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This lesson will introduce intermediate students to the Japanese poetic form of "haiku," which is most effectively taught after students have an understanding of syllables. The lesson plan's introductory activity is designed to introduce students to the geography of Japan, as well as Japanese culture through Asian art and music--after learning about and listening to some examples of haiku, as the next activity, students will write their own haiku. The lesson's final activity has students illustrate and "publish" their finished poems in the style of a Japanese scroll using rice paper, ink, and watercolor. The lesson presents an overview; suggests lesson length and grade level; lists subjects and subtopics; cites dimensions of learning and intelligences being addressed; notes equipment and materials needed; lists teacher resources and general resources; and outlines National Arts Education Standards and other standards. It also gives instructional objectives and strategies; provides a detailed, step-by-step instructional plan; and suggests assessment and extension activities. Lists teacher references and offers suggestions of book and musical recordings to be used with the lesson. (NKA)

This lesson plan intends for students in Grade 3 to write to inform about oceans, using all their five senses in the "haiku" style of poetry. The lesson presents an overview; suggests length of time and grade level; cites subjects and subtopics; lists dimensions of learning and intelligence being addressed; notes equipment and materials needed; lists teacher and general resources; and cites relevant National Standards for Arts Education and other standards. It also gives instructional objectives and strategies; provides a detailed, step-by-step instructional plan; and suggests assessment and extension activities. (NKA)

In this lesson plan, students learn the rules and conventions of haiku, study examples by Japanese masters, and create haiku of their own. Its 4 lessons seek to help students be able to: (1) describe the traditional rules and conventions of haiku; (2) interpret examples of haiku; (3) characterize the image-evoking power of haiku; (4) develop a vocabulary and ideas for writing haiku; and (5) compose a haiku based on a personal experience. Intended for grades 3-5, the plan offers suggestions on preparing to teach this lesson. It also notes subject areas covered (language arts, literature, and Asian literature and history), time required to complete the lesson, skills used and taught in the lesson, and the standards developed by professional associations or governments that are related to the lesson. Activities to extend the lesson and further resources conclude the lesson plan. (SR)

In this lesson plan, students explore the traditions and conventions of haiku, comparing this classic form of Japanese poetry to a related genre of Japanese visual art. Students also compose haiku of their own. The lesson's learning objectives are: (1) to learn about the history and poetic conventions of Japanese haiku; (2) to read and interpret classic examples of haiku; (3) to compare the world of haiku with the world portrayed in Japanese woodblock prints; and (4) to practice writing haiku in English. Nine specific activities are described in detail, and ideas to extend the lesson conclude the lesson plan. (SR)

This curriculum outline introduces the components of a creative writing course which acquaints students with various forms of Japanese poetry. First, the goals and student objectives of the course are presented, emphasizing the history and different forms of Japanese poetry such as "renga," a kind of challenge poetry which will be used to develop skills used in more contemporary writing forms; "haiku," to distill thoughts of other literary forms (prose, long poems, and plays); and "tanka." Students will be encouraged to use the poetic forms as well as meditation and "koan" (a kind of riddle) to stimulate creative thought, break writing barriers, and inspire the use of the concrete detail in writing. Next, the course outline and assignments are listed; they are followed by a description of the methods used for evaluating students, which focus on the students' production of their own works based on Japanese poetry and the use of concrete detail. A list of discussion questions is then provided. The activities and strategies for presenting material are summarized, focusing on the process of creation and examining the importance of both the "experiencer" and the creator to the creative process. The remainder of the outline lists the audiovisual aids used in the course, and explains the importance of concrete detail in any genre. Includes a list of suggested sources for teaching Japanese poetry and course material. Contains an annotated bibliography. (TGI)

Describes a three dimensional poetry genre--a way of rewriting two dimensional haiku in a three dimensional cube that can only be viewed in cyberspace. Discusses traditional versus 3-D haiku, introducing 3-D haiku into the classroom, reasons to teach 3-D haiku, and creating 3-D haiku. (RS)

Notes that most English-language haiku are not written in the 5-7-5 syllable format. Discusses the nature of haiku. Describes a three-day lesson plan for teaching haiku. Appends hints for writing haiku, and lists books and Internet sites concerning teaching haiku. (RS)

This workshop offers activities to teach students about poetry. After describing haiku as a brief snapshot rather than a story, it explains how to teach poetry using an attached reproducible and poster. The tear-out reproducible sheet teaches students how to write their own haiku, offering a sample one as a model. The poster presents three sample haikus. (SM)

