pepeke o nā ʻano ʻōlelo like ʻole. Ma ka ʻaoʻao pilinaʻōlelo, ʻo kekahi kumu e kapa ʻia nei he kāhulu pepeke pili ma kēia kālailaina, ʻo ia nō ka pili ʻana o ia ʻano kāhulu pepeke i kona alakaʻi ma ka lālā hoʻokahi o ka hopunaʻōlelo. ʻO ke kāhulu pepeke akapili hoʻi, e waiho ana ia ʻano kāhulu ma kekahi lālā ʻokoʻa a e noho ana hoʻi ma ke “aka” o ka poke a pepeke alakaʻi paha. E kālailai ʻia naʻe ia mau ʻano kāhulu pepeke ʻelua i helu ʻia aʻe nei ma ke ʻano he poke kiʻa wale nō e noho kāhulu ana, ʻo ia hoʻi ke kāhulu pepeke poke kiʻa a waila piko ʻole (KPPK a KPPW (-P)), a ma ke ʻano hoʻi he pepeke piha i loaʻa kona piko, ʻo ke kāhulu pepeke poke kiʻa a waila piko hoʻi (KPPK a KPPW (+P)). E kālailai mua ʻia aku nō nā pepeke mole nona ia mau kāhulu pepeke poke kiʻa. E hōʻike ʻia aku nā laʻana o ia mau ʻano kāhulu pepeke mai loko mai o nā nūpepa kahiko a me nā palapala kahiko ʻē aʻe i kākau ʻia ma mua o ka hilimia loa ʻana o ka ʻōlelo Hawaiʻi i ka ʻōlelo Pelekānia. E hōʻike pū ʻia ke kālailai ʻia ʻana o kekahi mau ʻano KPPK a KPPW hoʻi i ʻano ʻokoʻa mai nā mea i wehewehe mua ʻia aʻela. ʻO kekahi o nā ʻokoʻa nui o ia mau kāhulu pepeke, ʻo ia ke komo ʻana o ka pepeke painu me ka poke kiʻa ma ke ʻano he kālele kūlana, he ʻami nonoʻa nui me ka poke painu, a me ka ʻami nonoʻa nui ma ke ʻano he kālele ʻākena. Pēlā pū nō hoʻi ka hōʻike ʻia ʻana o ka lilo ʻana o ka papani he kiʻa alakaʻi no ke KPPK a me ke kālele ʻia ʻana o ke kūlana nonoʻa i kiʻa alakaʻi i loko o ke KPPK a me ke KPPW. E hōʻike ʻia ka ʻikepili o ka ili ʻana o ia mau ʻano KPPK a KPPW hoʻi i loko o Kalapana, he moʻokalaleo Hawaiʻi i kākau ʻia e Moses Nākuina, he mānaleo hoʻi, i mea e kālailai ʻia ai ka hoʻohana ʻia maoli ʻia ʻana o ia mau ʻano kāhulu pepeke i loko o ia kākau moʻolelo ʻana o ia kupuna mānaleo. Abstract This dissertation is an analysis of noun phrase relative clause (NPRC) and existential relative clauses (EPRC) of Hawaiian. This analysis was designed to support the Hawaiian language revitalization movement of Ka Haka ʻUla O Keʻelikōlani, the College of Hawaiian Language at the University of Hawaiʻi at Hilo. It supports the educational philosophy of the college, the Kumu Honua Mauli Ola, which targets the development and maintenance of the mauli Hawaiʻi, the Hawaiian life force or identity, by providing a resource for the future generations of Hawaiian language speakers tasked with maintaining and strengthening the life of the language, a major aspect of mauli Hawaiʻi. Additionally, this paper provides a distinct domain where Hawaiian can exist by documenting the aspects of the NPRC and EPRC in the Hawaiian language for Hawaiian language speakers in the context of university academia. Verb phrase RC (VPRC) of the Hawaiian language seems to garner most of the attention when it comes to Hawaiian language analysis. Accounts of NPRC and EPRC analyzes were infrequent and inadequate. This paper will reveal certain facets and aspects of these types of RC that were previously unanalyzed, namely restrictive RC (pili) and relative appositives (akapili) of NPRC and EPRC, the listing of their predicate markers, the analysis of their root forms, and the positions of the root sentence from where the relativized head noun or phrasal head noun originated. Semantics, particularly the description of the head noun the RC provides, plays a major role in the categorization of restrictive and relative appositive NPRC and EPRC of Hawaiian. Pili RC provides a description separating the head noun from other potential head nouns of the same domain. Akapili RC provides additional information or renames the phrasal head noun, not necessarily isolating its head from other head nouns of the same domain. The paper will compare and contrast the NPRC and EPRC with Keenan and Comrie’s Accessibility Hierarchy to help analyze the differences of the RC’s description. Syntactically, pili (join, cling) was chosen as the word to describe restrictive RC because it is usually attached to the head noun and found in the same phrase. Akapili was chosen to represent relative appositives because the RC is not attached to the head noun and is found in the subsequent phrase in the “aka” or shadow of the phrasal head noun. These two types of RC will be further categorized into subjectless (-S) RC and RC that retains its subject (+S). An analysis of the relationship of these RC with their root forms will also be provided. Examples providing verification of these RC were collected from old Hawaiian newspapers and other forms of literature composed before the negative effects of English on Hawaiian became prevalent. Forms of NPRC and EPRC that differ from those previously mentioned will also be examined. These include types of NPRC that also have verb phrases, such as kālele kūlana RC and NPRC using genitive predicate markers along with a verb phrase. Other differing forms include the relativization of pronouns and the relativization of genitives in NPRC and EPRC. Data of the the distribution of these types of RC in Kalapana, a story written by native Hawaiian language speaker Moses Nākuina, will be analyzed to provide authentic context and frequency of RC usage in this form of literature.
