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Stanza analysis of the conversational narratives of Japanese children, aged five to nine, reveals that they are succinct and usually consist of free-standing collections of three experiences and that stanzas usually consist of three lines. The similarity between these narratives and the Japanese literacy forms of "haiku" and "karuta" are discussed. (61 references) (JL)

The article focused on Isao Takahata's anime "My Neighbors the Yamadas," to determine how the category of the everyday in postwar Japan features as the platform of contestation between modernist drives and anti-modernist,tradition-centric reactions. Cited are the political manoeuvres of the post-war Japanese government and the private sector in control over the employees' urbanised everyday within economic growth, and Takahata's anti-modernist' appeals to an everyday.

Haiku are short poems, each composed of about 10 words, that typically describe moments in nature. People have written haiku since at least the 17th century, and the medium continues to be popular with poets, amateurs, educators, and students. Collectively, these poems represent an opportunity to understand which aspects of nature—e.g., which taxa and biological traits—resonate with humans and whether there are temporal trends in their representation or the emotions associated with these moments. We tested this potential using a mix of linguistic and biological methods, in analyses of nearly 4,000 haiku that reference arthropods. We documented the taxa and the life history traits represented in these poems and how they changed over time. We also analyzed the poems for emotion and tone. Our results reveal a mix of predictable trends and compelling surprises, each of which stand to potentially inform engagement strategies. At least 99 families of arthropods, in 28 orders, are represented in these haiku. The eight most commonly referenced taxa, from highest to lowest number of references, include: Lepidoptera, Hymenoptera, Diptera, Coleoptera, Araneae, Orthoptera, Hemiptera, and Odonata. Several common, conspicuous orders were never referenced, including Trichoptera, Plecoptera, and Megaloptera. The most commonly referenced traits relate to ecology (especially habitat, phenology, time of day), behavior (especially sound production), phenotype (especially color), and locomotion (especially flight). The least common traits in haiku relate to arthropod reproduction and physiology. Our analyses revealed few obvious temporal trends in the representations of taxa, biological traits, or emotion and tone. The broader implications of these results and possible future directions are discussed. [ABSTRACT FROM AUTHOR]

The essence of haiku (on the example of Etela Farkašová's haiku) The study focuses on one of the fundamental questions of international haiku realizations, which is how to preserve individual rules and not break the essence of this originally Japanese genre from the 17th century. The presented study is using the example of Etela Farkašová's haiku. The paper shows the overlap of the aesthetic category of subtlety with concepts from Japanese aesthetics that apply to the creation of haiku. This implicitly shows not only the poetics of the Slovak author of haiku, but also reveals the nuances of the so-called wabi and sabi, which belong to the foundations of Japanese aesthetics, as well as the lesser known shiori and hosomi. Etela Farkašová's haiku represents one of the possible ways to transform the rules of haiku into a foreign form while preserving the so-called the "essence" of haiku. [ABSTRACT FROM AUTHOR]

Apple Picking with Inger Christensen. (Silke Scheuermann, Jan Wagner, Uljana Wolf) Inger Christensen, maybe the most vividly received Danish writer in contemporary German poetry, is often discussed in the light of her poetry’s formal innovativeness. This paper will shift the focus on poetry’s relation to the world as another aspect repeatedly addressed by contemporary German poets when referring to Christensen’s work. Discussing three essays by Silke Scheuermann, Jan Wagner, and Uljana Wolf this paper traces their approaches to Inger Christensen’s poetry with a particular interest in personal encounters with nature and real-world sensual experiences as the core and outset of Inger Christensen’s poetic writings. The paper tries to conceptualize this perspective on her poetry by referring to the Haiku as a form of poetry that depicts a sensual and affective experience of nature along with Roland Barthes related concept of tangibilia on the one hand and to the sociological concept of resonance as developed by Hartmut Rosa on the other.

Introduction. The influence of the Russian poetic tradition on works of Bakhytzhan Kanapyanov is a well-known fact. However, his poetry, particularly topographical lyrics, has also been influenced by Japanese culture and literature. Goals. The article attempts an insight into landscape lyrics of the Kazakh poet from how it reflects the Japanese philosophy of landscape, most fully expressed in the genres of haiku and tanka. Results. Using the structural-semiotic method, the work reveals that B. Kanapyanov’s landscape poetry is based on the Japanese principle — ‘the beauty of the moment’ which demonstrates the eternity of nature. Just like the Japanese masters of haiku and tanka, B. Kanapyanov depicts nature in small, insignificant details through human sensations and perceptions. Often these sensations complement each other: smells and sights, hearings and visions, etc. Traditional Japanese landscape symbolism, e.g. the moon, gets transformed in the poet’s artistic picture of the world depending on his ideological precepts. The Japanese poetic technique also influenced the formal side of B. Kanapyanov’s poetry: preference for syllabic versification, loose adherence to meter and rhyme. Such a significant influence of Japanese culture and literature is explained by the common philosophical attitude to nature among the Kazakh and the Japanese, namely: principles of unity of man and nature, harmonious coexistence of man and nature, and non-interference of man in nature. The syllabic type of versification is also characteristic of not only Japanese but also of the Kazakh language.

