DOCSLIB.ORG

353D14b90aa52bdcf6bb5943e1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 2 big sky The Red Moon Anthology of English-Language Haiku 2006 Jim Kacian ✧ Editor-in-Chief Ernest J. Berry ✧ Randy M. Brooks Dee Evetts ✧ Maureen Gorman Carolyn Hall ✧ Martin Lucas Peggy Willis Lyles3 ✧ Kohjin Sakamoto George Swede ✧ Max Verhart big sky: The Red Moon Anthology of English-Language Haiku 2006 © 2007 by Jim Kacian for Red Moon Press All Rights Reserved ISBN 1-893959-60-0 Red Moon Press P. O. Box 2461 Winchester VA 22604-1661 USA www.redmoonpress.com All work published in by permission of the individual authors or their accredited agents. Special thanks to Neca Stoller and A. C. Missias for help in the preparation of this volume. Cover painting: Dan Namingha, Cloud Formations 1999, 44'" x 40", acrylic on canvas. Collection of the artist. Used with permission. rmp o 4 contents foreword 6 haiku / senryu 9 linked forms 93 essays 111 index of authors 197 acknowledgments 199 sources 200 the5 RMA editorial staff 201 the RMA process 202 foreword Two trends are worth noting as The Red Moon Anthology begins its second decade of offering the best haiku published in English from around the world. They are notable in that neither was apparent when the series was first conceived in 1996. The first is the quality of English-language haiku being written in non-English countries. Some of these poems are, of course, translations, but many are original in English. This speaks to the rise of English as the truly international language of haiku, a position it seems unlikely to relinquish in the immediate future. Poets from 16 countries are represented in this series, and another dozen countries were represented in nomination. While the dominance of any language in the world market place of poetry will create some problems, it is also true that certain advantages accrue, and English-language haiku seems the immediate beneficiary of today’s situation. The second is the vast improvement of the haiku now to be found on the web. Early websites which published and taught haiku were uneven at best, and it was with reluctance that we might direct interested students to them. Today there is a plethora of quality sites, a situation borne out by the many poems included in this volume which originated online. This majority is, too, a first for this series, and a circumstance likely to become more, rather than less, the case in the future. Jim Kacian Editor-in-Chief 6 big sky 7 8 haiku / senryu 9 10 Fay Aoyagi ✧ United States winter roses — I am tired of reading between the lines first dandelions — a boy insists he is invisible 11 The Red Moon Dave Bacharach ✧ United States bank withdrawal — an empty candy dish on the counter Annie Bachini ✧ England lurching to a halt — the weight of the bus inside my body 12 Anthology 2006 Jerry Ball ✧ United States cold morning the shape of the knife remains in the butter Michael Bangerter ✧ England stepping back from the elephant god, I tread on someone’s foot 13 The Red Moon Francine Banwarth ✧ United States autumn sunset . she lowers the silk into the dye Collin Barber ✧ United States Indian summer a bottle cap replaces the missing pawn 14 Anthology 2006 John Barlow ✧ England the piano hammers barely moving . night snow Janelle Barrera ✧ United States evening rain . the new phone book without his name 15 The Red Moon Jack Barry ✧ United States skipping stones speaking of people no longer here Nara Bauer ✧ United States mountain pass — each valley a different shade of spring 16 Anthology 2006 Roberta Beary ✧ United States mother’s day a nurse unties the restraints funeral home here too she straightens his tie 17 The Red Moon Ernest J. Berry ✧ New Zealand mountain pass headlights on the edge of a thunderhead contractions — the darkness between stars 18 Anthology 2006 Cathy Drinkwater Better ✧ United States snowy day breaking the crust of the still-warm bread Jason Sanford Brown ✧ United States vanishing point a rock in my shoe 19 The Red Moon Pamela Brown ✧ England midwinter the coldness of the iron latch Helen Buckingham ✧ England Indian summer another half-cup left in the flask 20 Anthology 2006 Marjorie Buettner ✧ United States early autumn boats tied to the dock rocking out of rhythm Darrell Byrd ✧ United States morning fog — the dog keeps some slack in his leash 21 The Red Moon R. P. Carter ✧ Canada boys in the park win the war in Iraq Margaret Chula ✧ United States not seeing it til darkness fills the pond the white carp 22 Anthology 2006 Yu Chang ✧ United States Christmas party an old friend empties my wine glass small town my accent starts a conversation starlit sky are you sure we are alone 23 The Red Moon Tom Clausen ✧ United States behind the wheel — yet another of his personalities Kathy Lippard Cobb ✧ United States fog and stone . I release your ashes to the tide 24 Anthology 2006 Timothy Collinson ✧ England morning frost a surveillance camera turns on its post Ellen Compton ✧ United States