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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. -
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. -
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. -
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. -
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. -
LYNX a Journal for Linking Poets XXII:3 October, 2007 Table Of
LYNX A Journal for Linking Poets XXII:3 October, 2007 Table of Contents SYMBIOTIC POETRY A PLATE BETWEEN US by Lynne Rees, Wales (lynne) Jim Wilson, USA, (dharmajim),Moira Richards, South Africa (moi),Karen Cesar, USA (karen),Raihana Dewji, USA (sbasil),CW Hawes, USA (chris), Kala Ramesh, India (kala), Josh Wikoff, USA (lemonkind),Norman Darlington, Ireland - sabaki (norman),with a hokku by Matsuo Basho (tr. Darlington): BLUE PETER CONSIDERS by Dick Pettit, Diane Webb, Frank Williams & Francis Attard JUNETEENTH by Suhni Bell & Cindy Tebo DARK EARTH by Patricia Prime & Andre Surridge MORNING TRAIN by Patricia Prime & Andre Surridge NIGHT PLAGUE: ZOMBIE HORRORS by Lewis Sanders & Carl Brennan SKULL VALLEY by Zack Lyon & Richard Tice THE UNMADE BED by David Giacalone & CarrieAnn Thunell CALM MORN, WARM BED by CarrieAnn Thunell & Steven Thunell WALKING BUDDHA byFrancis Attard & Dick Pettit 2006 by Francis Attard & Dick Pettit THE MOWER'S BLADES by Jill Arthey, Sarah Barker, Margaret Dowdeswell, Sue Dunne, Alec Finlay, Linda France (Master), Malcolm Green, Beth Knowles, Alicia Lester, Ros Normandale, Carole Reeves, Tom Richardson, Christine Taylor SOLO WORKS GHAZALS I'VE BECOME C.W. Hawes SAILING Ruth Holzer GHAZAL OF THE STARTLED SILENCE Steffen Horstmann ACROSS THE BAY Steffen Horstmann 10:30 A.M. Elizabeth Snider NIGHT DESCENT Richard Tice HAIBUN THE ROAD by c w hawes NOON by Charles Hansmann SELF-PORTRAIT IN PLATE GLASS by Charles Hansmann CAUSE AND EFFECT by Charles Hansmann FOOTNOTE TO THE SCROLLS by Charles Hansmann WORKING MAN by Roger Jones ON BERKELEY WAY by Tracy Koretsky DOG STAR by Ray Rasmussen WHAT ARE YOU UP TO? by Ray Rasmussen AHAPOETRY.COM by Jane Reichhold WHERE DID YOU GO? OUT… by Richard Straw STILLby Jeffrey Woodward IN THE COMPANY OF THE CLOUDS by Jeffrey Woodward THROUGH THE CALM by Jeffrey Woodward SEQUENCES GIRL WITH A PEARL EARRING by Edward Baranosky LITHOGRAPH BY KAETHE KOLLOWITZ, 1942 by Edward Baranosky INTERLUDE: SUNSET by Carl Brennan UNTITLED by Gerard John Conforti GARDEN AND MOUNTAIN by Glenn R. -
Cattails May 2014 Edition
cattails May 2014 Edition cattails May 2014 ________________________________________________________________________ Contents UHTS Main Website • Editor's Prelude • Contributors • Haiku Pages • Haibun Pages • Haiga-Tankart • Senryu Pages • Tanka Pages • Translations-Amelia Fielden • Youth Corner Pages • UHTS Contests • Pen this Painting • Book Review Pages • Featured Artist-Ron Moss • Featured Poet-Joe McKeon • Also, there are many other pages on the UHTS Main Website that are "not" included here in cattails, so, if you are looking for What to submit, or How to submit, How to Join, How to Donate, or wanting to see the Seedpods News Bulletin, know about the UHTS Officers and Support Team, visit Archives see our Members List, Omnibus details, the Calendar, and other information, please revisit the UHTS Main Website NOTE: This PDF version of the Premier Issue of cattails does not include the majority of the haiga, tankart illustrations, or other photos. These files could not be found in the old UHTS website backups made before we moved to the new UHTS website Copyright © 2014 and 2017 all authors and artists cattails May 2014 Edition cattails May 2014 Principal Editor's Prelude ____________________________________________________________ Happy International Haiku/Senryu Month from the UHTS As usual, before I begin, let me say that we are only human and do our very best, but if perchance you do not see your accepted work here, or if you didn't receive a timely response when you submitted work, please don’t hesitate to contact us right away. We receive submissions in the thousands, and emails do occasionally go awry. However, being online (rather than in-print) allows us to easily and quickly correct any errata. -
Tanka in French: Translated, Written and Published: 1871-2013 – an Overview
Tanka in French: Translated, Written and Published: 1871-2013 – An Overview ©Janick Belleau (trans. Maxianne Berger) This article, in six sections, deals with a few literary personalities who, since 1871, translated, wrote or published tanka in French. For clarity, the historical overview will approximate chronology. Writers and poets will be presented in terms of their noteworthy accomplishments in the realm of Japanese-inspired poetry, and I will on occasion provide my own impressions of their work. Also cited are tanka I find especially resonant. I will conclude with an eye to the future. 1. Waka in translation: 1871-1928 I could not begin this article without mentioning the Japanese origins of contemporary tanka and its early days in France. As recommended by Masaoka Shiki (1867-1902), after 1898 the Japanese moved away from the eighth-century terms “ūta” and “waka” and instead began to say “tanka.” This new word caught on more slowly in the French- speaking world. For the record, in late-nineteenth- and early-twentieth-century France, there were three important forerunners of tanka. These literary personalities introduced the Japanese form through translations and adaptations. 1.1 Léon de Rosny (Lille, France, 1837-1914) was the first to publish a book of poems gathered from ancient Japanese writings. His 1871 Si-ka-zen-yō – Anthologie japonaise, poésies anciennes et modernes des Insulaires du Nippon [selected japanese and sino- japanese verse – Japanese anthology, ancient and modern poems from the Japanese Islands], includes selections from such texts as the Man’yōshū1 and the Hyakunin Isshū.2 The translator’s Introduction provides the rules governing “outa”3 as well as waka/tanka, whether sung or chanted. -
Labyrinth of Tanka (PDF)
The Labyrinth of Tanka by M. Kei Previously appeared in Modern English Tanka 7, Spring, 2008. Copyright 2008 by M. Kei. All rights reserved. The Labyrinth of Tanka M. Kei Introduction For the last two years I have wrestled with the question of defining tanka. What is this elusive thing we call ‘the tanka spirit’ and why do we resort to such nebulous terms to explain what it is we write? What shapes our intuition so that we have a gut level reaction that tells us whether a poem is or isn’t tanka? Can something be tanka even if the poet has no idea what tanka is, or lived in a different time and culture with no exposure to Japanese literature? Most definitions of tanka begin with a reference to the Japanese form, quoting 5-7-5-7-7 syllables, onji, sound units, morae, or whatever term the author wishes to use to describe the thing that the Japanese count, but rarely is any attention given to Japanese variations from those counts. It is generally accepted that Japanese poetry and even prose ‘naturally’ falls into patterns of 5-7, but no understanding of when and why this pattern developed. Lately most Anglophone poets have come to understand that Japanese is a very different language from English and therefore tanka must be adapted to the English language. A very common rubric used to define tanka these days is “five phrases on five lines.” Yet, the Japanese wrote their tanka on one, two, and sometimes three lines. The ‘fiveness’ of tanka is well entrenched in English, so much so that little attention has been given to understanding exactly what a ‘phrase’ is, and equally little attention given to how larger structures within a tanka function.