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The Basic Structure of Tanka Prose
The Elements of Tanka Prose by Jeffrey Woodward Introduction: Basic Definition The marriage of prose and waka, the forerunner of modern tanka, occurred early in the history of Japanese literature, from the 8th to 11th centuries, with rudimentary beginnings in the Man’yōshū and later elaboration as an art in the Tales of Ise and Tale of Genji. One aspect of the proliferation of prose with waka forms is that practice moved far in advance of theory. Japanese criticism to this day lacks consensus on a name for this hybrid genre. The student, instead, is met with a plethora of terms that aspire to be form-specific, e.g., preface or headnote (kotobagaki), poem tale (uta monogatari), literary diary (nikki bungaku), travel account (kikō), poetic collection (kashū), private poetry collection (shikashū) and many more [Konishi, II, 256-258; Miner, 14-16] The first problem one must address, therefore, in any discussion of tanka plus prose is terminology. While Japanese waka practice and criticism afford no precedent, the analogy of tanka with prose to the latter development of haibun does. The term haibun, when applied to a species of literary composition, commonly signifies haiku plus prose written in the ―haikai spirit.‖ It would not be mere license to replace haibun with haiku prose or haikai prose as proper nomenclature. Upon the same grounds, tanka prose becomes a reasonable term to apply to literary specimens that incorporate tanka plus prose – a circumstance which may lead one to inquire, not unreasonably, whether tanka prose also indicates prose composed in the ―tanka spirit.‖ Fundamental Structure of Tanka Prose Tanka prose, like haibun, combines the two modes of writing: verse and prose. -
SPRING 2010 Land O’Lakes Tourism Association - by Ken Hook, LOLTA
Regional Green Vision & Strategy Project SPRING By Anne Marie Young, County of Frontenac Local municipal and economic development organizations have joined forces to create a regional green vision and strategy that founding partners expect will position the Kingston- Frontenac-Lennox and Addington area as a global leader in energy and the environment. Frontenac County, the Kingston Area Economic Development Corporation, and the Frontenac Community Futures Development Corporation secured $60,000 from the Frontenac CFDC through the Eastern Ontario Development Program (EODP) and launched a Regional Green Vision and Strategy project to move the region forward on this front. The idea of building a regional effort emerged from a workshop held in Kingston in the spring of 2009, participants looked at the wind turbines then going up on Wolfe Island, the sustain- ability plans coming forward in Frontenac County and the City of Kingston, research taking place at our post-secondary education institutions, the development of a solar farm nearby, the continued development of SWITCH, and many other ‘green’ developments. It was realized that the region has the critical mass to become known as a green region and there is reason to capitalize on the opportunity. The Regional Green Vision and Strategy project is focused on bringing the region’s stake- holders together in a shared effort to establish awareness of this critical mass, attract attention outside the region, and encourage further activity within the region. Early in 2010, additional stakeholders will be invited and encouraged to become part of the green initiative. Looking for a New Business Opportunity? The Frontenac Stewardship Council, through Eastern Ontario Development funding from the Frontenac CFDC, is developing a business plan that explores the feasibility of a local busi- ness providing septic haulage from ‘water-access only’ properties in Frontenac County. -
Atlas Poetica 12
ATLAS POETICA A Journal of Poetry of Place in Contemporary Tanka Number 12 Summer, 2012 ATLAS POETICA A Journal of Poetry of Place in Contemporary Tanka Number 12 Summer, 2012 M. Kei, editor Alex von Vaupel, technical director Christina Nguyen, editorial assistant 2012 Keibooks, Perryville, Maryland, USA KEIBOOKS P O Box 516 Perryville, Maryland, USA 21903 AtlasPoetica.org [email protected] Atlas Poetica A Journal of Poetry of Place in Contemporary Tanka Number 12 – Summer 2012 Copyright © 2012 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 Poetry of Place in Contemporary Tanka, a triannual print and e-journal, is dedicated to publishing and promoting fine poetry of place in modern English tanka (including variant forms). Atlas Poetica is interested in both traditional and innovative verse of high quality and in all serious attempts to assimilate the best of the Japanese waka/tanka/kyoka/gogyoshi genres into a continuously developing English short verse tradition. In addition to verse, Atlas Poetica publishes articles, essays, reviews, interviews, letters to the editor, etc., related to tanka poetry of place. Tanka in translation from around the world are welcome in the journal. Published by Keibooks Printed in the United States of America, 2011 ATPO 12: ISBN: 978-0615661865 AtlasPoetica.org TABLE OF CONTENTS Editorial Brittle Light, Rodney Williams & Educational Use Notice .......................6 Patricia Prime ...............................34 Urban Tanka, M. -