This booklet describes 22 simple verse patterns which may be used with children at all grade levels to encourage imaginative use of language, sense of form, and written self-expression. Among the patterns are the following: concrete or visual poem, found poem, formal cinquain, acrostic verse, haiku, rhymed riddle, impressionistic poem, terse verse, Mother Goose parody, and limerick. Included are examples of student verse. (JM)

This book is intended for use by older beginning writers and visual artists. It is not intended to be a comprehensive guide to the complexities of the creative process. The document is a guide to opening and using the creative process in the later years of life. It is arranged in chapters that take the student through a learning process. Exercises to help begin and develop the creative process are provided. The exercises are for writing and drawing, but each chapter also includes physical exercises for developing flexibility of body and mind. The first exercise is the keeping of a 'doodle diary' for jotting down words, phrases, sentences, or making a quick sketch with pencil or pastels. Guidelines for using the book include: (1) trust your perception of what is right for you; (2) respect your own creativity; (3) give yourself permission to play and even to be foolish; (4) do the suggested exercises; (5) choose your tools carefully; (6) do not be afraid of seeing the world in a new way; and (7) keep the channel open, without stopping to criticize yourself while you are in process. Chapters discuss the language of lines or selecting words to express feelings and experiences, and the development of creativity. One chapter is devoted to haiku, a form of Japanese poetry, which attempts to capture the essential, the whatness of a thing, the primary quality that expresses its uniqueness, a way of seeing as well as a way of saying and writing. Instructions for pulling together the previous suggestions show how different approaches transform the same subject. (DK)

This teaching guide focuses on four forms of arts and crafts popular in China, Korea, and Japan, and explores the effects, if any, on American culture. It is part of the Louisville Area Ethnic Heritage Studies Project described in ED 150 043. The objective of this unit is to help students understand and appreciate East Asian calligraphy, haiku, ikebana, and shadow theater. Suggested time period is one or two weeks. The guide includes a pretest, four behavioral objectives accompanied by instructional strategies and facilitating materials, and three worksheets illustrating haiku, ikebana, and calligraphy. A posttest asking for definitions of the crafts, examples of use in Louisville, and student feelings about East Asian art is included, plus a bibliography of resources and materials. (Author/CK)

Intended for teachers in all content areas, this guide provides activities for teaching formula poetry (poetry written according to a defined format) in all subject areas. First, a rationale for why teachers should include writing in their classrooms is presented. Next, the stages of the writing process are explained and the benefits of formula poetry are discussed. Instructions for teaching students to write bio-poems, cinquains, concrete poems, definition poems, diamante poems, five-sense poems, found poetry, haiku, inside/outside poems, parallel poems, and vertical name poems are provided, as well as examples of poems that have been written in science, social studies, and English classes. (DF)

Provides lesson plans for grades one to three science, grades two to six social studies/Italian, grade three reading/language arts, grade four and five reading/language arts/social studies, grade five art/social studies, and grades five and six social studies. Lists print and nonprint resources and discusses library media skills and subject area objectives, instructional roles, activities, procedures, evaluation, and follow-up. Includes activity sheets. (PEN)

Suggests that composing "haiku" requires a discipline in a person's thinking and emoting patterns similar to that of a general semantics system for training people to make sense. Describes how such haiku are written and gives some guidelines to help individuals create their own. (PA)

A French writing workshop used at the university level in Japan to enhance French language instruction is described. The exercises, in which students write Haiku and minimalist poetry in French, stress such aspects of language use as associations, connotations, and creative word use. Several exercise types are described. (MSE)

In recent years, haiku has become a widely adopted part of the language arts, social studies, and multicultural studies curriculum, particularly at the elementary level. Haiku became popular in the 17th and 18th centuries in Japan. Haiku remains popular because these poems describe nature and human experiences, as well as being simple and short. Through inquiry, examples, and audio-visual materials, students will discover the essence of haiku and eventually apply what they learn in this unit in a final activity by writing their own haiku. This unit consists of an opening activity, plus three main activities and optional closing activities. Activities are entitled: (1) "Reading Haiku"; (2) "Characteristics of Haiku"; (3) "Visualizing Haiku"; and (4) "Writing Haiku." Three appendices conclude the unit: (1) "Teacher Introduction to Haiku Poetry"; (2) "Poems to Accompany Slides"; and (3) "Haiku Reading List." (EH)

