Thematische Bibliographien / Haiku

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Auswahl der wissenschaftlichen Literatur zum Thema „Haiku“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Haiku"

OTA, Seiko. „CARACTERÍSTICAS DE LOS HAIKUS DE JOSÉ JUAN TABLADA“. SIGLO DIECINUEVE (Literatura hispánica), Nr. 17 (07.05.2011): 305–23. http://dx.doi.org/10.37677/sigloxix.vi17.165.

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Se puede decir que las dos colecciones de haiku escritas por Tablada, Un día… (1919) y El Jarro de flores (1922) tuvieron un papel importante para que se difundiera el haiku en el mundo hispanohablante, porque influyeron en algunos poetas mexicanos de entonces y hasta enseñaron a octavio Paz lo maravilloso del haiku japonés. A pesar de esto, no hay un estudio en el que se valore sus haikus puntualmente. En este artículo vamos a analizar los haikus tabladianos para ver qué características poseen y valorar bien si tienen características de haikus verdaderos.

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KASHIMOTO, Yuki. „The Representation of Death in Haiku Creation During the Second Sino-Japanese War ：Focusing on Shina Jihen Sanzen Ku“. Border Crossings: The Journal of Japanese-Language Literature Studies 16, Nr. 1 (28.06.2023): 77–96. http://dx.doi.org/10.22628/bcjjl.2023.16.1.77.

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The Haiku anthology Shina Jihen Sanzen Ku is the culmination of the tradition of war Haiku that flourished during the Second Sino-Japanese War. This anthology includes more than 3,000 haikus, with an almost equal number of Haiku from the front line and home front, two sites which therefore intersect in this anthology.This feature Previous studies on Haiku have focused only on the outstanding work of Haiku poets rather than paying attention to such anthologies of war Haiku.This paper focuses on the representation of the war dead in this anthology’s Haiku, and the way these texts are organized.It contributes to current research on the perspective on and the intimacy with the dead that characterizes war Haiku. It also proposes an undeveloped approach to studying Haiku anthologies such as Shina Jihen Sanzen Ku, which can expand the scope of research on Haiku expressiveness.

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Ihanus, Juhani. „Therapeutic Poems for Advancing Coping, Empathy, and Cultural Well-Being“. Creative Arts in Education and Therapy 8, Nr. 1 (23.08.2022): 18–31. http://dx.doi.org/10.15212/caet/2022/8/8.

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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.

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Turner, Ashley R., Roque Anthony F. Velasco, Kathleen Oman und Karen H. Sousa. „Aesthetic Knowing: Cut-Ups and Haiku Poems“. Nursing Science Quarterly 36, Nr. 2 (30.03.2023): 181–85. http://dx.doi.org/10.1177/08943184221150263.

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Enhancing course design and pedagogy to encourage engagement and creativity is fundamental in doctoral education. Using poetry is an innovative way to enrich nursing education through aesthetic knowing. The authors in this paper aim to describe an educational exercise utilizing the Cut-Up Method to create haiku poems. PhD nursing students used the Cut-Up Method to produce haiku poems describing the meaning of nursing science. Themes from the haiku poems include relationship building, caring and caring relationships, and the evolution of nursing. Learning activities promote aesthetic knowing to facilitate engagement, creativity, and collaboration. The Cut-Up Method and haikus are creative ways of developing aesthetic knowing.

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Iida, Atsushi. „The value of poetry writing“. Scientific Study of Literature 2, Nr. 1 (13.08.2012): 60–82. http://dx.doi.org/10.1075/ssol.2.1.04iid.

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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.

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Genova, Pamela A. „Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku“. Irish Journal of French Studies 15, Nr. 1 (01.12.2015): 25–40. http://dx.doi.org/10.7173/164913315817039216.

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Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Yet, interestingly, critics have described similarities between Bonnefoy's poetry and Japanese haiku, and indeed Bonnefoy later recanted his negative critique of the form. In the 1989 essay, 'Du haïku', he argues in fact that haiku embodies pure presence, expressing a kind of third dimension, situating itself in the space of the world and in the mind's eye, as it communicates the plenitude of being.

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Ramlan, Muhammad Nadzif. „Hana Wa Sakuragi: Discourse Analysis of Cherry Blossoms in Haiku of ‘The Great Four’“. Japanese Research on Linguistics, Literature, and Culture 4, Nr. 1 (30.11.2021): 1–15. http://dx.doi.org/10.33633/jr.v4i1.5285.