Books in Foreign Languages: in Alphabetical Order According to Author As of 2019/12/15
Books in Foreign Languages: in alphabetical order according to author as of 2019/12/15 Autor / Editor Title Publisher Year Place ID No. Aafjes, Bertus Rechter Ooka-mysteries Meulenhoff 1982 Amsterdam, A-6-1 Netherlands Abbasi, Saeed My Haiku Studio Abbasi 2012 Toronto, A-34-1 Canada Abid, Asghar Pandh (Advice in English) Pakistan T.V. ? Islamabad, A-14-1 Centre Pakistan A-Bomb Memorial Day Haiku Haiku Meeting, The: 33rd A.D.M.Haiku 1999 Kyoto, Japan A-23-1 Meeting (ed.) Organization Committee A-Bomb Memorial Day Haiku Haiku Meeting, The: 34th A.D.M.Haiku 2000 Kyoto, Japan A-23-2 Meeting (ed.) Organization Committee A-Bomb Memorial Day Haiku Haiku Meeting, The: 36th A.D.M.Haiku 2002 Kyoto, Japan A-23-3 Meeting (ed.) Organization Committee A-Bomb Memorial Day Haiku Haiku Meeting, The: 40th A.D.M.Haiku 2006 Kyoto, Japan A-23-4 Meeting (ed.) Organization Committee A-Bomb Memorial Day Haiku Haiku Meeting, The: 41st A.D.M.Haiku 2007 Kyoto, Japan A-23-5 Meeting (ed.) Organization Committee Addis, Stephen Haiga: Takebe Socho and the Haiku- Marsh Art Gallery 1995 Honolulu, HI, A-15-2*Z Painting Tradition U.S.A. Addis, Stephen Haiku Garden, A: The Four Seasons in Weatherhill 1999 New York, A-15-3 Poems and Prints NY, U.S.A. Addis, Stephen Haiku Menagerie, A : Living Creatures in Weatherhill 1992 New York, A-15-1 Poems and Prints NY, U.S.A. Addiss, Stephen cloud calligraphy Red Moon Press 2010 Winchester, A-15-5*S VA, U.S.A. -
Frogpond 35.1 • Winter 2012
frogpond The Journal of the Haiku Society of America fr g Volume 35, Number 1 Winter, 2012 About HSA & Frogpond Subscription / HSA Membership: In the USA: adults $35; seniors (65+) & students (full-time) $30. In Canada and Mexico: $37; seniors & students $32. For all others: 47 USD. Payment by check on a USA bank or by In- ternational Postal Money Order. All subscriptions/memberships are annual, expire on December 31, and include three issues of Frogpond as well as three newsletters and voting rights. All correspondence regarding new and renewed memberships should be directed to the HSA Secretary (see p. 186). Make checks and money orders payable to Haiku Society of America, Inc. Single copies of back issues postpaid: In USA & Canada, $12; elsewhere, $15 seamail; $20 airmail. These prices are for recent issues. Older ones might cost more, depending on how many are left. Please enquire first. Make checks payable to Haiku Society of America, Inc. Send all orders to the Frogpond Edi- tor (see next page). Changes of Address and Requests for Information: Such concerns should be directed to the HSA Secretary (see p. 186). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku Society of America, its officers, nor the editor assume responsibility for views of contributors (including its own officers) whose work is 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 and Humanities Inter- national Complete © 2012 by the Haiku Society of America, Inc. -
Issues in the Translation of Premodern Japanese Waka
This is a repository copy of The power of translation : issues in the translation of premodern Japanese waka. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/165291/ Version: Accepted Version Article: McAuley, T.E. orcid.org/0000-0002-9181-8291 (2020) The power of translation : issues in the translation of premodern Japanese waka. Waseda RILAS Journal, 8. pp. 427-446. ISSN 2187-8307 © 2020 The Author. This is an author-produced version of a paper subsequently published in Waseda RILAS Journal. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 The Power of Translation: issues in the translation of premodern Japanese wakai T. E. McAuley This article examines the translation of the premodern Japanese thirty-one syllable poetic form known as waka. Set against the context of current scholarly work in Translation Studies on the practices and processes involved in the translation of poetry, as well as constraints imposed by the current nature of many waka as literary works which have been subject to a centuries-long process of canonization, it analyses the challenges posed by the poems to the translator in the following areas: first, form and identification, covering differing solutions to the lineation of waka translations. -
Celebrating Sustainability