unsplit chopsticks the fish stares back from the bento 25 The Red Moon Katherine Cudney ✧ United States nameless stream I vaguely remember my father’s face DeVar Dahl ✧ Canada a bare space under the willow overdue books 26 Anthology 2006 Anne LB Davidson ✧ United States doctor’s waiting room I weed out expired coupons Cherie Hunter Day ✧ United States his sermon on redemption — winter rain 27 The Red Moon Kristen Deming ✧ United States December 1st — shape of the envelopes changing Connie Donleycott ✧ United States November rain . embracing the weight of my sister’s urn 28 Anthology 2006 George G. Dorsty ✧ United States a year later — even her leaving has left Curtis Dunlap ✧ United States after the burial . my father’s smile on so many faces 29 The Red Moon Carrie Etter ✧ United States we talk about having children — Indian summer Dee Evetts ✧ United States dessert menu the hairs on her arm touch mine 30 Anthology 2006 Kaj Falkman ✧ Sweden Along the slalom slope a sudden trail of cow smell Raoul Fernandes ✧ Canada nothing to say — our breaths cooling tea 31 The Red Moon Laryalee Fraser ✧ Canada northern lights . the distance between words Jack Galmitz ✧ United States My life Belongs to everything: Beyond the Milky Way 32 Anthology 2006 D. Claire Gallagher ✧ United States jet lag — escalator teeth from the nether world the dark folds of a greening mountain — my sister’s diary locked 33 The Red Moon Brenda J. Gannam ✧ United States pelvic exam done my doctor talks to his clipboard Garry Gay ✧ United States A secret I never wanted to keep — empty greenhouse 34 Anthology 2006 Ferris Gilli ✧ United States morning gossip the robin tugs hard at a worm Irene Golas ✧ Canada thinning the carrots . still thinking about the child miscarried 35 The Red Moon Ann K. Goldring ✧ Canada skinny dippers the moon’s path broken like laughter LeRoy Gorman ✧ Canada appointment calendar a coffee ring joins one day to the next 36 Anthology 2006 Caroline Gourlay ✧ England evening firelight drawing the dark corners into the room fogbound road — walking on the inside of the inside world all those things I wish now I’d asked you — snow falling 37 The Red Moon Sari Grandstaff ✧ United States his hand on my thigh — I miss the next joke Paul Grant ✧ England winter — your words in little clouds 38 Anthology 2006 Lee Gurga ✧ United States night on the town — how beautiful the girl my wife finds fault with Timothy Hawkes ✧ England winter rain . the light from the flower shop 39 The Red Moon Carolyn Hall ✧ United States circle of pines God absent from the wedding vows so suddenly winter baby teeth at the bottom of the button jar her clingy skirt the static between us 40 Anthology 2006 Robert Hecht ✧ United States garden store Buddhas sit according to price Thomas Heffernan ✧ United States equinox kayak paddling two sides of dusk 41 The Red Moon Keith Heiberg ✧ United States he speaks of her in the present tense frost on the vodka bottle Christopher Herold ✧ United States baton raised . a moth spirals into the silence 42 Anthology 2006 Ed Higgins ✧ United States divorce final the double twist of a Möbius strip Mark Hollingsworth ✧ United States around the campfire one line apiece we tell Dad’s joke 43 The Red Moon Anne Homan ✧ United States grandma’s advice on selecting a bra buds of lilac Gary Hotham ✧ United States among the splashes — a toy bucket of ocean dumped back in 44 Anthology 2006 Keiko Izawa ✧ Japan poppy garden . in and out of the flowers the child’s red cap Kevin James ✧ United States darkness — between the folded hands of the priest 45 The Red Moon Jörgen Johansson ✧ Sweden evening beach . finishing someone else’s sandcastle PMF Johnson ✧ United States the war on the tv in the background 46 Anthology 2006 doris kasson ✧ United States at the foot of the climbing rock — mom Earl Keener ✧ United States long day the dog’s chain wrapped around the tree 47 The Red Moon Jim Kacian ✧ United States dusklight — I read her poem differently camping along one star then many pleasantly drunk . fireflies come out of the moon 48 Anthology 2006 Bill Kenney ✧ United States spring morning the thrust of roots through a sidewalk Michael Ketchek ✧ United States Olympics the same wind in all the flags 49 The Red Moon Larry Kimmel ✧ United States in the hush of the woods — something she isn’t telling Marcus Larsson ✧ Sweden winter beach your wish to be sure before we tell others 50 Anthology 2006 Daniel Liebert ✧ United States signing my name over and over, I being to disappear Darrell Lindsey ✧ United States day moon a girl with dog tags skipping rope 51 The Red Moon Burnell Lippy ✧ United States after-hours hearing the Coke at each bend in the machine warmth of the ejected video winter solitude 52 Anthology 2006 Peggy Willis Lyles ✧ United States no ketchup — I wish things had gone the other way Myron Lysenko ✧ United States country town a railway station without tracks 53 The Red Moon paul m.
Recommended publications
  • Haiku Attunement & the “Aha” Moment