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The proverb hana wa sakuragi, hito wa bushi highlights the significance of cherry blossoms (sakura) as the pinnacle of Japanese aesthetics and floral symbolism. This paper constructed a discourse analysis of cherry blossoms portrayed in the haiku by the Great Four - namely Matsuo Basho, Yosa Buson, Kobayashi Issa and Masaoka Shiki. Three poems from each poet were analyzed as samples, accumulating to 12 haiku overall. To avoid equivocality, all 12 haikus observed would explicitly mention sakura with its kanji character or hiragana. The analysis would cover linguistic aspects and metaphorical interpretations associated to convey the portrayal of cherry blossoms in the context of that haiku. Further discussion of the analysis would have the creative representations of cherry blossoms among the four esteemed poets to be compared in six aspects – time, imagery, state, rhetoric, idiomatic expression and contrasting quality. With both linguistic aspect and relativistic viewpoint to form the discourse analysis, this shows that cherry blossoms can act as a form of display for personal philosophical values and personalities of the four Japanese poets specifically as well as the Japanese society in general.

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Kerslake, Lorraine. „Reconnecting with Nature through Haiku“. Climate Literacy in Education 1, Nr. 1 (08.02.2023): 21–23. http://dx.doi.org/10.24926/cle.v1i1.5186.

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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.

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Luqyana, Mahdiah, und Tri Mulyani Wahyuningsih. „MAKNA DUA HAIKU BERUNSUR BUAH 柿」(KAKI) KARYA MASAOKA SHIKI: PENDEKATAN SEMIOTIK RIFFATERRE“. Alayasastra 17, Nr. 1 (31.05.2021): 1–18. http://dx.doi.org/10.36567/aly.v17i1.787.

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ABSTRAKPenelitian ini membahas pemaknaan dua haiku yang berunsur buah kaki「柿」. Tujuan penelitian menemukan keterkaitan makna dua haiku berunsur buah kaki. Metode penelitian yang digunakan deskriptif kualitatif menggunakan teori Semiotika Riffaterre.Teknik analisis meliputi memilih teks, membaca berulangkali, mengidentifikasi, membuat hipotesis, dan membuat kesimpulan. menggunakan studi pustaka. Sumber data penelitian dua haiku yang berunsur buah kaki karya Masaoka Shiki. Hasil penelitian menunjukkan (1) Pembacaan heuristik pada kedua haiku menceritakan tentang Shiki. Hasil pembacaan hermeneutik pada kedua haiku menceritakan tentang perjalanan Shiki dan buah kaki; (2) Matriks pada haiku pertama adalah perasaan terkesan. Matriks pada haiku kedua yaitu kesenangan. Hipogram pada kedua haiku yakni adanya unsur「柿」kaki yang menimbulkan kebahagian dan kesenangan; (3) Ketidaklangsungan ekspresi pada kedua haiku ditemukan penggantian arti, penyimpangan arti hanya ditemukan di haiku kedua, dan penciptaan arti tidak ditemuan di kedua haiku.Kata Kunci: haiku, semiotika Riffaterre, kebahagiaan, kesenangan. ABSTRACTThis research discusses the meaning of the two haiku which which contains the element of the fruit kaki 「柿」. The aim of this research was to find a correlation between the meaning of the two haiku with the element of the kaki fruit. The method used is descriptive qualitative with Semiotics Riffaterre theory. The analysis technique includes selecting text, reading repeatedly, identifying, making hypotheses, and making conclusions. The data source for the research which contains elements of the fruit of the kaki by Masaoka Shiki. The results showed (1) The heuristic reading of the two haiku tells about Shiki The hermeneutic readings of the two haiku tell the story of Shiki's journey and the kaki fruit; (2) The matrix in the first haiku is feeling impressed. The matrix in the second haiku is pleasure. The hypogram for both haiku is that there is the 「柿」 element of the kaki which creates happines and pleasure; (3) The unsustainability of expresion in the two haiku was found to be replaced in meaning, deviation in meaning was only found in the second haiku, and meaning creation was not found in the two haiku.keywords; haiku, Riffaterre’s semiotics, happiness, pleasure

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Montaner Montava, María Amparo. „La tipología lingüística como factor determinante en la traducción poética“. Hikma 21, Nr. 2 (23.12.2022): 9–40. http://dx.doi.org/10.21071/hikma.v21i2.13420.

