Kigo-Articles.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
33 Buson Summer, Autumn and Winter Haiku
33 Buson summer, autumn and winter haiku Key to translators mentioned — Addiss = Stephen Addiss. Haiga: Takebe Sōchō and the Haiku-Painting Tradition. Marsh Art Gallery, University of Richmond, 1995. (He is Professor of Art History at the University of Richmond in Virginia. His profile is at: http://www.americanhaikuarchives.org/curators/StephenAddiss.html . See also his Web site: http://stephenaddiss.com/ ) Cheryl A. Crowley — Professor of Japanese Language and Literature at Emory University. (Profile at: http://realc.emory.edu/home/people/faculty/cheryl_crowley.html ) Some of these poems, but not all, can be found in her Haikai Poet Yosa Buson and the Bashō Revival. Brill, 2007. Goldstein & Shinoda = Sanford Goldstein (poet) & Seishi Shinoda (translator) Kumano = hokuto77 [Shoji Kumano] (熊野祥司) Web site: “Living in the World of Buson” (http://www.hokuoto77.com/frame2-buson.html ) Retired Japanese teacher of English living in Yamaguchi / Miyazaki prefectures. (Profile at: http://www.hokuoto77.com/preface.html ) McAuley = Thomas McAuley at: http://www.temcauley.staff.shef.ac.uk/waka1801.shtml Professor at School of East Asian Studies, University of Sheffield (profile: http://www.shef.ac.uk/seas/staff/japanese/mcauley ) Merwin & Lento = Collected haiku of Yosa Buson, trans. by W.S. Merwin and Takako Lento. Copper Canyon Press, 2013. Merwin was born in 1927, has won numerous awards, and is our current poet laureate for the United States. Nelson & Saito = William R. Nelson & Takafumi Saito, 1020 Haiku in Translation: The Heart of Basho, Buson and Issa, 2006. (This is not the William Rockhill Nelson of the Nelson Museum of Art in Kansas.) Robin D Gill — From a wiki entry: “Robin Dallas Gill, born in 1951 at Miami Beach, Florida, USA, and brought up on the island of Key Biscayne in the Florida Keys, is a bilingual author in Japanese and English, as well as a nature writer, maverick authority on the history of stereotypes of Japanese identity and prolific translator of, and commentator on Japanese poetry, especially haiku and senryū. -
Imagism, Haiku and Haibun1
Utting Deviation or subversion University of the Sunshine Coast Susie Utting Deviation or subversion: Imagism, haiku and haibun1 Abstract What can be learned from a study of the status of haiku in Japanese- and English- language literature at the end of the nineteenth and in the opening decades of the twentieth century, with respect to the implications for the later evolution of English language haibun? From the perspective of a creative-writing practice-led research student, what possibilities emerge for a practitioner’s development of her own contemporary haibun from such a study? In the early twentieth century, Ezra Pound and the Imagist movement ‘adopted’ Japanese haiku because it provided a form that ‘presents an intellectual and emotional complex in an instance in time’ (Pound 1913: 200). What evolved as the generally accepted Western form of haiku is challenged by some academics, such as Haruo Shirane and Kovi Kawamoto, on the grounds that this form deviates substantially from the original hokku of Matsuo Basho, the seventeenth-century father of haiku. They argue that the modern North American haiku movement based its notions of haiku on Imagist views, essentially derived from a Western literary perspective of what constituted the traditional Japanese model. Furthermore, this Imagist-based English haiku was often so brief as to be incomprehensible, so simple as to be self- explanatory, and therefore closed off to the more complex literary and cultural associations that made Japanese haiku more than a short, fundamentally trivial poem. Conversely, and ironically, within the same time frame, the modern Japanese haiku movement was challenging its own traditional model, in the light of Western literary traditions discovered by Japanese writers when their country was opened to the rest of the world. -
Should Senryu Be Part of English-Language Haiku ? by Jane Reichhold