    Haiku Attunement & the “Aha” Moment

    Special Article Haiku Attunement & the “Aha” Moment By Edward Levinson Author Edward Levinson As a photographer and writer living, working, and creating in Japan spring rain for 40 years, I like to think I know it well. However, since I am not an washing heart academic, the way I understand and interpret the culture is spirit’s kiss intrinsically visual. Smells and sounds also play a big part in creating my experiences and memories. In essence, my relationship with Later this haiku certainly surprised a Japanese TV reporter who Japan is conducted making use of all the senses. And this is the was covering a “Haiku in English” meeting in Tokyo where I read it. perfect starting point for composing haiku. Later it appeared on the evening news, an odd place to share my Attunement to one’s surroundings is important when making inner life. photographs, both as art and for my editorial projects on Japanese PHOTO 1: Author @Edward Levinson culture and travel. The power of the senses influences my essays and poetry as well. In haiku, with its short three-line form, the key to success is to capture and share the sensual nature of life, both physical and philosophical. For me, the so-called “aha” moment is the main ingredient for making a meaningful haiku. People often comment that my photos and haiku create a feeling of nostalgia. An accomplished Japanese poet and friend living in Hokkaido, Noriko Nagaya, excitedly telephoned me one morning after reading my haiku book. Her insight was that my haiku visions were similar to the way I must see at the exact moment I take a photo.
  • Frogpond 37.1 • Winter 2014 (Pdf)

    Frogpond 37.1 • Winter 2014 (Pdf)