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Este artículo se centra en demostrar cómo la traducción poética depende estrechamente de la tipología lingüística. La traducción poética se caracteriza por centrarse en la función estética del lenguaje, por lo que la forma es especialmente relevante. Precisamente por ello, en este artículo se va a trabajar sobre el haiku japonés, una forma poética caracterizada por su brevedad y su conceptismo, de manera que la mínima expresión debe transmitir el máximo contenido. Concretamente se va a analizar un famoso haiku de Bashō, considerado el paradigma de los haikus de la escuela de este autor, para demostrar cómo la tipología lingüística de la lengua japonesa facilita la expresión del sentido estético que transmite el poema. Es cierto que este famosísimo haiku ha sido analizado en innumerables ocasiones, pero lo que se propone en este trabajo es un análisis desde la tipología lingüística, una demostración de cómo las características tipológicas del japonés se adecuan íntimamente a la estética del haiku de Bashō, y una demostración también de cómo esta adecuación entre lengua origen y sentido del poema constituye un escollo para la traducción, cuyas soluciones se valorarán en dos lenguas tipológicamente distintas, el inglés y el español. El trabajo se divide en las siguientes partes: En primer lugar, se exponen las características tipológicas del japonés frente a las de lenguas de otros tipos lingüísticos. Seguidamente se explicita cuál es el sentido abstracto que transmiten los poemas de la escuela de Bashō, lo que permitirá establecer las características de su estética. Seguidamente se mostrará la adecuación entre la tipología lingüística del japonés y la esencia de contenido que pretende transmitir el poema. Finalmente se analizarán varias traducciones del poema a dos lenguas de grupos tipológicos diferentes, inglés y español, y se juzgará hasta qué punto resulta posible lograr la traducción en cada caso. Palabras clave: Traducción, Tipología lingüística, Haiku, Bashō

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Dissertationen zum Thema "Haiku"

Smith, Steven Lyle. „Haiku Seasons“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2695/.

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Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.

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Lucas, Martin. „Haiku in Britain : theory, practice, context“. Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599896.

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The subject of this thesis is the haiku poem, which is now established as a viable form in English. The possibilities of the form - and its kindred forms of tanka, renga and haibun - are exemplified by my own creative writing, presented in Chapter Seven. This presentation is supported by nine further chapters dealing successively with haiku history, theory, practice and context. The chapters on haiku history offer an outline of the development of the form in Japan, together with discussion of its initial adaptation to the English-language context in North America. Chapter Four, on haiku theory, brings together a series of diverse essays which combine into a detailed analysis of the key requirements of haiku, both in terms of form and content. The chapters on haiku practice focus attention on the poets and publications that have pioneered the development of haiku in Britain during the decade of the 1990s. The three concluding chapters analyse haiku in the context of renga (linked verse), haibun (haiku prose), and in relation to other forms of artistic presentation, not least other forms of poetry. The entire thesis is intended to constitute a thorough grounding in the specific demands and values of haiku in English.

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Oliva, Dante. „El haiku. Camino de matsuo bashoo“. Anthropía, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/77958.

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Cisneros, Cox Alfonso. „Estética y Brevedad en el Haiku“. Foro Jurídico, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/119913.

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Kaneko, Michiko. „The poetics of sign language haiku“. Thesis, University of Bristol, 2008. http://hdl.handle.net/1983/10e0f467-8d9d-4568-8215-9a3e1d77147d.

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This dissertation explores the poetic features of sign language haiku. Sign language haiku can be defined as a very short piece of poetic signing, which is influenced by the traditional Japanese haiku form. Traditional Japanese haiku form is known for its strict formal discipline, objective description of nature, and strong visual appeal. Sign language haiku retains some of the basic features of traditional haiku, but has turned itself into a new poetic form which inherits characteristics both from general artistic signing and the particular discipline of haiku.

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Benachir, Hynde. „Le "haiku" dans la littérature hispanique“. Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30036/document.

