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Describes the author's Web site, which is devoted to the Japanese poet-painter Yosa Buson (1716-1784) and contains articles on Buson, bibliographic resources, and a pictorial catalog of haiku and paintings. This paper covers project purpose and background, subject area and materials, contexts of the development, structure of the Web site, pedagogical strategy and learners' responses, access trends, and evaluation. (MES)

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)

Illustrates a way social studies teachers can use translation exercises to teach about a geographic region. Uses translations of haiku poetry for this purpose. Students perceive and translate a haiku differently thus experiencing firsthand a fundamental objective of social studies which is understanding differences in perspectives. (GG)

Explores the philosophy behind Haiku and discusses 11 characteristics basic to this form of poetry to help teachers better understand it. (HTH)

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Terada Torahiko is known as a scientific essayist in Japan, but hardly anyone knows he was a haikai poet as well as a physicist. According to him, haikai poetry and physics are two different ways of conceiving Nature, both valid and perhaps complementary to each other. Seeing his research in physics looking for regularities in apparently irregular phenomena in everyday life, we may say his haiku haikai spirit is manifest there and that he was pioneering a new science such as the one developed later by Ilya Prigogine. His association of haiku haikai poetry and Freudian interpretations of dreams leads us to rethink the relation between science and literature. This paper examines Terada's poetics as well as his research in physics in order to see how one can associate the Two Cultures separated from each other for such a long time. [ABSTRACT FROM AUTHOR]

The Caribbean has a long history which is reflected in their literature. The existence of Haiku poems in Caribbean literature is an interesting thing to be analyzed. The object of this research is Haiku poems written by a Caribbean poet, Rosaline Bacchus. A Haiku poem is a short poem originally from Japan, usually consisting of 5-7-5 or 5-7-5-7-7 syllables. Although it is a short poem, Haiku can depict the reality and experience of Caribbean people. This research aims to describe the diction and imagery that appear in Rosaline Bacchus's Haiku poems and to reveal the colonial representation in the poems. The researcher uses the explication theory to analyze the diction and imagery and postcolonial theory to reveal the colonial representation inside the poems. This research is descriptive qualitative research. The textual analysis method is used to find out the meaning of each line of the poem. From the analysis, it can be seen that the diction of the Haiku poems is dominated by denotative and concrete words. Denotative and concrete words help the poet to describe the situation during the Caribbean's colonization explicitly. Besides, the poems are also dominated by visual, auditory, and kinesthetic imagery. The imagery and the diction bring the reader to feel the reality that happened during the colonization era. The researchers hope that this research will give positive contributions to the development of literature, especially Island studies. [ABSTRACT FROM AUTHOR]

The aim of the paper is to present the vital differences in the level of intelligibility and cohesion between L'Empire des signes and its Polish translation Imperium znaków (1999). The excerpts discussed in the article represent the key features and phenomena characteristic of Japan or more precisely the contrast that Barthes draws between Japan and France, the East and the West. The analysis of the examples concerning i.e. the rules of ideographic writing, the nature of haiku and cuisine proves that - as a result of grammatical misreadings on the part of the translator - the Polish translation often blurs Barthes's precise descriptions, misrepresents the image of East and West emerging from the book and distorts the author's subtle theoretical project. The paper also outlines the relationship between the mistakes present in Imperium znaków and the stereotype of poststructuralist writing in Poland around the time the translation was made. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Theory & Practice in Education (JTPE) / Eğitimde Kuram ve Uygulama is the property of Journal of Theory & Practice in Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A haiku is an unrhymed Japanese poetic form that consists of 17 syllables arranged in three lines containing five, seven and five syllables, respectively. A haiku expresses much and suggests more in the Fewest possible words. The form gained distinction in the 17th century, when Basho, a Japanese poet considered the greatest practitioner of the form, elevated it to a highly refined art. It remains Japan's most popular poetic form. The imagist poets (1912-30) and others have imitated the form in English and other languages. Many Haiku writers like AitbaarSajid, Dil Nawaz Dil, Muhammad Ameen and Saifi have earned fame in this genre and contributed in its expansion. Akhter Hushiarpuri is one of the remarkable names of this sequence. He developed a new and different style of Haiku by writing "Barg e Gul"and "Sarsun k Phool.". [ABSTRACT FROM AUTHOR]

The article examines the connections between Emily Dickinson's poetry and Japanese aesthetics. According to the author, Dickinson's poetic practices share characteristics of Japanese visual art and cultural ceremonies that are also the foundations of Japanese haiku poetry. The author focuses on two haiku concepts, brevity and ma, in relation to Dickinson's poetry and how it treats reality and imagination.

