Relevant bibliographies by topics / Haikau

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Academic literature on the topic 'Haikau'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Haikau"

1

Tavares, Débora Fernandes. "ENTREVISTA COM TERUKO ODA." Estudos Japoneses, no. 42 (November 10, 2019): 145–52. http://dx.doi.org/10.11606/issn.2447-7125.v0i42p145-152.

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Teruko Fujino Oda (1945-) é poeta e exerce um papel importante na disseminação do haikai no Brasil. Filha de imigrantes japoneses e sobrinha de Hidekazu Masuda (1911-2008), o Mestre Goga, um dos fundadores do Grêmio Haicai Ipê, desde a infância Teruko Oda viu-se cercada pela natureza onde vivia no interior de São Paulo e pela prática do haikai. À frente da coordenação do Grêmio Haicai Ipê desde 2012, nesta entrevista inédita concedida em março de 2017, Teruko conta-nos sobre o seu primeiro contato com o haikai, sobre as atividades desenvolvidas pelo Grêmio Haicai Ipê e suas expectativas para o futuro.
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Graceillia, Eugenie, and Soni Mulyawan Setiana. "RANCANGAN MEDIA HAIKU NO HAJIMARI SEBAGAI MEDIA ALTERNATIF PEMBELAJARAN NIHON BUNKASHAKAI NYUUMON." MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya 1, no. 2 (October 30, 2021): 229–40. http://dx.doi.org/10.34010/mhd.v1i2.5753.

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Penelitian ini bertujuan untuk mengetahui rancangan dari aplikasi media Haiku No Hajimari sebagai media alternatif dalam pembelajaran Nihon Bunkashakai Nyuumon. Media ini dibuat menggunakan aplikasi Thunkable.. Metode yang digunakan dalam penelitian ini yaitu metode pengembangan model ADDIE (Analysis, Design, Development, Implementation, dan Evaluation). Media ini membahas tentang perkembangan haikai mulai dari zaman Pramodern. Dalam penelitian ini, terdapat penjelasan mengenai media Haiku No Hajimari mulai dari rancangan tampilan pembuka hingga menu credit. Media ini dirancang untuk membantu mahasiwa yang sedang mengikuti mata kuliah Nihon Bunkashakai Nyuumon dalam memahami materi Haiku. Materi dalam media ini diambil dari buku Sejarah Kesusastraan Jepang yang ditulis oleh Isoji Asoo, dkk. Kesimpulan dari penelitian ini adalah rancangan aplikasi media Haiku No Hajimari telah berhasil dilakukan dan dapat berjalan dengan lancar.
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Oliveira, Ana Maria Abrahão dos Santos. "ENTRE O VERBAL E O VISUAL: O HAIKAI E A FOTOGRAFIA NA POÉTICA DE PAULO LEMINSKI." A Cor das Letras 8, no. 1 (March 4, 2017): 117. http://dx.doi.org/10.13102/cl.v8i1.1570.

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Este artigo pretende discutir a poética de Paulo Leminski, em espe-cial, o haikai, destacando sua relação com a fotografia. Primeiramente apre-senta um breve resumo sobre a questão do olhar desde a Antigüidade Clássi-ca até a Modernidade. Será discutida também a mesma questão, dando ênfase à poesia moderna, em especial, os haikais, relacionando-a com o olhar fotográfico.
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SILVA, B. A., R. R. M. LEITE, and M. S. REBOITA. "Haiyan and Haima typhoons: Characteristics During Formation, Maturation and Dissipation." Anuário do Instituto de Geociências - UFRJ 41, no. 3 (December 4, 2018): 37–53. http://dx.doi.org/10.11137/2018_3_37_53.

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PHILIPPINI, Paulo, and Glauco CAZÉ. "Brasil - Japão, a literatura unida por poucas palavras: do haiku ao haicai/senryuu." LUMEN 31, no. 1 (2022): 73–89. http://dx.doi.org/10.24024/23579897v31n1a2022p73089.

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Luqyana, Mahdiah, and Tri Mulyani Wahyuningsih. "MAKNA DUA HAIKU BERUNSUR BUAH 柿」(KAKI) KARYA MASAOKA SHIKI: PENDEKATAN SEMIOTIK RIFFATERRE." Alayasastra 17, no. 1 (May 31, 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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Rizqiana, Novia Aliefta, and Desy Irmayanti. "PERBANDINGAN ESTETIKA WABI SABI PADA HAIKU KARYA MATSUO BASHO DAN MASAOKA SHIKI DALAM BUKU WABI SABI KARYA MARK REIBSTEIN." AKIRA: Jurnal Bahasa, Budaya, dan Sastra Jepang 1, no. 1 (May 8, 2023): 1–18. http://dx.doi.org/10.25139/akira.v1i1.5865.