Essays Should Senryu Be Part of English-language Haiku ? by Jane Reichhold hanks TO THE INSTANT CONNECTEDNESS THAT THE )NTERNET BRINGS US Teven the most obscure concepts and ideas leap from continent TO LANDMASSHEART TO MINDWITHIN DAYS 4HE AVAILABILITY OF E MAIL PUTS OUR DESKS ANYWHERE ON THE GLOBE NEXT TO EACH OTHER )N THIS NEW ATMOSPHERE OF CLOSENESS ) WOULD LIKE TO ASK ALL THE EDITORS OF HAIKU magazines — paper and online — and the officers of haiku groups, as well as writers who love haiku, to reconsider their stand on senryu. We NEED TO RE EVALUATE THE HISTORY AND CURRENT SITUATION OF SENRYU AND TO make clear how we are to go forward in regard to its relationship to haiku. A simple Web search can bring anyone the history of senryu, with its origins in the maekuzuke (an informal contest to write a tan renga WITH TWO LINKS OF nn AND n SOUND UNITS WRITTEN BETWEEN TWO PER SONS )N THE lRST COLLECTION OF THESE CAPPING VERSES WAS PUBLISHED as Haifu yanagidaru BY +ARAI (ACHIEMON WHOSE PEN NAME 3ENRYû, MEANS h2IVER 7ILLOWv /VER THE NEXT HUNDRED YEARS FURTHER EDI tions of these collections were published until the submitted poems be came too raunchy and of too poor quality to publish. Currently there is an effort in Japan to rehabilitate and resurrect senryu. What may NOT BE SO EASILY DISCOVERED IS HOW WRITERS AND PUBLISHERS OF %NGLISH LANGUAGE HAIKU AND SENRYU DIFFER FROM THEIR COLLEAGUES IN *APAN ) would like to lead you through various divergences and show how we have gotten ourselves into the current situation. -
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. -
Richard Flanagan's the Narrow Road to the Deep North and Matsuo
Coolabah, No.21, 2017, ISSN 1988-5946, Observatori: Centre d’Estudis Australians / Australian Studies Centre, Universitat de Barcelona Richard Flanagan’s The Narrow Road to the Deep North and Matsuo Basho’s Oku no Hosomichi Yasue Arimitsu Doshisha University [email protected] Copyright©2017 Yasue Arimitsu. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged, in accordance with our Creative Common Licence. Abstract. This paper investigates Australian author Richard Flanagan’s novel, The Narrow Road to the Deep North, and attempts to clarify the reason why Flanagan chose this title, which is linked to the travel writings of the Japanese author Matsuo Basho, for his novel. The novel focuses on the central character’s prisoner of war experience on the Thai-Burma Death Railway during World War II, and depicts the POW camp as well as cruel Japanese behaviour and atrocities in a realistic way. The work seems to provide a postcolonial framework in the sense that there is a colonial and postcolonial relationship between the colonizer, and the colonized. However, in this novel, the colonizer is Eastern, and the colonized is Western, and this fact reverses postcolonial theory which postulates a structure in which the colonizer is usually considered as Western and the colonized, Eastern. Postcolonial theory, thus, cannot be applied in this novel, which attempts to fuse the two opposites, the Western view and the Eastern view, through the work of the Japanese poet. As a result, Flanagan, in writing The Narrow Road to the Deep North, goes beyond being a postcolonial writer to become a writer in a globalizing age. -
JP Domain Name Registry Report 2019
2019.1-12 JP Domain Name Registry Report Japan Registry Services Co.,Ltd. Introduction The Internet is being used in increasingly broad and diverse areas of society as technology advances. Along with that, the need for domain names and the importance of the domain name system (DNS) are also being strengthened. With this background, the number of JP domain names surpassed 1.57 million in January 2020. Over 420,000 names are registered under “co.jp,” making it the most registered category in the Organizational Type JP Domain Name, the domain name space categorized by organizational type of registrants. 97% of publicly-listed companies in Japan have already registered “co.jp” domain names. JPRS is committed to its ongoing effort to improve JP domain name services, develop systems and carry out promotional activities to facilitate the use of JP domain names and deliver greater value to users. The domain name industry saw the number of domain names across TLDs increase. On the other hand, various challenges have continued to threaten the Internet infrastructure, such as domain hijacking that exploits falsified DNS configurations and detection of vulnerabilities in DNS software. As a company supporting the basis of the Internet society through domain names and DNS, JPRS is striving to make the Internet safe for everyone to use. To this end, JPRS promptly provides information and deals with risks and challenges related to domain names and DNS as they arise. JPRS also actively contributes to discussions of global issues and conveys relevant information to the communities in Japan. The management and administration of JP domain names require a high level of commitment to enhancing the public interest and getting ahead in the competition. -
Japanese Hermeneutics