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L'objet de cette thèse se situe à la croisée de la linguistique et de la littérature puisqu'il porte sur le haiku dans la littérature hispanique, qu'il s'agit de caractériser en tant que forme poétique dans le contexte littéraire hispanophone et comme « prototype » du bref du point de vue de ses modalités discursives et énonciatives. Traditionnellement associé à la culture japonaise dont il est issu, le haiku se pose comme une des formes poétiques les plus brèves au monde. Avec ses dix-sept syllabes en tout, il oblige à la plus grande rigueur dans le choix des mots, une expression concise et une « condensation » du sens qui en font un poème dense, qu'il faut souvent méditer après sa lecture. Ni le vers ni la rime ne font partie de contraintes métriques du haiku japonais. Son esthétique, influencée par le bouddhisme zen, se veut contemplative, portée par la subjectivité de la voix poétique qui apparaît comme « témoin du monde », ne faisant que retranscrire des faits parfois « insignifiants », souvent triviaux, qui font pourtant le quotidien de tout homme. Dans la poésie occidentale, le haiku n'a pas d'équivalent, tant du fait de sa brièveté que du fait de son esthétique « puriste ». Or, force est de constater qu'il est fortement représenté dans la littérature hispanique contemporaine. Ni l'orientalisme du début du XXe siècle ni les remises en question poétiques débutées par les Modernistes et poursuivie par les Avant-Gardes ne suffisent à expliquer cet engouement des poètes de langue espagnole pour ce poème japonais. En effet, la littérature hispanique s'empare de ce phénomène littéraire dès la publication des premières traductions des anthologies poétiques japonaises dans les années 1910. Il n'y a pourtant aucun lien linguistique entre le haiku et les poètes de langue espagnole. Néanmoins, les premiers recueils de haikus datent également des années 1910, signe qu'il n'y guère de latence entre l'apparition du haiku et son adaptation en espagnol. C’est en partant de ces constats que nous avons tenté par une approche mutli-focale fondée notamment sur l'analyse littérale, de retracer l’itinéraire littéraire et linguistique de cette forme poétique, depuis les rouleaux en papier de riz japonais jusqu'au haiku dit « hispanique »
The purpose of this thesis is set at a crossroads between linguistics and literature since it is about the haiku in Hispanic literature, which we aim to characterize as a poetic form in the Spanish-speaking literary context and as a "prototype" of the brief from the perspective of its discursive and enunciative terms. Traditionally associated with Japanese culture, in which it takes root, the haiku is one of the shortest poetic forms in the world. With its seventeen syllables in all, it compels to the greatest thoroughness in the choice of words, a concise expression and a "condensation" of the meaning that make it a succint poem, often to be pondered after reading. Neither verse nor rhyme are part of the metrical constraints of the Japanese haiku. Its aesthetics, influenced by Zen Buddhism, aims to be contemplative, supported by the subjectivity of the poetic voice, which appears as a "witness of the world", only transposing facts that are sometimes "unimportant", often trivial, yet nonetheless a part of any person's daily life. In Western poetry, the haiku has no equivalent, owing as much to its brevity as to its "puristic" aesthetics. However, it should be noted that it is strongly represented in contemporary Hispanic literature. Neither the Orientalism from the beginning of the XXth century nor the poetic re-assessments started by the Modernists and carried on by the Avant-Garde movements are enough to explain this enthusiasm of the Spanish-speaking poets for this Japanese poem. Indeed, Hispanic literature took hold of this literary phenomenon as soon as the first translations of Japanese anthologies were published, in the 1910s. There is, however, no linguistic connection between the haiku and Spanish-speaking poets. Nevertheless, the first collections of haikus also date back to the 1910s, which indicates that there was no latency between the appearance of the haiku and its adaptation into Spanish. Starting from these observations, we attempted, through a multi-focal approach notably based on literal analysis, to retrace this poetic form's literary and linguistic path, from the Japanese rice paper rolls to the so-called "Hispanic" haiku

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Garrett, Hélène. „Identity in the Papiamentu haiku of Elis Juliana“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59717.pdf.

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Hirschfeld, Caspar René. „Haiku IV: für Flöte solo (op. 66 b)“. Caspar René Hirschfeld, 2020. https://slub.qucosa.de/id/qucosa%3A70682.