In recent years, haiku has become a widely adopted part of the language arts curriculum, particularly at the elementary level. Educators appreciate the simplicity and brevity of haiku as a poetic form that young students can grasp fairly easily and therefore express themselves readily. However, this focus on form has often been to the exclusion of a deeper understanding of the artistic themes and cultural values found in Japanese literature that are an equally central part of the rich tradition of haiku poetry. This secondary level unit seeks to remedy this disparity. For the Japanese, haiku has been a very personal, meaningful form of self-expression, at the same time one which is molded according to certain conventions inherited from the past. By helping students understand how haiku developed within Japanese culture, students may appreciate more fully this unique poetic form. The specific goal of the unit is to stimulate the creative energies of secondary level students by instilling awareness of natural environment through haiku poetry. Contains six lessons: (1) "Haiku Structure and Themes"; (2) "Japanese Aesthetic Principles"; (3) ""Haiku and Nature"; (4) "Creative Writing"; (5) "Translating Haiku"; and (6) "Optional Activities." Appendices contain additional haiku, background information for teachers, a pronunciation guide, and 19 references. (EH)

Creative musical experiences appropriate to children's cognitive and psychomotor development should begin in kindergarten. Structured creativity through the process of musical composition can be used at grade 4 and above. Lesson plans using Haiku poetry, penatonic scales, rhythmic durations, and melodic contour to create a song are provided. (VW)

Self-directed activities designed to help elementary school students learn to use the cinquain and haiku poetic forms are presented in this booklet. An overall lesson plan including learning objectives, teaching approaches, and lists of materials needed for each task is provided, as is a record keeping form. Each of the eight chapters of the booklet contains a pretest, a posttest, and worksheet activities designed to develop specific points. A list of extra activities is appended. (FL)

Visual aids and worksheets designed for use with unit eight of a language arts strand for Spanish-speaking students in grade three are included in this packet, along with two small illustrated readers for students. These instructional aids are to help the teacher carry out learning and assessment activities found in the teacher's guide for kits 29-32, each of which is designed for a two to three-week teaching period. Timetable for use of the materials appears in the guide. Illustrated literature in the pupil readers includes a fable, mystery story, Haiku verses, a story describing the water cycle, a traditional poem, and biographies of Roberto Clemente, Lidia Diaz Cruz, and Armando Rodriguez. Instructional aids are to help in reading, language analysis, and creative expression activities. Ditto masters are for making multiple copies of visuals and sheets for individual seatwork. The materials encompass activities which pertain to use of the readers; Cuban, Mexican, and Puerto Rican linguistic variation; occupations; dictionary skills; contributions from different ethnic communities; nonverbal communication; parts of a letter; and basic grammar. All classroom materials are in Spanish (RS)

Notes that when introduced with care, haiku has the potential to become the virtual jack-of-all teaching tools. Describes how the author introduces haiku to her students. Suggests that haiku provides students with an uncluttered opportunity to apply alliteration to their writing. (SG)

Offers strategies for integrating poetry throughout the year and throughout the curriculum, including suggestions for creating a back-to-school poem and capturing scenes of nature in haiku. Student pages offer a primary poem coloring worksheet and an intermediate haiku worksheet. (SM)

Notes the relevance of the haiku form (unrhymed poetry "recording the essence of a moment keenly perceived in which nature is linked to human nature") to outdoor education. Lists anthologies, collections, books introducing haiku, and haiku magazines. Provides 17 haiku examples. (MH)

It is possible to connect art and language arts using traditional Japanese art. After explaining the Japanese art forms of Haiku poetry and sumi-e painting, the article describes a project in which students write haiku on special paper then illustrate their poems with gung and shey strokes. (SM)

Este documento tiene como objetivo exponer y analizar la relación existente entre dos temas a priori tan distintos como el psicoanálisis y el haiku, todo ello con la traducción y la interpretación como piedra angular. Primeramente, se tratará el contexto en el cuál surgen ambos sujetos de estudio, para luego profundizar en la relación de cada uno con la traducción y, posteriormente, entre ellos. Conceptos importantes como los procesos de transferencia y la interpretación como tal cobrarán gran importancia a lo largo de todo el texto. Para poner en práctica toda la teoría expuesta, se llevará a cabo un ejercicio práctico donde se aplicarán conceptos del psicoanálisis a la traducción del haiku, para así luego reflexionar sobre conceptos derivados de aplicar la traducción al haiku como lo son la manipulación, la interpretabilidad y el efecto Jarvella, así como su importancia a la hora de traducir.