    F ROGPOND T HE JOURNAL OF THE HAIKU SOCIETY OF AMERICA V OLUME 37:1 W INTER 2014 About HSA & Frogpond Subscription / HSA Membership: For adults in the USA, $35; in Canada/Mexico, $37; for seniors and students in North America, $30; for everyone elsewhere, $47. Pay by check on a USA bank or by International Postal Money Order. All subscriptions/memberships are annual, expiring on December 31, and include three issues of Frogpond as well as three newsletters, the members’ anthology, and voting rights. All correspondence regarding new and renewed memberships, changes of address, and requests for information should be directed to the HSA secretary (see the list of RI¿FHUVS). Make checks and money orders payable to Haiku Society of America, Inc. Single Copies of Back Issues: For USA & Canada, $14; for elsewhere, $15 by surface and $20 by airmail. Older issues might cost more, depending on how many are OHIW3OHDVHLQTXLUH¿UVW0DNHFKHFNVSD\DEOHWR+DLNX6RFLHW\RI America, Inc. Send single copy and back issue orders to the Frogpond editor (see p. 3). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku 6RFLHW\RI$PHULFDLWVRI¿FHUVQRUWKHHGLWRUDVVXPHUHVSRQVLELOLW\ IRUYLHZVRIFRQWULEXWRUV LQFOXGLQJLWVRZQRI¿FHUV ZKRVHZRUNLV printed in Frogpond, research errors, infringement of copyrights, or failure to make proper acknowledgments. Frogpond Listing and Copyright Information: ISSN 8755-156X Listed in the MLA International Bibliography, Humanities Interna- tional Complete, Poets and Writers. © 2014 by the Haiku Society of America, Inc. Francine Banwarth, Editor Michele Root-Bernstein, Associate Editor Cover Design and Photos: Christopher Patchel.
  • Haiku and Basho Post Written by Wende

    Haiku and Basho Post Written by Wende

    Tea Time: Haiku and Basho post written by Wende Haiku Haiku is a form of poetry that began in Japan around the 17th century. Classic Haiku poem always has seventeen syllables in 3 or 4 lines. The first and last lines have five syllables each, and the middle line(s) has seven syllables. Haiku poems usually don’t rhyme, and are almost always about nature and seasons of the year. Haiku is written in the present tense, and does not have to follow punctuation and capitalization rules. Because the poet writing haiku is trying to paint an image in the mind of the reader, each word chosen needs to be strong and meaningful. Basho Matsuo Kinsaku, considered the father of haiku, was born in Japan around 1644. He was one of six children in a family of samurai. As a child, he was a servant to Tōdō Yoshitada, who shared with him a love for haikai no renga, a kind of chain haiku that preceded the stand alone verses mentioned above. A poem was begun by Todo with a verse in the 5-7-5 format, called a hokku. Then Matsuo would follow that verse with a 7-7 format. This would go back and forth to create the collaborative poem. When Todo died in 1666, Matsuo’s feudal service ended and he began to spend much of his life wandering about Japan. Thus he is known as a traveler as well as a poet, the author of some of the most beautiful travel diaries ever written in Japanese. In 1680, Matsuo settled down in a small cottage.
  • EARLY MODERN JAPAN 2010 the Death of Kobayashi Yagobei

    EARLY MODERN JAPAN 2010 the Death of Kobayashi Yagobei

    EARLY MODERN JAPAN 2010 5 The Death of Kobayashi Yagobei since. At some point before he had reached the ©Scot Hislop, National University of Singapore pinnacle of haikai rankings, Issa wrote an account, now called Chichi no shūen nikki (父の終焉日記: Introduction A Diary of my Father’s Final Days), of his father’s illness, death, and the first seven days of the fam- It is an accident of literary history that we know ily’s mourning. anything about Kobayashi Yagobei. His death, on Chichi no shūen nikki, as it has come down to the twentieth day of the 5th month of 1801 (Kyōwa us, is a complex text. Some parts of it have been 1) in Kashiwabara village, Shinano Province,1 was discussed in English language scholarship at least 6 important to his family. But Yagobei was not John F. since Max Bickerton’s 1932 introduction to Issa Kennedy, Matsuo Bashō,2 or even Woman Wang.3 and it is often treated as a work of literature or a 7 Yagobei’s death was the quotidian demise of some- diary. This approach to Chichi no shūen nikki one of no historical importance. However his eldest owes a great deal to the work of Kokubungaku 8 son, Yatarō, became Kobayashi Issa.4 In the years (Japanese National Literature) scholars. However, following his father’s death, Issa became one of the in order to read Chichi no shūen nikki as a book two or three most famous haikai (haiku) poets of within the canon of Japanese National Literature his generation and his renown has not diminished (Kokubungaku), it must be significantly trans- formed in various ways and a large portion of it is 1 The part of Shinano Town closest to Kuro- hime train station in Nagano Prefecture.
  • Seasoning Your Haiku by Ferris Gilli