This article explores the interconnected values of ecosomatics, butoh, phenomenology, and Zen in the context of social and ecological crises. Butoh, a dance and theater form that originated in post-war Japan, has spread globally and incorporates elements of nature and everyday life. The essay delves into the concept of "suchness," a principle of Zen that emphasizes acceptance and curiosity. The author draws on their personal experiences in butoh and their understanding of phenomenology to explore consciousness, perception, and performance. The article concludes with performance experiments inspired by butoh and Zen teachings. [Extracted from the article]

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Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions.

This article explores how the notion of ordinary aesthetics can stem, as well as the one of ordinary ethics, from that revolution of the ordinary started by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea of ordinary ethics emphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of such ordinary aesthetics can be found in the haiku poetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core of Zen philosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives.

This article looks at a set of anglophone form poetry that I wrote for a course I took while pursuing my master's degree in Gender Studies at Ambedkar University, Delhi (2019–2021), during the second wave of the COVID-19 pandemic in India. The poems are a documentation of the life that I lived and experienced during this time. Using an auto-ethnographic method, this article simultaneously engages with poetic forms, such as the haiku, villanelle, sestina, and acrostic, and provides a self-reflexive analysis of the content and the South Asian context from which the poems emerged. Each poem, I argue, grapples with various gendered structures of interpersonal and state violence, exacerbated by the COVID-19 pandemic and the lockdown that followed in its wake. In this article, I explore the ways in which the everydayness of violence can be documented through art and creative practices. My primary question is: What is the form of the poem doing for the content of the poem; that is, in what ways do certain poetic forms assist in the documentation of personal experiences of violence during a pandemic? This article explores the political possibilities offered by the method of writing form poetry as a documentation of violence, as well as providing a 'witness' to it. Thinking more about the role of producing art vis-à-vis my academic research, I further ask: How can we expand the scope of the feminist research methods we use, and what role might form poetry play in this? I situate this article at the intersection of South Asian Studies, Women's and Gender Studies, and Literary and Cultural Studies, particularly focusing on the South Asian anglophone poetics of the written word in a post-pandemic time. [ABSTRACT FROM AUTHOR]

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Предметом исследования выбраны трехстишия хайку (комические стихи) великого японского поэта Мацуо Басё (1644‒1694), завоевавшие интерес со стороны ученых и переводчиков многих стран мира. В Японии благодаря кропотливой работе текстологов и комментаторов сочинений Басё сложилась обширная герменевтическая литература, позволяющая не только японским, но и зарубежным филологам успешно решать проблемы интерпретации текста и воспроизведения его на другом языке. Реализацию принципов перевода произведений Басё демонстрируют работы В. Н. Марковой (1907‒1995), выдающегося российского переводчика и поэта. Предложенные ею стихи позволяют высоко оценить мастерство перевода и широкий диапазон средств русского языка, направленный на реализацию глубинного содержания дальневосточного сегмента мировой культуры, представленного в хайку. Последовательно находят освещение принципы дзэн-буддийского учения, лежащие в основе эстетического идеала Басё, его представлений о прекрасном как универсуме, гармонизирующем противоположности. Анализируется образно-стилистическое своеобразие хайку в контексте таких эстетических категорий, как югэн ‒ «сокровенная красота», саби ‒ «красота одинокости», свойственных творчеству Басё, которое отличается монохромностью. Исследуются ассоциативный подтекст, реминисцентный ряд, смысловая вариативность и эмоциональное содержание источника как объекта перевода. Раскрываются способы интерпретации и трансформации японского текста, доносящие до читателя имплицитные свойства хайку, их технику организации стихового пространства ‒ применение сложной системы сезонных образов-символов (киго), лингвокультурный контент которых призывает реципиента к сотворчеству. Повышенная суггестивность хайку достигается также использованием цезуры (кирэдзи), чья разнообразная функциональность требует от переводчика пристального взгляда на нюансы смыслов. Констатируется внимание В. Н. Марковой к авторскому слову, японской поэтической традиции, возможностям языка перевода, языковой контрастивности, открывающее пути к дуализму переводческих стратегий ‒ доместикации и форенизации. Мастерство переводчика позволяет в целях трансформации материала источника эффективно использовать приемы переводческой деятельности ‒ добавление, модуляцию, расширение, которые базируются на привлечении фоновых знаний не только о культуре Японии, но и Китая.