Los haikus, como cualquier otro tipo de poesía, aportan grandes ventajas a la enseñanza-aprendizaje del inglés en Educación Infantil. Comparte características claves con los niños de cinco años tales como la inocencia, la sencillez y la sensibilidad. Este trabajo pretende dar a conocer la filosofía detrás de los haikus, así como el vínculo existente con la provincia de Soria, y probar su utilidad en esta etapa escolar. Más concretamente, en el tercer curso del segundo ciclo de Infantil; pudiéndose adaptar a niveles inferiores. Para ello, se estudian dos entrevistas realizadas a expertas en educación y se lleva a cabo una propuesta docente para niños de dichas edades, en la cual el entorno natural soriano tiene un papel importante., Grado en Educación Infantil

The inclusion of literary texts, particularly poetry, is not a common practice in the language classroom. However, the available empirical evidence, albeit relatively scarce, does suggest that poetry, when correctly employed, is likely to be beneficial for second and foreign language learners. This teaching material has been used to teach and develop areas such as vocabulary acquisition, grammar practice, and even motivation as well as the four macro-skills in language, namely listening, speaking, reading, and writing. The use of poetry in language instruction emphasizes the predominant role of learners in authentic literary production. As such, this research paper focuses on the qualitative aspect of a mixed-methods study about the effects of haiku composition tasks on the development of academic writing skills. The participants of the study were 30 English as a foreign language (EFL) pre-service teachers. As part of the data collection process, the participating students were asked to write short argumentative essays at the beginning and at the end of a six-week intervention that promoted the composition of haiku. After the intervention, an open-ended questionnaire was administered to identify and describe the participants’ perceptions regarding how haiku composition influenced their academic writing skills. The results of the study show that the great majority of the participants agreed that haiku composition furthered the development of their academic writing skills and vocabulary acquisition. The findings of the study corroborate the existing experimental findings as to the value of poetry-based tasks for second and foreign language learning. Thus, we conclude that the inclusion of poetry in the language classroom ought to be promoted through activities that, while being personal and meaningful to the students, allow for the development of language proficiency.

This article raises the need to adjust any teaching/learning process – regardless of educational level, since it is not only possible to understand education from a horizontal or transversal point of view, but, at the same time, from a vertical relationship – to the new modes of reading and consuming information by the current student body. The impact of digital technology, the omnipresence of mobile media or the almost two hours on average in Spain of daily consumption of social networks (WeAreSocial, 2022) are an important part of this change, whose symptoms or effects are evident in poor reader comprehension derived from this «floating attention» (Bernabeu and Goldtein, 2008) and superficial thinking (Carr, 2011), in contrast to the traditional and Gutenbergian linear thinking. Also, for a preference that everything be interactive. How to respond, then, to these changes from the standpoint of literary education and the different key competencies of LOMLOE? One possibility, which we propose and develop here, is the use of creative writing. It is special, of the brief literary forms, because it is better suited to the new composite of our students, Este artículo plantea la necesidad de ajustar todo proceso de enseñanza/aprendizaje –independientemente del nivel formativo, pues no solo cabe entender la educación desde un punto de vista horizontal o transversal, sino, al mismo tiempo, desde una relación de verticalidad– a los nuevos modos de lectura y de consumo de la información por parte del actual estudiantado. El impacto de la tecnología digital, la omnipresencia de la telefonía móvil o las casi dos horas de consumo diario de redes sociales de media en España (WeAreSocial, 2022) son parte importante de esta mutación, cuyos síntomas o efectos se evidencian en una escasa comprensión lectora derivada de su «atención flotante» (Bernabeu y Goldtein, 2008) y de su pensamiento superficial (Carr, 2011), en contraste con el tradicional y gutenbergiano pensamiento lineal. También, en una querencia por todo lo interactivo. ¿Cómo responder, entonces, a estos cambios desde la educación literaria y desde las distintas competencias clave de la LOMLOE? Una de las posibilidades que planteamos y desarrollamos aquí es el uso de la escritura creativa. Es especial, de las formas literarias de lo breve, porque estas se ajustan mejor al nuevo retrato robot de nuestro alumnado.

This the third annual report of the results of the constitutional law haiku contest conducted in my section of Constitutional Law at the FIU College of Law.

This reflection piece is a short summary of how haiku can help us to reconnect with nature and be used as a creative form of writing and a literary tool to raise environmental awareness and promote change. It is based on the experience developed in the chapter “Raising Environmental Awareness and Rewriting Education through Haikus” co-written by Lorraine Kerslake and Mª Encarnación Carillo and published in Literature as a Lens for Climate Change: Using Narratives to Prepare the Next Generation. 2022: pp. 171-193.