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Haiku IV für Flöte solo ist eines von mehreren Werken, in denen ich mich mit der japanischen Gedichtform des HAIKU außeinandersetze. Die Struktur 5-7-5, die in der Silbenanzahl dieser Gedichte zu finden ist und die direktheit des Ausdrucks werden auf musikalische Struktur übertragen.

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Szentiványi, Helga. „Frauen in der Bürgerkultur der Edo-Zeit : anhand von Beispielen aus der Haikai-Dichtung unter besonderer Berücksichtigung von Kaga no Chiyo /“. München : Iudicium, 2008. http://d-nb.info/990593045/04.

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Delteil, André. „Théorie et pratique du haiku dans la société japonaise contemporaine“. Paris 3, 1988. http://www.theses.fr/1989PA030051.

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Ne a la fin du xixeme siecle, le haiku est issu du premier verset ("hokku") d'une suite poetique de creation collective (dite "renga" puis "haikai"; aujourd'hui "renku"). Il incorpore, au titre de l'echange de salutations, une reference a la saison. Concis et depouille, loin de la poesie descriptive, ce genre impute le sentiment a la chose. Il fait appel au visuel et a la resonance avec les oeuvres du passe. Art populaire par excellence, le haiku est le support neo-classique de la creation culturelle. La pratique du vote croise ("gosen") sur les oeuvres d'autrui souligne le caractere transitionnel de ce lieu d'echange poetique qu'est le haiku, dont les caracteristiques sont a la fois celles d'une poesie aristocratique et celles d'une poesie populaire
Haiku is born, at the end of the xixth century, from the first verse ("hokku") of a collective poetical creation series (named "renga", then "haikai"; nowadays "renku"). It incorporates, as an exchange of salutations, a reference to a determined season. Concise and reduced to essentials, far from being a descriptive poetry, it ascribes or imputes feelings to things. It appeals to the visual sense and to resonances with poetry from the past. Pre-eminently a popular art, haiku is a neo-classical medium for cultural creation. The practice of reciprocal voting ("gosen") on each other's poems, where the author position yields to a reader's status, underlines the transitional specificity of the poetical exchange medium that is haiku, whose character is both aristocratic and popular

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Bücher zum Thema "Haiku"

Heese, Marié. Haiku: Haiku for Africa. Pretoria: University of South Africa, 1997.

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Čekolj, Marijan. Haiku sekvence: Teorija haiku. Samobor: Hrvatsko haiku društvo, 2011.

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Kawana, Hajime. Chōhatsusuru haiku iyasu haiku. Tōkyō: Chikuma Shobō, 2010.

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Aoki, Makoto. Haiku, haiku to shi. Chiyoda-ku, [Tokyo]: Yumani Shobō, 2012.

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Ritchie, Ward. Haiku. [Los Angeles]: Imprenta Glorias, 1985.

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Bodden, Valerie. Haiku. Mankato, MN: Creative Paperbacks, 2011.

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Bodden, Valerie. Haiku. Mankato, MN: Creative Education, 2008.

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Villanueva, Alberto. Haiku. [Montevideo, Uruguay]: Ediciones del Mirador, 1989.

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Giudice, Giovanni. Haiku. Novi Ligure (AL) [i.e. Alessandria, Italy]: Puntoacapo, 2012.

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Kozłowski, Marcin. Haiku. Kielce: Gens, 1998.

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Buchteile zum Thema "Haiku"

Michaela, Morgan. „Haiku“. In How to Teach Poetry Writing: Workshops for Ages 8–13, 31. Third Edition. | New York: Routledge, 2020. | Series: Writer’s workshop series | “Second edition published by Routledge: Routledge, 2019. http://dx.doi.org/10.4324/9781315103693-11.

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Selden, Kyoko, und Mark Selden. „Haiku“. In The Atomic Bomb: Voices from Hiroshima and Nagasaki, 141–56. New York: Routledge, 2015. http://dx.doi.org/10.4324/9781315700236-13.

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Evans, Brian. „3D Haiku“. In Practical 3D Printers, 99–127. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4393-9_5.

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Guy, Elizabeth. „Four Haiku“. In Reflect & Write, 98. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003237686-88.

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Guy, Elizabeth. „Four Haiku“. In Reflect & Write, 94. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003237686-84.

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Lee, Laura. „Four Haiku“. In Reflect & Write, 81. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003237686-71.

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Needle, Cynthia. „Four Haiku“. In Reflect & Write, 60. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003237686-50.