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ItemHe ki'ina haku mo'oha'awina e ola ai nā pahuhopu ho'ona'auao kaia'ōlelo mauli ola Hawai'i(ProQuest LLC, 2013)This paper presents a ten-step process to be used in creating classroom level curriculum, which aligns with and fulfills the educational goals of the Hawaiian-Medium Mauli-Based Education Program. The process proposed addresses: state-level standards and requirements, school-level goals and focus, cultural and contextual perspectives, as well as, utilitarian perspectives on making learning applicable and natural for the learner. The classroom level curriculum template created is of value in that it may serve as a base unit on which school-wide curriculum can be developed, and it may also serve as a foundation from which individual lesson plans can be designed.
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ItemHe kama'aina au no kahelelani, he kupa no ka la welo i lehua: He noi'ina mele Ni'ihau(ProQuest LLC, 2013)This study focuses on the analysis of 15 secular songs from Ni'ihau composed by natives Emily K. Waili'ula, David K. K. Waili'ula, John E., and Dora K. K. K. Hulu'aulani. The two goals of the analysis are to see how and what connections they make to their homeland in their mele, and to delve into the Hawaiian poetry to better understand their Ni'ihau and overall Hawaiian perspective.
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ItemMeha Ka Leo I Ka Nahele: He Noiʻina I Ka Poʻe Kāpili Manu O Ke Au Kahiko( 2015)In this paper I have researched the kinds of bird hunting practiced traditionally throughout the Hawaiian Archipelago. I have collected, analyzed, and documented all of the sources that could be found on the subject of traditional Hawaiian bird hunting, commonly referred to as called kāpili manu. Sources utilized include Hawaiian language newspaper articles, old manuscripts, journal publications, old interviews, and traditional Hawaiian stories. This paper has been divided up into three major parts. In Māhele 1, the bird hunters themselves are examined, as well as their lifestyle when on hunting trips. This is done in five chapters: 2. The Konohiki System, 3. The Qualities of a Bird Hunter, 4. Mountain Living, 5. Trespassing on Land Boundaries, 6. The Spiritual Aspects of Bird Hunting. In Māhele 2, native Hawaiian birds and how often they were caught are examined through two chapters: 7. The Traditional Categorization System of Native Birds Used by Hawaiians, and 8. The Birds Most Hunted on Hawaiʻi Island. The last section, Māhele 3 looks at hunting methods of specific kinds of birds. First examined are the general traditional methods of catching small forest birds. Then the hunting of the ʻōʻō (Moho spp.), the mamo (Drepanis pacifica), ʻuaʻu (Pterodroma sandwichensis) and kōlea (Pluvialis fulva) each have their own chapter. The business of bird hunting was important in ancient Hawaiʻi. Birds were hunted for food, feathers, and for tools. Ma keia pepa nei, ua noiʻi ʻia ke ʻano o ke kāpili manu o ke au kahiko o Hawaiʻi paeʻāina. Ua ʻohi, kālailai, a ua palapala ʻia pū nā kūmole a pau i hiki ke loaʻa mai no ia kumuhana, kapa mau ʻia he kāpili manu. Ua kiʻi ʻia nā kūmole mai nā nūpepa ʻōlelo Hawaiʻi kahiko, nā waihona palapala kahiko, nā puke pai, nā nīnauele kahiko, a me nā kaʻao kahiko. Ua hoʻomāhele ʻia ka pepa i ʻekolu māhele. Ma ka Māhele 1 o ka pepa, nānā ‘ia ke ‘ano o ka po’e kāpili manu a me ko lakou noho ‘ana ma ia hana ma ‘elima mau mokuna: 1. Ka ʻŌnaehana Konohiki, 2. Ke ʻano o ka Poʻe Kāpili manu, 3. No ka Noho ʻana i Kuahiwi, 4. Ka ʻAʻe ʻana i nā Palena ʻĀina, 5. Ka ʻAoʻAo Pili ʻUhane o ke Kāpili Manu. Ma ka Māhele 2, nānā ʻia nā manu ‘ōiwi o Hawai’i a me ka nui o ko lakou hopu ‘ia ma ʻelua mokuna: 6. Ka ‘Ōnaehana Waeʻanona Manu Kuʻuna o nā Hawaiʻi, a me 7. Nā Manu i Hahai Nui ʻia ma Hawaiʻi Mokupuni. Ma ka Māhele 3 i nānā ʻia ai ka hahai ʻia o nā manu liʻiliʻi o ka nahele ma ka laula, a laila, ka hahai ‘ana i ‘ehā mau manu, ʻo ka ʻōʻō, ka mamo, ka ʻuaʻu, a me ke kōlea. He ʻoihana koʻikoʻi ia hana kāpili manu i ke au kahiko. He hahai ʻia ka manu no ka hulu, ka meaʻai, a no kekahi mau pono hana.