There is a general tendency to merely consider the cultural impact of the 19th Century Japonism. However, since the first translations of Lafcadio Hearn and Judith Gautier, the truth is that the influence of Japanese verses on Western (and particularly Hispanic) poetry have been remarkable. In this article we will analyze two poems by the Spanish poet Luis Cernuda: “Un momento todavía”, included in Con las horas contadas (1950-1956) and “Bagatela”, in Desolación de la chimera (1962). These two approaches to haiku have a significant interest not only within the poet's work but also in the literary scene of that time., En general se tiende a pensar en el impacto cultural que tuvo el japonismo del siglo XIX. Sin embargo, lo cierto es que desde las primeras traducciones de Lafcadio Hearn o Judith Gautier, la influencia de la lírica japonesa en la poesía occidental, y particularmente hispánica, ha sido notable. En el presente artículo se analizarán dos poemas del poeta español Luis Cernuda: «Un momento todavía», incluido en Con las horas contadas (1950-1956) y «Bagatela», en Desolación de la quimera (1962). Estas dos aproximaciones al haiku van a tener un significativo interés no solo dentro de la obra del poeta, sino también en el panorama literario de la época. Palabras claveLuis Cernuda, Octavio Paz, poesía, haiku, japonismo

Haiku is the shortest form of poetry in the world. Through its usage of seasonal words, anchored in cultural imagery, haiku manages to convey deep and profound meanings to the reader. It is also these seasonal words which places the haiku in a time and a place. Each seasonal word is attached to its seasons and the essence of that season. An autumnal word such as ‘apple’ thus has to carry its own associations as well as the essence of its season. How this is implemented heavily depends on the poet and their preferred style. This paper has examined how Shiki Masaoka and a group of likeminded traditionalist haiku poets has used ‘apple’ to express autumn-ness in their poetry. By looking at the structural aspects as well as the contextual implications this paper has found that even a simple word such as ‘apple’ can greatly benefit the sense of season in a haiku.

Based on the conceptualizations of Munesuke Mita, Reginald Horace Blyth, Fernando Rodríguez Izquierdo and Agustín Jacinto Zavala, an analytical framework based on in contemporary Japanese philosophy that explains the internal operation of the haiku as evidence of the movement of nature to understand its interaction with creative processes of symbolic generation, based on the notion of the historical world and its location in traditional poetic imagery. It starts from some classic examples of Japanese literature and Hispanic culture, particularly the poems by Matsuo Bashō and Juan Ramón Jiménez, to highlight their concise structure that evokes the experience of perception of a phenomenon through a brief sensitive stimulus, while exhibiting a universal and timeless character., Con base en las conceptualizaciones de Munesuke Mita, Reginald Horace Blyth, Fernando Rodríguez Izquierdo y Agustín Jacinto Zavala, se propone un marco analítico fundado en la filosofía japonesa contemporánea que explica la operación interna del haiku como evidencia del movimiento de la naturaleza para entender su interacción con los procesos creativos de generación simbólica, tomando como base la noción de mundo histórico y su ubicación en la imaginería poética tradicional. Se parte de algunos ejemplos clásicos de la literatura nipona e hispánica, en particular los poemas de Matsuo Bashō y Juan Ramón Jiménez, para destacar su estructura concisa que evoca la experiencia de percepción de un fenómeno mediante un breve estímulo sensitivo, al tiempo que exhibe un carácter universal y atemporal.

Within the mare magnum of Sena’s poetry, the place occupied by haiku is undoubtedly discreet. Sena revisited the Japanese genre in his dual capacity of translator and poet, translating into Portuguese twenty poems by Bashô and later composing ten poems that he expressly classified as haikus. In this article, we propose to examine both the translations and the pastiches that the author wrote, seeking to justify the seduction that both the worldview and the constructive rigor underlying the poetic form have exercised upon him. In his pseudo-haikus, Sena, an accidental haijin, departed from a purely mimetic intent, opting instead for an ingenious ‘haikuisation’ of his own poetics., No mare magnum da poesia de Jorge de Sena, o lugar ocupado pelo haicai é, sem dúvida, discreto. Sena revisitou o género japonês no seu duplo ofício de tradutor e poeta, vertendo para português vinte poemas de Bashô e, mais tarde, compondo dez poemas que expressamente classificou como haicais. Neste artigo, propomo-nos examinar as traduções e os pastiches compostos pelo autor, procurando justificar a sedução que sobre ele exerceram quer a visão do mundo, quer o rigor construtivo subjacentes à forma poética. Nos seus pseudo-haicais, Sena, um haijin acidental, não revela uma intenção puramente mimética, optando antes por uma engenhosa ‘haicaização’ da sua própria poética.