Get me every issue Become a member! InsiderVolume 32, Number 1 • January–March 2017 Finding Balance Through Retreat: Wintergreen to carry out strategic plan- by Rena Upitis ning. The simple yet comfort- able accommodations include i n t e r g r e e n private rooms, shared rooms, Studios is a year- woodland cabins, and tent spac- round wilderness es for those who prefer to sleep retreat centre. under the stars. WThe built facilities are nestled Guests can explore more than within more than 200 acres of a dozen trails through the proper- forests, marshes, and meadows ty, including guided hikes. There in the heart of the Frontenac are mixed forests and meadows, Arch Biosphere Reserve. ponds and marshes, spectacular This reserve is one of a glob- granite outcroppings, and a gla- al network of UNESCO desig- cier-carved lake. nated reserves, unique natural The hosts serve bountiful regions populated with people meals, featuring local and organ- committed to sustainable com- ic ingredients, much of which is munity living and development. grown in gardens on site. There Located in the Township of are always vegetarian, gluten- South Frontenac, Wintergreen free, and vegan options, and is near the town of Westport, Wintergreen serves responsibly Ontario. sourced fish, and local poultry, Workshops in the arts, educa- pork, goat, and beef. tion, and environmental studies Wintergreen is a not-for- are held in an inviting solar- profit charitable organization, powered lodge. The building incorporated in 2007. The straw- serves both as a demonstration bale lodge was built in 2008 site and a research site for off- and workshops began that fall. -
Tanka : Structure
Tanka : Structure by M. Kei In a previous article, “Tanka Structure : The ‘Jo’ or ‘Preface,’” (ATPO 13), I discussed the ‘jo’ in detail, so I will omit it here. Introduction In the various debates over what constitutes tanka, structure is rarely mentioned. Perhaps it goes without saying that tanka have structure, but since it is what holds a tanka together, it is worth analyzing . Structure is what distinguishes poetry from ordinary speech and also from prose. Prose has structure, but it is a different sort of structure. Ordinary speech has some structure, but what structure it possesses is often undermined by lapses in logic, tangents, and fumbling around looking for the right words. The structures of poetry, especially of tanka, derive from their prosody: Tanka were and still are songs. This is why tanka is usually described as lyric poetry. Even so, there is very little discussion about tanka structure or how different sorts of structures serve particular purposes better than others. This article is an attempt to identify various forms of structure as an aid both to reading and writing tanka. Refrain The very oldest tanka made use of structures familiar in Western songs, such as the refrain. A refrain is a line or word that is repeated at different points in the song. The structures often looked like those below, but could vary: L1 body L2 refrain L3 body L4 body L5 refrain L1 body L2 body L3 refrain L4 body L5 refrain L1 body L2 body L3 body L4 refrain L5 refrain As the refrain proper declined in popularity, its work was often done by repeating words or sounds, thus keeping up the musicality of the verse while diversifying the vocabulary and expanding the meaning. -
The Parthenon Cabin Guide
www.wintergreenstudios.com | 613.273.8745 | [email protected] THE PARTHENON CABIN GUIDELINES www.wintergreenstudios.com | 613.273.8745 | [email protected] ABOUT THE PARTHENON The Parthenon is exquisitely primitive, located about 25 minutes from the main parking lot at Wintergreen. By 25 minutes we mean by foot! The hike is rugged in places, so pack as lightly as possible. There is no electricity or running water—but it is warm and cozy and the views of the marsh are lovely. Why is it called the Parthenon, you might be asking? Well, it started as a joke when someone quipped that since we were carrying in beautiful architectural salvage for the porch, along with bags and bags of concrete for the foundation, why not just carry in marble and make it out of stone? And so the “Parthenon” was born. (When the founder’s daughter was 4 years old, she asked why everyone laughed when they learned the cabin was called the Parthenon. When she was shown a photo of the Parthenon in Greece, she responded with, “My Mama’s Parthenon is better. It has a roof.”) The Parthenon is well-equipped with everything you should need for a few days/nights of “glamping”: a futon double bed (with fresh sheets), a table, a kitchen station with cooking essentials, and plenty of sanitizing wipes. There is a chamber pot in the cabin as well as a thunderbox overlooking the lake (well stocked with toilet paper), and a cooler for outdoor food storage (no ice). We recommend bringing ice packs to keep your food cool in the warmer months. -
Problem of Tanka : Definition and Differentiation