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Katona, Cynthia Lee. „Four Haiku“. In Reflect & Write, 31. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003237686-19.

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Katona, Cynthia Lee. „Four Haiku“. In Reflect & Write, 45. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003237686-33.

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Kazalarska, Zornitza. „Warum gerade Haiku? – Jiří Valochs Haiku-Interventionen“. In Haiku – Epigramm – Kurzgedicht, 249–64. Köln: Böhlau Verlag, 2021. http://dx.doi.org/10.7788/9783412513481.249.

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Konferenzberichte zum Thema "Haiku"

Helgason, Ingi. „Beat Haiku“. In the 7th Nordic Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2399016.2399142.

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Obara, Hideto, Naoko Tosa und Michihiko Minoh. „Hitch haiku“. In the international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1255047.1255108.

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Tosa, Naoko, Hideto Obara, Michihiko Minoh und Seigow Matsuoka. „Hitch haiku“. In the 2nd international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1306813.1306821.

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Tosa, Naoko. „Hitch-Haiku“. In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280120.1280203.

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Šimbelis, Vygandas 'Vegas', Elsa Vaara, Pedro Ferreira, Jarmo Laaksolahti und Kristina Höök. „Delete by Haiku“. In CHI '17: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3027063.3049781.

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Ito, Takuya, Jumpei Ono und Takashi Ogata. „Haiku Generation Using Gap Techniques“. In the 2018 International Conference. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3293663.3293666.

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Гринина, Е. Н. „«PICTURESQUE HAIKU» BY ELENA BRANOVITSKAYA“. In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.19.

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Annotation:

Японская поэзия и живопись всегда привлекали российских литераторов и художников. Национальная форма стихосложения хайку и в наши дни находит не просто отклик в душах, а становится для некоторых из них формой самореализации. Одним из таких примеров является творчество петербургской художницы Елены Брановицкой. Обращаясь в своей художественной и педагогической практике к технике энергетической живописи, она развивает собственное творческое направление, выражающееся в соединении живописи и слова Japanese poetry and painting have always attracted Russian writers and artists. Even today, the national form of haiku poetry not only finds a response in souls, but for some of them it becomes a form of self-realization. One such example is the work of St. Petersburg artist Elena Branovitskaya. Turning to the technique of energy painting in her artistic and pedagogical practice, she develops her own creative direction, expressed in the combination of painting and words.

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Nitta, Yoshihiko. „Language Education by HAIKU-Like Simple Sentences“. In Computers and Advanced Technology in Education. Calgary,AB,Canada: ACTAPRESS, 2012. http://dx.doi.org/10.2316/p.2012.774-071.

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Shao, Guanming, Yosuke Kobayashi und Jay Kishigami. „Traditional Japanese Haiku Generator using RNN Language Model“. In 2018 IEEE 7th Global Conference on Consumer Electronics (GCCE). IEEE, 2018. http://dx.doi.org/10.1109/gcce.2018.8574857.

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Spence, Lucy. „The Affordances of Haiku as a Multimodal Text“. In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1571059.

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Berichte der Organisationen zum Thema "Haiku"

Ground water and surface water in the Haiku area, East Maui, Hawaii. US Geological Survey, 1999. http://dx.doi.org/10.3133/wri984142.

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Geohydrology and Possible Transport Routes of Polychlorinated Biphenyls in Haiku Valley, Oahu, Hawaii. US Geological Survey, 1993. http://dx.doi.org/10.3133/wri924168.

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Streamflow and Suspended-Sediment Loads Before and During Highway Construction, North Halawa, Haiku, and Kamooalii Drainage Basins, Oahu, Hawaii, 1983-91. US Geological Survey, 1996. http://dx.doi.org/10.3133/wri964259.

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Statistical summary of hydrologic and water-quality data from the North Halawa, Haiku, and Kamooalii drainage basins, Oahu, Hawaii, water years 1983-89. US Geological Survey, 1992. http://dx.doi.org/10.3133/wri924049.

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Streamflow and Suspended-Sediment Loads Before, During, and After H-3 Highway Construction, North Halawa, Haiku, South Fork Kapunahala, and Kamooalii Drainage Basins, Oahu, Hawaii, 1983-99. US Geological Survey, 2002. http://dx.doi.org/10.3133/wri20024005.

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