Con este trabajo tratamos de ofrecer una perspectiva diferente del haiku en general y de la obra particular de Taneda Santouka. Proporcionando al lector un abanico de traducciones complementarias, y un comentario de cada composición individual, que exponga las relaciones entre las mismas, buscamos que la experiencia del poema sea lo más similar posible a la de un japonés. Para ello desechamos la idea de traducción única y prestamos especial atención a las particularidades que se derivan del idioma, recurriendo en caso de duda a la opinión de japoneses., With this work we try to provide a different take on haiku in general, and Taneda Santouka’s production in particular. By offering the reader a wide variety of complementary translations, and a commentary on each individual composition, which exposes the relationships between them, we aim to provide a poetic experience that is as close as possible to the one a japanese would get. For this purpose, we discard the idea of a single translation and pay special attention to the intrinsic particularities of the language, resorting in case of doubt to the opinions of native speakers.

Inspired by the lighthouses of the Sable Points Lighthouse Keepers Association (SPLKA).

El objetivo principal del presente Trabajo de Fin de Grado es la reivindicación del papel e importancia de las mujeres en la literatura y, particularmente, en el haiku, a través de la traducción, hasta ahora inédita en español, de diversas composiciones poéticas de veinte poetas, realizando, asimismo, un recorrido diacrónico desde los haiku clásicos del siglo XVII hasta las formas más modernas que adoptan en el siglo XX. Por otra parte, se ofrece una somera reflexión sobre los diversos temas que han tratado estas autoras a lo largo de estos cuatro siglos y que conforman el universo de la mujer en Japón, para que así el lector interesado pueda sacar sus propias conclusiones acerca de las diferencias y similitudes que puedan tener con sus compañeros masculinos y entre ellas mismas., The main goal of this End-of-Degree Project is the recognition of women’s role and importance in literature and, particularly, in haiku poetry, since the translation, so far unpublished in Spanish, of several poetic compositions written by twenty poets through a diachronic journey from classical haiku from the 17th century to the most modern forms that it adopts in the 20th century. Moreover, it is offered a brief reflection on the various themes treated by these authors throughout these four centuries and that make up the universe of women in Japan, so that the interested reader will be able to draw his or her own conclusions about the differences or similarities that they may have with their male counterparts and with each other.

Japanese haiku is a poetic form whose main theme is experience with things. The pointing of things in haiku is related to the Zen context in which it originated, being a representation of the experience of satori, sudden enlightenment. Roland Barthes systematizes in haiku three important semiotic operations: that was it, that is it! and just that.Each of these operations points out things, the first being an operation for authority, the second for insight and the third for naturalness. This article, part of those reflections around haiku in search of terms that allow approach of poems that express religious experience that occur in contact with things, in what I propose to call the literary mystic of things. An expression that intends to gather religious impulses within literature that have elective similarities with what is expressed in haiku and that has authority, insight and search naturalness in things., O haicai japonês é uma forma poética que tem como temática principal a experiência com as coisas. O apontar das coisas no haicai está relacionado ao contexto zen em que teve origem, sendo uma representação da experiência de satori, iluminação súbita. Roland Barthes sistematiza no haicai três importantes operações semióticas: isso foi, é isso! e o apenas isso. Cada uma dessas operações apontam as coisas, sendo a primeira uma operação de autoridade, a segunda de insight e a terceira de naturalidade. Este artigo, parte dessas reflexões em torno do haicai em busca de termos que permitam abordar poemas que expressam experiência religiosa que se dão no contato com as coisas, no que proponho chamar de mística literária das coisas. Uma expressão que pretende reunir impulsos religiosos dentro da literatura que tenham semelhanças eletivas com aquilo que é expresso no haicai e que tenha autoridade, insight e que busque naturalidade nas coisas.

Se propone el poemario Canto villano de Blanca Varela como un punto de inflexión de un ejercicio poético que responde, por un lado, al anhelo –que es principio ético y estético- de desvelar lo que de auténtico se esconde tras la realidad aparente y que, a su vez, se traduce en un lenguaje más reducido y fragmentado y, por el otro, a la necesidad metafísica –que no religiosa- de alcanzar un centro originario y unitario que le dé sentido a su condición humana.