    Seasoning Your Haiku by Ferris Gilli

    Seasoning Your Haiku by Ferris Gilli We all know at least one definition of haiku, and most of us claim a personal definition that allows for our individual perceptions of haiku. The definition that I support posits, among other things, that haiku are traditionally very short poems about nature and/or man’s relationship with nature (often subtly revealing human nature), and typically contain a kigo. (Humans are a part of nature, no matter how unnatural and aberrant some appear. However, ideally, a haiku should not be overbalanced with human reference.) A kigo is a word or phrase in a haiku that indicates season. It lets readers know in which season the haiku is happening. Traditionally, “season” is an essential element of haiku. Conveniently for haiku poets, many, if not most kigo come from nature, so that when a nature kigo is used in a poem, two haiku elements are immediately satisfied. Some kigo come from humanity, such as holidays; some are human activities that routinely occur in certain seasons, like preserving fruit and flying a kite. Kigo do more than indicate seasons. Just as certain images and events reflect a seasonal feel, they can also reflect an emotion, mood, or time of life. For example, spring and the images and events of spring (nesting, newborn animals, plant buds, longer days, etc.) suggest hope, new beginnings, and the joy of life. For autumn and winter the images and events (longer nights, falling leaves, bare trees, departing geese, cold earth, etc.) may suggest the end of something, old age, dying, a time for rest, and so on.
  • Special Issue №3

    Special Issue №3

    journal of senryu and kyoka Special Issue №3 August, 2016 Editors: Vladislav Vassiliev Valeria Simonova-Cecon Nataly Levi Artist: Tatyana Kosach E-mail: [email protected] Copyright «Ёrshik» 2012-2016 ©. Content Current Issue ...............................................................3 Editor’s Choice ......................................................................... 3 Senryu and Kyoka .................................................................... 7 Burashi ......................................................................................39 Submission Guidelines ........................................... 58 2 www.ershik.com EDITOR’S CHOICE children enquire about my health before making a request Nikolay Grankin (Russia) …Kids are good psychologists, especially if they want something, even when they grow up and have kids of their own. At some point, however, when children realise that their parents are not going to be around forever and they need to take care of them, as they are the only parents they will ever have, they acquire this particular quality of sensitivity mixed with pragmatism. They know that parents will usually do everything they can to help their kids overcome anything that life throws at them. When some people grow up, they try not to bother their folks with their problems at all, while others go to the other extreme and continue “using” their parents as much as they can, but not everybody understands that being useful to their children is sometimes the only thing that keeps their parents going. This
  • A Journal of the Radical Gothic

    A Journal of the Radical Gothic

    issue #1 gracelessa journal of the radical gothic And the ground we walk is sacred And every object lives And every word we speak Will punish or forgive And the light inside your body Will shine through history Set fire to every prison Set every dead man free “The Sound Of Freedom” Swans cover photograph by Holger Karas GRACELESS Issue one, published in February 2011 Contributors and Editors: Libby Bulloff (www.exoskeletoncabaret. com), Kathleen Chausse, Jenly, Enola Dismay, Johann Elser, Holger Karas (www. seventh-sin.de), Margaret Killjoy (www. birdsbeforethestorm.net). Graceless can be contacted at: www.graceless.info [email protected] This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to: Creative Commons 171 Second Street, Suite 300 San Francisco, California, 94105 USA What this license means is that you are free (and encouraged) to take any content from Graceless and re-use it in part or whole, or make your own work that incorporates ours, as long as you: attribute the creator of the work, share the work with the same license, and are using the product non-commercially. Note that there is a photograph that is marked as copyright to its creator, which was used with permission and may not be included in derivative works. We have chosen a Creative Commons licensing because we believe in free cultural exchange but intend to limit the power of capitalism to co-opt our work for its twisted ends.
  • Japan Animation: from Commercialism to Art SHIMAMURA Teru