The article offers information related to the use of Haiku in English poetry. It mentions that Haiku in English is now a popular and diverse genre of writing which has evolved in various ways since its adaptation from the Japanese. It informs that Haiku in English is a short poem which uses imagistic language to convey the essence of an experience of nature or any other thing. It also presents some example of use of Haiku in English.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the current study is to evaluate poetry writing as a way of second language (L2) learning by exploring the interaction between academic prose and the effect of writing Japanese poetry — haiku. This article first describes some critiques of using poetry in educational settings and discusses the nature of poetry writing at the tertiary level in L2 contexts. The study was designed as an intervention in which 20 EFL students in Japan produced pre- and post-argumentative essays and L2 haikus. The data obtained was submitted to statistical analysis, which showed that there was a significant difference in the use of linguistic features between pre- and post-tests indicating that the task of writing haiku affected the EFL students’ written performance in the post-argumentative essay. In addition, the L2 haiku corpus produced revealed the English haiku as short, personal, direct and descriptive poetry. [ABSTRACT FROM AUTHOR]

The corpus of haikai (haiku) poetic material produced from the early until the latter part of the nineteenth century in Japan has been largely dismissed as unliterary since Masaoka Shiki (1867-1902). In particular scholars have avoided the study of the poetic practice known as tsukinami haikai, a form of poetic competition. By examining a specific tsukinami haikai text as well as looking at the process of tsukinami haikai competitions, I argue that they had an important pedagogical and cultural value. The poets who composed poems for tsukinami haikai competitions gained the education necessary to read Masaoka Shiki's arguments in favor of a 'literary poetry'. In addition the vocabulary that they learned from tsukinami haikai was 'universal' and thus transcended local identities. Tsukinami haikai is important for understanding the cultural history of nineteenth century Japan. [ABSTRACT FROM AUTHOR]

In 2006, after returning from my trip to Japan to study Noh with my Master Teacher, I completed a haibun (travel diary) inspired by Basho who originally created it as a special form of literature. I edited my haiku poetry and notes written during my trip into a travel diary including photos. I made it available at Ilmatar Institute's web site for a while. This current travel diary is substantially shortened and edited version capturing only some parts of my trip, but more importantly it documents my inner learning about the ancient Japanese literature of Noh plays, waka, haiku, and renku. A half kazen renku created by a renku group in Tokyo, Japan, lead by a Renku Master, Shokan, is included in the end. The renku stanzas were originally created both in Japanese and English and translated into English by Shokan during the session. Familiarity with Basho's haibun is recommended. The concept of haibun with this example is introduced here as a useful form of literature for both poetry therapists and poetry therapy groups. [ABSTRACT FROM AUTHOR]

The present study disscusses typical structures and forms of the Japanese traditional literature, trying to dwell from a synthetical point of view upon the specific poetic dimension of the Nippon prose, and brings forth, in support of its hypotheses, analytical insights into several works confined to the area mentioned. [ABSTRACT FROM AUTHOR]

The article presents a study that examines the diasporic senryu literature in Japan, a poetry similar to haiku which has three phrases with a fixed syllables of 5-7-5. The researcher evaluates the practices of four Japanese speaking diasporic women who participated in Hokubei Senryu, a regional group. It notes that in order to understand the real meaning of a writing, it is also important to know the experiences of the writers.

The article discusses the role of performance in Kabuki culture. Oral performance has remained central in Japanese literary culture. A performance should also be considered as a text, one that has a physical existence in sound an d movement. The most popular genre of kabuki was haiku poetry. Oral composition and presentation were fundamental to arts such as poetry, music and dance. Kabuki is considered as subculture of play, fantasy and creativity within the society.

Provides information about Haiku, an unrhymed Japanese poetry consisting of 17 syllables used for writing instruction methods. History; Significance; Application.

This article highlights a session at the Emily Dickinson International Society's 2007 Conference in Japan which explored Emily Dickinson's poems and haiku. It reveals that Dickinson's poetry has some characteristics of haiku. This article suggests that haiku-like poems are rare in Dickinson's body of work.