従来， 俳句の授業では名句の鑑賞が中心的な活動であった。 短型詩である俳句は読み手に自由な読みが任されるおもしろさがある。 一方で， 読解の困難さも併せ持ち， 生徒の苦手意識にもつながっている。 そこで， 苦手意識を払拭し， 俳句に親しむ態度を育成するとともに，言語感覚を豊かにし俳句の鑑賞に生かすことをねらいとして俳句の創作を行った。 授業では， 俳句を創作し推敲するという体験を通し， 言葉の持つ意味を吟味し言葉の持つ繊細な意味を捉えようとする姿が見られた。 / In traditional haiku lesson, to appreciate phrases was the main activity. Haiku, a short poem, has an interesting aspect as readers can read it in their own way. On the other hand, students find it difficult to read precisely, which leads them to think they are not good at reading it. For these reasons, I let students create their own haiku in my lessons to get rid of their awareness that they would be hard to deal with haiku, foster their attitude toward haiku as well as enriching students’ sense for languages. In class, most of the students tried to examine the meaning of words closely and grasp the meaning of words which are exquisite through the experience of creating and practicing their haiku.

This paper reflects on the growth and learning opportunities for educators offered by a confinement as severe as the one experienced by the Covid-19 health emergency in 2020. In order to do so, we will focus on the need for a more prudent, more attentive, more ecological and more measured behaviour as an educational key in all teachers in an ontological, epistemological and methodological way. We propose that it is essential for teachers to do serious work in transmitting to their students an appreciation of silence and restraint, largely reinforced by meditative states. In this way, we will do our best to facilitate for our students the acquisition of a high degree of attention to themselves, the others and the world around them. Finally, it is proposed the used of haiku as a tool to reach a better understanding of the ideas explained previously, El presente trabajo reflexiona sobre las oportunidades de crecimiento y aprendizaje para los educadores que nos ofreció un confinamiento tan severo como el que hemos experimentado por la emergencia sanitaria del Covid-19 en 2020. Para ello, nos ocuparemos de poner en primer plano la necesidad de un comportamiento más prudente, más atento, más ecológico y mas mesurado como clave educativa en todos los docentes de manera ontológica, epistemológica y metodológica. Proponemos que es esencial que el docente realice un trabajo serio al respecto de transmitir a sus discentes una apreciación por el silencio y la contención, en gran medida reforzado por estados meditativos. De esta manera, haremos lo posible por facilitar a nuestros estudiantes la adquisición de un alto grado de atención hacia sí mismos, los otros y el mundo que los rodea. Finalmente, se propone el uso del haiku como recurso educativo para un mejor entendimiento de las ideas explicadas previamente.

Análisis y traducción de los haikus más famosos de la autora (haijin) Chiyo-ni, con apoyo en las autoras Patricia Donegan y Yoshie Ishibashi. A lo largo del documento se puede observar qué le hizo llegar a ser conocida en una época donde la mujer carecía de apoyo y relevancia hasta hoy y su evolución con el paso de los años., Research and translation of the most known Chiyo-ni’s haikus, with the support of the writers Patricia Donegan and Yoshie Ishibashi. Throughout the document, we can see what it made her known in an era when women lacked support and relevance until today, and their evolution over these years.

In 1919 Mexican author José Juan Tablada was the first Spanish-speaking poet to use the haiku when he published Un día… (poemas sintéticos), a book which combines visual and verbal creation simultaneously. A hundred years later, this article studies both of these aspects, as well as some of the ways dialogue is established between them, so as to understand the manner in which the poetic experience is formed through the mixture of western and eastern traditions, En 1919 el poeta mexicano José Juan Tablada introdujo el haikú en la lírica hispánica mediante la publicación de Un día… (poemas sintéticos), una obra que conjuga, de manera simultánea, la creación plástica y verbal. A cien años de su publicación, el presente artículo aborda ambos componentes del libro, así como algunas modalidades dialógicas que se establecen entre ellos para determinar el modo en que se enriquece la experiencia poética gestada a partir de la mezcla entre tradición oriental y occidental

Traduire la poésie, et la prose littéraire. Quelques idées et modèles de traduction pour les haïkus, la poésie, les tanka, et la prose littéraire. Les auteurs proposés sont les suivants : K. Issa, Bashô, Sôseki, K. Misuzu, H. Tamiki, Mishima et Tawara Machi. Toutes les traductions proposées ont été publiées. Points essentiels de travail : rechercher l'intention de l'auteur, son environnement littéraire (que lit-il ?), ne pas céder à la facilité qui franciserait à outrance, ne pas se fier à la spontanéité, et admettre la traduisibilité et l'utilité de toute oeuvre. Lire dans la langue source ce qui correspond à l'auteur à traduire. Utiliser dictionnaires et commentaires sans modération. Savoir prendre de bons risques dans les choix de mots et faire le pari du succès. << Il n'y a pas de chemin/Pour mener au chemin/Que l'on n'aurait qu'à suivre. >> (Guillevic, L'innocent, Deyrolle éditeur)