    Japan Animation: from Commercialism to Art SHIMAMURA Teru

    Available online at www.sciencedirect.com Procedia Social and Behavioral Sciences 2 (2010) 7327–7332 Selected Papers of Beijing Forum 2005 Japan Animation: from Commercialism to Art SHIMAMURA Teru Joshibi University of Art and Design Abstract: Guarding children from the too much influence of foreign culture, especially the influence of Western world, Chinese government has been encouraging the production of domestic animation. In China, after 2000, it was decided that more than 60 percent of animations broadcasted on TV must be products of China. Although foreign animation is obliged to be under 40 percent, most of the TV stations except CCTV would not keep the rule. This is the reason why the government decided to take this measure. There is a fact in the background that Disney animations from US and Japan animations are quite popular among Chinese children. Especially, most of the elementary school pupils in the urban area seem to watch such Japan animations as “Detective Konan”, “Ultraman”, “Chibimarukochan˄ḰḗᇣЌᄤ˅”, “Captain Tsubasa” and so on. In China, Japanese animation and Manga are estimated very high. “Doraemon˄″఼⣿˅” used to be selected as the “most humorous reading piece” in the research executed by China Social Science Institute. In Japan, the number of the animation pieces broadcasted on TV is about 2500. Including the sales of character goods, the gross sales are more than 1 trillion yens. It will be large enough to be called a “gigantic industry”. Export sales are 100 billion yens a year(half equal to the sales grade of all US movies a year, four times equal to the Japanese export steel sales to US).
  • Atlas Poetica Journal of World Tanka Poetry 33

    Atlas Poetica Journal of World Tanka Poetry 33

    ATLAS POETICA A Journal of World Tanka Number 33 M. Kei, editor Grunge, editorial assistant 2018 Keibooks, Perryville, Maryland, USA KEIBOOKS P O Box 346 Perryville, Maryland, USA 21903 AtlasPoetica.org Atlas Poetica A Journal of World Tanka Copyright © 2018 by Keibooks All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by reviewers and scholars who may quote brief passages. See our EDUCATIONAL USE NOTICE. Atlas Poetica : A Journal of World Tanka, an organic print and e-journal published at least three times a year. Atlas Poetica is dedicated to publishing and promoting world tanka literature, including tanka, kyoka, gogyoshi, tanka prose, tanka sequences, shaped tanka, sedoka, mondo, cherita, zuihitsu, ryuka, and other variations and innovations in the field of tanka. We do not publish haiku, except as incidental to a tanka collage or other mixed form work. Atlas Poetica is interested in all verse of high quality, but our preference is for tanka literature that is authentic to the environment and experience of the poet. While we will consider tanka in the classical Japanese style, our preference is for fresh, forward-looking tanka that engages with the world as it is. We are willing to consider experiments and explorations as well as traditional approaches. In addition to verse, Atlas Poetica publishes articles, essays, reviews, interviews, letters to the editor, etc., related to tanka literature. Tanka in translation from around the world are welcome in the journal.
  • English Translations of Hokku from Matsuo Basho's Oku No Hosomichi