Japanese forms of verse are beginning to occupy an important place in the Udmurt poetry of recent times. In the 1990s, the dialogue of cultures was directed mainly to the West. In the new millennium, the internal mechanisms of culture begin to actualize the classical East. There comes a time of worldview and understanding of what is happening, haiku is becoming one of the popular genres. The purpose of the study is to identify national features of the haiku genre in the Udmurt lyrics. The object of analysis is the poems of A. Leontiev, S. Matveev and Alexei Arzamazov, written in the form of a Japanese three-line poem. The method of analysis is comparative studies. The results of the study are as follows. Udmurt poets, writing in the form of haiku, strive to see the big world in a small detail, to show the eternal in a moment. The autumn landscape becomes attractive in that it conveys “light sadness” (sabi). Thus, the poets do not copy the Japanese canons, but bring a national flavor. The unexpectedness of the finale (koan) in Udmurt haiku is usually achieved by the fact that the poet passes from one spatial dimension to another.

From the perspective of poetry therapy, the author relates Western views of poetic time, rhythm, literary creation, and metaphoric language to ancient Chinese conceptions of literature and to the haiku tradition. The author analyzes and develops practical approaches to using haiku for therapeutic, rehabilitative, and preventive purposes. In haikus, he detects potential to explorative and meditative self- and communal transformation, flexible coping with current anxieties, and the advancement of social and cultural well-being. The ecopoetic applications of haiku pave way to more empathic connections of human beings to nature and the whole cosmos.

I begin this essay with an autobiographical introduction to explain why I studied philosophy and how I came to work in bioethics. I then consider three ethical frameworks and practices that I adopted in my work in bioethics. I begin with the framework that John Rawls makes explicit, where the purpose of ethical theory is to set out aims and objectives to guide our responses to the world. Since this approach did not provide the guidance that I was looking for, I took up writing haiku as an ethical practice. I present here many examples of haiku that I wrote to pay attention to situations in life and bioethics. The hope was that paying attention would lead me to respond in better ways. Since this practice helped me more with attending than responding, I turned to a third framework. Here I explore John Dewey’s ethical framework. After characterizing this framework, I consider features that an associated practice needs to have. In a brief conclusion, I note some affinities between the second and third ethical approaches, and note that the last ethical framework adopted may just be the latest stage in trying out frameworks and practices.

I begin this essay with an autobiographical introduction to explain why I studied philosophy and how I came to work in bioethics. I then consider three ethical frameworks and practices that I adopted in my work in bioethics. I begin with the framework that John Rawls makes explicit, where the purpose of ethical theory is to set out aims and objectives to guide our responses to the world. Since this approach did not provide the guidance that I was looking for, I took up writing haiku as an ethical practice. I present here many examples of haiku that I wrote to pay attention to situations in life and bioethics. The hope was that paying attention would lead me to respond in better ways. Since this practice helped me more with attending than responding, I turned to a third framework. Here I explore John Dewey's ethical framework. After characterizing this framework, I consider features that an associated practice needs to have. In a brief conclusion, I note some affinities between the second and third ethical approaches, and note that the last ethical framework adopted may just be the latest stage in trying out frameworks and practices. [ABSTRACT FROM AUTHOR]

This article tackles Ezra Pound's one-image poem "In a Station of the Metro" as an epitome of the modernist Zeitgeist. Being essentially a reaction to the cultural tenets and philosophical underpinnings of Victorianism, which saw reality as material and objective, modernism sought to develop aesthetics rooted in a completely new model of reality. William James anticipated the modernists' interest in "the stream of thought," Henri Bergson looked into time and consciousness and discovered "duration," Sigmund Freud focused on dreams and the unconscious. Very early in the 20th century Max Planck and Albert Einstein formulated their quantum theories. Thus, the late 19th and early 20th century psychology, philosophy and physics countered Newton's neat model of an orderly reality with one governed by Heisenberg's uncertainty principle. The arts contributed to the new Zeitgeist by rendering reality as abstract, eerie, flickery and "spiritual": a reality of the mind and soul. In 1910 Wassily Kandinsky painted his "First Abstract Watercolour" and in 1911 he published his treatise Concerning the Spiritual in Art. Reading it, Ezra Pound found a "language in colour" to which he added the Japanese hokku aesthetics, and those led him to his one-image poem. I argue that Pound's creative process was translational and transcreational, cutting across the arts, their aesthetics, and across languages and cultures. [ABSTRACT FROM AUTHOR]

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