JAPANESE HERMENEUTICS CURRENT DEBATES ON AESTHETICS AND INTERPRETATION EDITED BY MICHAEL F. MARRA JAPANESE HERMENEUTICS JAPANESE HERMENEUTICS CURRENT DEBATES ON AESTHETICS AND INTERPRETATION EDITED BY MICHAEL F. MARRA University of Hawai‘i Press Honolulu © 2002 University of Hawai‘i Press All rights reserved Printed in the United States of America 07 06 05 04 03 02 654321 Library of Congress Cataloging-in-Publication Data Japanese hermeneutics : current debates on aesthetics and interpretation / edited by Michael F. Marra. p. cm. Includes index. ISBN 0-8248-2457-1 (cloth : alk. paper) 1. Aesthetics, Japanese. 2. Hermeneutics. 3. Japanese literature— History and criticism. I. Marra, Michele. BH221.J3 J374 2000 111Ј.85Ј0952—dc21 2001040663 University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Carol Colbath Printed by The Maple-Vail Book Manufacturing Group Volano gli angeli in Paradiso Che adornano con il sorriso Nel ricordo di Gemmina (1960 –2000) CONTENTS Acknowledgments ix Abbreviations xi Introduction Michael F. Marra 1 HERMENEUTICS AND JAPAN 1. Method, Hermeneutics, Truth Gianni Vattimo 9 2. Poetics of Intransitivity Sasaki Ken’ichi 17 3. The Hermeneutic Approach to Japanese Modernity: “Art-Way,” “Iki,” and “Cut-Continuance” O¯ hashi Ryo¯suke 25 4. Frame and Link: A Philosophy of Japanese Composition Amagasaki Akira 36 5. The Eloquent Stillness of Stone: Rock in the Dry Landscape Garden Graham Parkes 44 6. Motoori Norinaga’s Hermeneutic of Mono no Aware: The Link between Ideal and Tradition Mark Meli 60 7. Between Individual and Communal, Subject and Object, Self and Other: Mediating Watsuji Tetsuro¯’s Hermeneutics John C. -
Universitatea
10.2478/ewcp-2020-0011 Japan’s Food Culture – From Dango (Dumplings) to Tsukimi (Moon-Viewing) Burgers OANA-MARIA BÎRLEA Babeș-Bolyai University, Cluj-Napoca, Romania Abstract The purpose of this essay is to present how Japanese eating habits have changed in the context of globalization. We start from the premise that eating is not merely about meeting a basic need, but about creating a relationship with nature. It can be regarded as a ritual practice because it reveals a culture and its people’s beliefs, values and mind-sets. As Geert Hofstede et al. note, life in Japan is highly ritualized and there are a lot of ceremonies (192). Starting from the idea that food consumption is based on rituals too, we intend to explain the relationship between eating habits and lifestyle change in contemporary Japan. Considering that the Japanese diet is based on whole or minimally processed foods, we ask ourselves how Western food habits ended up being adopted and adapted so quickly in the Japanese society. With this purpose in mind, we intend to describe some of the most important festivals and celebrations in Japan, focusing on the relationship between special occasions and food. In other words, we aim to explain the cultural significance of food and eating and to see if and how these habits have changed in time. Keywords: Japan, Japanese culture, gastronomy, globalization, traditional eating, modern eating, food studies, eating habits, change, food-body-self relationship. Oana-Maria Bîrlea 55 Introduction The Japanese are known for their attention to detail, balance and desire to improve (Sarkar 134). -
Poems from Quarantine GT-2020 Haiku Poetry
HAIKU Poems from Quarantine GT-2020 Haiku Poetry A traditional Japanese haiku is a three-line poem with seventeen syllables, written in a 5/7/5 syllabic pattern. Often focusing on images from nature, haiku emphasizes simplicity, intensity, and directness of expression. Example I sit and listen, The birds are singing outside, Summer approaches. History HAIKU HISTORY Haiku began in thirteenth-century Japan as the opening phrase of renga, an oral poem, generally a hundred stanzas long, which was also composed syllabically. The much shorter haiku broke away from renga in the sixteenth century. History As the form has evolved, many of its regular traits— including its famous syllabic pattern—have been routinely broken. However, the philosophy of haiku has been preserved: the focus on a brief moment in time; a use of provocative, colorful images; an ability to be read in one breath; and a sense of sudden enlightenment. What if, just what if Endings are our beginnings, Like a secret key. By Samantha M. 4th grade Daily walks allowed Sunset movie every night Introverts' delight! By Emma T. 3rd grade Miss playing baseball Catching fly balls in the air Sliding into home By Elijah N. 3rd grade Oh boy, homeschooling Siblings always bothering me I need quiet time By Noah M. 3rd grade Ice cream sandwiches Melting fast in the hot sun I'll eat them up, yum! Kinzey C. 1st grade I miss Carnival Cruising brings joy to my life I wish I could go By Colt M. 4th grade We are stuck at home We are stuck in quarantine Nothing doable By Aiden D. -
The Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 Foxfire: the Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the American Literature Commons, and the Asian Studies Commons Recommended Citation Persinger, Allan, "Foxfire: the Selected Poems of Yosa Buson, a Translation" (2013). Theses and Dissertations. 748. https://dc.uwm.edu/etd/748 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FOXFIRE: THE SELECTED POEMS OF YOSA BUSON A TRANSLATION By Allan Persinger A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2013 ABSTRACT FOXFIRE: THE SELECTED POEMS OF YOSA BUSON A TRANSLATION By Allan Persinger The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Kimberly M. Blaeser My dissertation is a creative translation from Japanese into English of the poetry of Yosa Buson, an 18th century (1716 – 1783) poet. Buson is considered to be one of the most important of the Edo Era poets and is still influential in modern Japanese literature. By taking account of Japanese culture, identity and aesthetics the dissertation project bridges the gap between American and Japanese poetics, while at the same time revealing the complexity of thought in Buson's poetry and bringing the target audience closer to the text of a powerful and mov- ing writer. -
Japanophone Literature? a Transpacific Query on Absence Nayoung Aimee Kwon
Japanophone Literature? A Transpacific Query on Absence Nayoung Aimee Kwon MFS Modern Fiction Studies, Volume 64, Number 3, Fall 2018, pp. 537-558 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mfs.2018.0041 For additional information about this article https://muse.jhu.edu/article/702962 Access provided by Duke University Libraries (30 Sep 2018 17:10 GMT) Nayoung Aimee Kwon 537 Japanophone Literature? A Transpacific Query on f Absence Nayoung Aimee Kwon Franz Kafka, in a 1921 letter to Max Brod, his close confidant and literary executor, writes on the linguistic impossibilities for minor writers in relation to a major or metropolitan language: “[t]he impossibility of not writing, the impossibility of writing German, the impossibility of writing differently. One might also add a fourth impossibility, the impossibility of writing” (qtd. in Casanova 254). As someone researching a distant imperial context, what strikes me about Kafka’s oft-cited dilemma is how uncannily similar it is to the relatively little-known struggles of colonized authors writing from the periphery of the Japanese empire. Noting such parallels among far- flung yet similar power dynamics, this essay begins with a question: what might we learn from paying attention to these similarities be- tween a Jewish Czech author writing from the periphery of Germany, itself a minor empire vis-à-vis the dominant European empires, and the language struggles of minor authors writing in the periphery of Japan, another minor empire? How might comparing the uncanny similarities between these experiences of unhomeliness help us to clarify the little-understood but far-reaching entanglements of shifting border formations among major and minor imperial competitions and collusions?1 MFS Modern Fiction Studies, Volume 64, number 3, Fall 2018. -
Inventing the New Through the Old: the Essence Of
EARLY MODERN JAPAN SPRING 2001 Inventing the New other is the Song scholar Lin Xiyi’s ᨋᏗㅺ2 annotations of the Zhuangzi, which stress that the Through the Old: entire Zhuangzi is a parable. While scholarly The Essence of Haikai opinion differs on which factor or factors played and the Zhuangzi a key role behind the phenomenon, they agree Peipei Qiu that the Danrin’s enthusiasm for the Zhuangzi lies primarily in imitating the gugen in the work.3 Asian Studies Vassar College Introduction meaning, according to Burton Watson, is words put into the mouth of historical or fictional persons to make them more compelling. The Zhuangzi scholars The latter half of the seventeenth century have also used the term to refer to the general writ- witnessed an innovative phenomenon in Japanese ing style of the text. Watson has rendered the haikai େ⺽ (comic linked verse) circles. A meaning of the term into “imported words” in his group of haikai poets who called themselves the translation of the Zhuangzi. The title of Konishi Danrin ⺣ᨋ enthusiastically drew upon the Jin’ichi’s ዊ↟৻ study on Basho and Zhuangzi’s Daoist classic Zhuangzi ⨿ሶ (The works of gugen, “Basho to gugensetsu” ⧊⭈ߣኚ⸒⺑ Master Zhuang), setting off a decade-long trend [Nihon gakushiin kiyo ᣣᧄቇ჻㒮♿ⷐ no. 18 of using the Zhuangzi in haikai composition. In (1960) 2 and 3] is translated into “Basho and assessing the causes and significance of this Chuang-tsu’s Parabolical Phraseology.” The term in phenomenon previous studies give much atten- modern Japanese and Chinese is often translated as tion to the intellectual, philosophical and reli- “fable,” “apologue,” or “parable,” but these transla- gious climates, noting two major factors that in- tions are not suitable to the present study.