    English Translations of Hokku from Matsuo Basho's Oku No Hosomichi

    xi The Beat of Different Drummers: English Translations of Hokku from Matsuo Basho's Oku no hosomichi Mark Jewel (Waseda University) Haiku is without question Japan's most successful literary export. Indeed, along with judo in the field of sports and, more recently, anime and video games, haiku is one of only a handful of Japanese cultural products that can be said to have acquired an international following of any significant size. Haiku in English boasts a history in translation of over one hundred years, and an active "haiku community" of original poets that dates back at least as far as the first regularly published magazines of English haiku in the 1960s. As one indication of just how popular English haiku has become in the past quarter century, it may suffice to point out that more than ten single­ volume anthologies of haiku in English have been published since the first such anthology- Cor van den Heuval's The Haiku Anthology (Garden City, N.Y.: Anchor Books)--came out in 1974. 1 Small wonder it may seem, the~ that the poetic travel diary Oku no hosomichi, by Matsuo Bash6 (1654-1694), which contains fifty ofBashO's hokku, has been translated into English more frequently than any other major work of Japanese literature, with no fewer than eight complete published versions. 2 Part of the purpose of this paper is to suggest that, in fact, eight different versions cannot be called an overabundance in this case. But before turning to an examination of some of the hokku from Okuno hosomichi to help justify this assertion, I think it will be helpful to review the changing fortunes of haiku in English over the past hundred years, for the current high regard in which BashO's poetry is held by both translators and English-language haiku poets by no means reflects its reputation among the first serious foreign students of Japanese literature.
  • Tin £415 14-4^

    Tin £415 14-4^

    Tin £415 14-4^ Jr THE LIFE AND WORK OF KOBAYASHI ISSA. Patrick McElligott. Ph.D. Japanese. ProQuest Number: 11010599 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11010599 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Patrick McElligott. "The Life and Work of Kobayashi Issa., Abstract. This thesis consists of three chapters. Chapter one is a detailed account of the life of Kobayashi Issa. It is divided into the following sections; 1. Background and Early Childhood. 2. Early Years in Edo. 3. His First Return to Kashiwabara. ,4. His Jiourney into Western Japan. 5. The Death of His Father. 6 . Life im and Around Edo. 1801-1813. 7. Life as a Poet in Shinano. 8 . Family Life in Kashiwabara.. 9* Conclusion. Haiku verses and prose pieces are introduced in this chapter for the purpose of illustrating statements made concerning his life. The second chapter traces the development of Issa*s style of haiku. It is divided into five sections which correspond to the.Japanese year periods in which Issa lived.
  • New Hitch Haiku: an Interactive Renku Poem Composition Supporting Tool Applied for Sightseeing Navigation System

    New Hitch Haiku: an Interactive Renku Poem Composition Supporting Tool Applied for Sightseeing Navigation System

    New Hitch Haiku: An Interactive Renku Poem Composition Supporting Tool Applied for Sightseeing Navigation System Xiaofeng Wu1, Naoko Tosa1, and Ryohei Nakatsu2 1 Academic Center for Computing and Media Studies, Kyoto University Yoshida-Nihonmatsu, Sakyo, Kyoto, 606-8501 Japan [email protected], [email protected] 2 Interactive & Digital Media Institute, National University of Singapore Blk E3A #02-04, 7 Engineering Drive 1, Singapore 117574 [email protected] Abstract. As is well-known, cultures are rooted in their unique regions, histories and languages. Communication media have been developed to circulate these cul- tural characteristics. As a part of our research “Cultural Computing”, which means the translation of cultures using scientific methods representing essential aspects of Japanese culture[1], an interactive Renku poem generation supporting system was developed to study the reproduction of a traditional Japanese Renku by computer. This system extended the functionality of our previous Hitch-Haiku system to the Renku based on same association method and attached more cultural characteristics on it: the Renku verse displayed on the Japanese-style color pattern which repre- sents the same season in Renku Kigo (seasonal reference) and the generated Renku verse including the information of sightseeing place. Keywords: Haiku, Renku, Renku generation, Interactive art, Association. 1 Introduction Haiku is a Japanese traditional poem style with minimal length of seventeen syllables (in Japanese) in three metrical phrases including a seasonal word called “Kigo.” The original form of Haiku was called Hokku and in the late 19th century Shiki Masaoka revised it and finally established the present form of Haiku [3].