[EN] Haiku has a long history that we previously analyzed, both in Japanese and Spanish culture. This work shows the possibilities offered by this stanza for the development of competencies, skills and abilities in the classroom. With a focus on communicative competence and build a reading habit. And for that they contrasted mainly two experiences of creative writing conducted by teachers Lara Cantizani and Lorente. The final question is to think about how we can approach the use of haiku and teaching intervention in a classroom in order to significantly guide content of interest and basic procedures for reading training., [ES] Desde una mirada amplia sobre el concepto de haiku en la tradición japonesa y española, este trabajo muestra las posibilidades que ofrece dicha estrofa para el desarrollo de competencias, destrezas y habilidades en el aula. Con especial atención a la competencia comunicativa y a la construcción de un hábito lector. Y para ello se contrastan, principalmente, dos experiencias de escritura creativa llevadas a cabo por los docentes Lara Cantizani y Lorente. Como cuestión final, pensar de qué modo podemos enfocar el uso del haiku y la intervención docente en un aula con el fin de encauzar, significativamente, no solo contenidos de interés, sino también procedimientos básicos para la formación lectora.

Given the growing interest in Japanese culture in Argentina, this essay attempts to analyze the link between the concepts of moment, emptiness, ambiguity and vulnerability, to relate them to design, art, aesthetics, Zen philosophy and nature. The kimono, the characteristic door called shōji, its wooden frames and washi paper, Haiku poetry, white and shadows, are some of the examples that are addressed to explain it. It is also essential to understand that Japanese language is also inextricably linked to design and its philosophy. In Japanese culture, speaking and listening is a true art and the reason why this paper addresses the issue from not only the texts of Kenya Hara, Junichirō Tanizaki and Jorge Luis Borges, but also includes -necessarily- a dialogue between the author of this article and the Japanese philosopher Mami Goda , resident in Argentina for almost a decade., Dado o crescente interesse pela cultura japonesa na Argentina, no presente ensaio tenta analisar a ligação entre os conceitos de instante, vazio, ambiguidade e vulnerabilidade, relacioná-los com design, arte, estética, filosofia zen e natureza. O quimono, a porta característica chamada shōji, seus quadros de madeira e papel washi, a poesia Haiku, branco e sombras, são alguns dos exemplos que são abordam-se para explicá-lo. Também é essencial entender que a linguagem japonês está intrinsecamente ligado ao design e à sua filosofia. Para um japonês falar e Ouvir é uma verdadeira arte. É por isso que o resumo aborda a questão não apenas dos textos do Quênia Hara, Junichirō Tanizaki e Jorge Luis Borges, mas também inclui –necessariamente– um diálogo entre o autor deste artigo e o filósofo nipona Mami Goda, residente na Argentina há quase uma década., Dado el creciente interés por la cultura japonesa en la Argentina, en el presente ensayo se intenta analizar el vínculo entre los conceptos de instante, vacío, ambigüedad y vulnerabilidad, para relacionarlos con el diseño, el arte, la estética, la filosofía Zen y la naturaleza. El kimono, la puerta característica denominada shōji, sus marcos de madera y papel washi, la poesía Haiku, el blanco y las sombras, son algunos de los ejemplos que se abordan para explicarlo. Resulta esencial además, comprender que también el lenguaje japonés, está indisolublemente ligado al diseño y a su filosofía. Para un japonés hablar y escuchar es un verdadero arte. Es por ello que el escrito aborda la cuestión a partir, no solo de los textos de Kenya Hara, Junichirō Tanizaki y de Jorge Luis Borges, sino que además incluye -necesariamente- un diálogo entre la autora del presente artículo y la filósofa nipona Mami Goda, residente en la Argentina desde hace casi una década.

This letter is concerned with the three Wakas at evening in the autumn, which may be most popular and are compiled in Shin-Kokinwakashu.  It is realized that Waka is a short literal sculpture based on pointillism, and filling enormous amount of contents regarding emotion and/or scenery.  The first common characteristic point of these three Wakas is to be paused at the end of the third passage, respectively.  The second characteristic point is that the fifth passage is a common phrase.   They describe lonely scenery at the mountain, swamp, and seashore, respectively, at evening in the autumn without using any subjective literal expression.  It is, therefore, suggested that they become the symbol of a simple tea ceremony, and provide the original idea to establish the standard rules. Japanese people have been continued to be influenced by the rules in their daily lives for long time.