The Problem of Tanka : Definition and Differentiation M. Kei Previously published in Atlas Poetica 18. Summer, 2014. 1. Introduction attention was given to tanka in English, and those who wanted to learn about tanka were constantly Anyone who reads tanka in English has referred to classical and sometimes medieval noticed a trend of the late 20th century that Japanese poets and editors—as if nothing had presents a unified and instantly recognizable form happened in the intervening eight centuries! and content. Once known as “tanka spirit,” this set of characteristics was widely accepted as defining the form in English. Then, starting in 2. Background 2006, with the publication of Modern English Tanka, a far more diverse genre of tanka began to Adapting tanka to English was no easy task. be published and continues to this day. With the Although the earliest known publication of benefit of hindsight, it is possible to see that the English-language tanka occurred at the tail end tanka of the late 20th century and early 21st of the 19th century (Lafcadio Hearns’ translation century was not a universal definition, but merely and anthology, Japanese Lyrics, 1894), it was not at a powerful vogue. I call it the “New Wave” all obvious how to render tanka into English. The because it departed in significant ways from the two major attempts of the early 20th century tanka that had been previously published, and were the tanka of Sadakichi Hartmann (1867– because, like a tsunami, it overwhelmed the 1944) and Jun Fujita (1888–1963). previous approaches. Writing in Drifting Flowers of the Sea (1904), Tanka embodying “tanka spirit” have been Hartmann composed tanka in what is now called published both before and after the period of the “sanjuichi” form, from the Japanese word for 1986–2005, but they did so in competition with a “thirty-one.” His tanka were metered and wide variety of other approaches. -
View Digital Version
JuxtaPOSITIONS 1.1 juxtatwo Research and Scholarship in Haiku 2016 The Haiku Foundation 1 JuxtaPOSITIONS 1.1 juxtatwo ISBN 978-0-9826951-3-5 Copyright © 2016 by The Haiku Foundation JUXTAtwo is the print version of Juxtapositions 2.1. A journal of haiku research and scholarship, Juxtapositions is published by The Haiku Foundation. The Haiku Foundation PO Box 2461 Winchester VA 22604-1661 USA www.thehaikufoundation.org/juxta Senior Editor Peter McDonald General Editors Stephen Addiss Randy M. Brooks Bill Cooper Review Editor Ce Rosenow Haiga Editor Stephen Addiss Managing Editor Jim Kacian Technical Manager Dave Russo Proofreader Sandra Simpson 2 JuxtaPOSITIONS 1.1 Contents Snapshots: Haiku in the Great War . Sandra Simpson …… 7 Haiga: “Christmas Eve” . Pamela A. Babusci ..… 47 Jo Ha Kyū and Fu Bi Xing . Judy Kendall ..… 49 Haiga: “first snow” . .Ion Codrescu ..… 85 Masaoka Shiki and the Origins of Shasei . Charles Trumbull ..… 87 Haiga: “coloring” . Terri L. French … 123 Deconstructing Haiku . Ian Marshall & Megan Simpson … 125 Haiga: “the first dip” . Ron C. Moss … 149 a stick over the falls: A Juxta Interview of Cor van den Heuvel … 151 Haiga: “on my own” . Marlene Mountain … 183 Do We Know What a Haiku Is? . Melissa Allen … 185 Cor’s Cores: Interpretations . Various Authors … 205 Unfolding Destiny . Michael DylanWelch … 217 Intertextual Poetics . Ce Rosenow … 233 Haiga: “Montauk IXX” . Ellen Peckham … 241 Haiku Theses and Dissertations . Randy. M. Brooks, Ph.D. … 243 Haiga: “willow fluff” . Stephen. Addiss … 281 Juxta Haiga Commentary . Stephen Addiss & Jim Kacian … 283 Juxta Contributors … 287 Juxta Staff … 291 3 JuxtaPOSITIONS 1.1 4 JuxtaPOSITIONS 1.1 Editor’s Welcome Welcome to JUXTATWO: Research and Scholarship in Haiku. -
Stalking the Wild Onji
World Haiku Association Stalking the Wild Onji: The Search for Current Linguistic Terms Used in Japanese Poetry Circles RICHARD GILBERT Published in Language Issues: Journal of the Foreign Language Education Center.(1999, Vol. 5, No. 1). Prefectural University of Kumamoto, Kumamoto, Japan. Also Frogpond: Journal of the Haiku Society of America, XXII: Supplement (1999). Comments Welcome -- CONTACT: Richard Gilbert, Adjunct Professor of English, Prefectural University of Kumamoto, Kumamoto, Japan. Email: [email protected]; Homepage: http://ww7.tiki.ne.jp/~gilbert/index.htm; Additional Haiku Research: http://ww7.tiki.ne.jp/~gilbert/research.htm Abstract Many challenges confront poets and educators in the burgeoning international haiku and tanka poetry movements who, researching Japanese forms of poetic composition in English translation, wish to better understand these genres and skillfully emulate them. Differences between the two languages and inadequate presentations of these differences have created confusions, misusage of terms, and in some quarters a reductionistic sensibility regarding formal aspects of Japanese poetry. Onji, the Japanese term commonly used in the West to count up and define Japanese "syllables," has had a contentious history in North America, having served as one of several loci of controversy regarding how the haiku, particularly, is best emulated in English. This paper investigates the historic usage of onji as a linguistic term in Japan and presents an argument for its removal from usage, as currently construed, by the international haiku community. Linguistic terms that are in widespread use within contemporary Japanese haiku circles are described, defined, and suggested as replacements. It is hoped that such reparations may effectively halt a rapidly escalating situation of cross-cultural miscommunication, occurring in both directions.