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Penelitian ini meneliti tentang perbandingan estetika wabi sabi pada haiku karya Matsuo Basho dan Masaoka Shiki pada buku Wabi Sabi karya Mark Reibstein. Penelitian ini bertujuan mendeskripsikan estetika wabi sabi pada buku cerita anak Wabi Sabi karya Mark Reibstein yang meliputi, (1) Estetika wabi dan sabi pada haiku karya Matsuo Basho, (2) Estetika wabi dan sabi pada haiku karya Masaoka Shiki, (3) Persamaan dan perbedaan estetika wabi sabi pada haiku karya Matsuo Basho dan Masaoka Shiki. Penelitian ini menggunakan metode penelitian kualitatif, karena menggunakan data deskriptif kata yang berupa media cetak yaitu buku. Penelitian ini diteliti menggunakan teori wabi sabi oleh Beth Kempton dan Kobayashi Hinata. Hasil dari penelitian ini adalah estetika wabi sabi pada haiku karya Matsuo Basho menunjukan kesederhanaan, kesepian, keheningan, nuansa gelap musim gugur, musim dingin, pagi, siang, dan malam hari. Sedangkan estetika wabi sabi pada haiku karya Masaoka Shiki menunjukan kesederhanaan, kesepian, nuansa gelap, musim gugur, tanda-tanda penuaan, dan sore hari. Persamaan yang ditemukan adalah haiku karya Matsuo Basho dan Masaoka Shiki mengandung estetika wabi dan sabi dengan empat haiku karya Matsuo Basho dan lima haiku karya Masaoka Shiki. Persamaan lainnya adalah haiku karya Matsuo Basho dan Masaoka Shiki mengandung keterangan waktu pada musim gugur. Perbedaan yang ditemukan adalah tidak semua haiku karya Matsuo Basho mengandung estetika wabi dan sabi sedangkan haiku karya Masaoka Shiki semuanya mengandung estetika wabi dan sabi. Perbedaan lainnya adalah haiku karya Matsuo Basho lebih mengekspresikan pada situasi yang menggambarkan nuansa Buddha, sedangkan haiku karya Masaoka Shiki lebih berfokus pada kondisi alam. Kata Kunci: Wabi Sabi; Haiku; Buku
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Fitriani, Indah. "Haiku dan Senryu dalam Puisi Bahasa Indonesia." Metahumaniora 8, no. 3 (December 27, 2018): 360. http://dx.doi.org/10.24198/metahumaniora.v8i3.20715.

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AbstrakHaiku yang merupakan puisi tradisional Jepang dikatakan sebagai genre puisi yang sedang digiatkan di Indonesia. Tidak hanya penyair, orang awam pun banyak yang tertarik dengan genre puisi Jepang ini. Haiku memiliki 17 suku kata yang terbagi dalam pola 5-7-5, terdiri atas 5 suku kata pada larik pertama, 7 suku kata pada larik kedua, dan 5 suku kata pada larik ketiga. Selain itu, yang menjadi ciri khas haiku adalah adanya kigo (kata-kata penanda musim) dan kireji (kata-kata pemotong yang menunjukkan jeda). Berkenaan dengan musim, Jepang dan Indonesia tentu memiliki musim yang berbeda. Kigo atau penanda musim inilah yang menjadi tantangan bagi para penyair haiku di Indonesiayang membuatpenulisan haiku di Indonesia seakan-akan menghilangkan ruhnya haiku. Penyair haiku di Indonesia lebih banyak membicarakan moral dan kritik daripada keindahan alam. Pada dasarnya, di Jepang bentuk haiku yang berbicara tentang moraltermasuk genre puisi tersendiri, yaitu senryu. Dengan menggunakan metode perbandingan, penulis akan meneliti perbedaan haiku dan senryu dalam puisi Indonesia.Kata kunci: haiku, senryu, puisi IndonesiaAbstractHaiku, which is traditional Japanese poetry, is said to be a genre of poetry that is being activated in Indonesia. Not only poets, many ordinary people are interested in this Japanese poetry genre. Haiku has 17 syllables divided into 5-7-5 patterns, or 5 syllables on the first array, 7 syllables on the second array, and 5 syllables on the third array. Besides, what characterized haiku is the presence of kigo (season marker words) and kireji (cutting words that show pauses). With regard to seasons, Japan and Indonesia certainly have different seasons. Kigo or this season marker is a challenge for haiku poets in Indonesia, so writing haiku in Indonesia seems to eliminate the spirit of haiku. Most haiku poets in Indonesia talk about morality and criticism rather than natural atmosphere. The form of haiku which talks about morality actually in Japan includes its own genre of poetry, namely senryu. Using the comparison method, the author will study the differences in haiku and senryu in Indonesian poetry.Keywords: haiku, senryu, Indonesian poetry
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Fitriani, Indah. "Haiku dan Senryu dalam Puisi Bahasa Indonesia." Metahumaniora 8, no. 3 (December 27, 2018): 360. http://dx.doi.org/10.24198/mh.v8i3.20715.

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AbstrakHaiku yang merupakan puisi tradisional Jepang dikatakan sebagai genre puisi yang sedang digiatkan di Indonesia. Tidak hanya penyair, orang awam pun banyak yang tertarik dengan genre puisi Jepang ini. Haiku memiliki 17 suku kata yang terbagi dalam pola 5-7-5, terdiri atas 5 suku kata pada larik pertama, 7 suku kata pada larik kedua, dan 5 suku kata pada larik ketiga. Selain itu, yang menjadi ciri khas haiku adalah adanya kigo (kata-kata penanda musim) dan kireji (kata-kata pemotong yang menunjukkan jeda). Berkenaan dengan musim, Jepang dan Indonesia tentu memiliki musim yang berbeda. Kigo atau penanda musim inilah yang menjadi tantangan bagi para penyair haiku di Indonesiayang membuatpenulisan haiku di Indonesia seakan-akan menghilangkan ruhnya haiku. Penyair haiku di Indonesia lebih banyak membicarakan moral dan kritik daripada keindahan alam. Pada dasarnya, di Jepang bentuk haiku yang berbicara tentang moraltermasuk genre puisi tersendiri, yaitu senryu. Dengan menggunakan metode perbandingan, penulis akan meneliti perbedaan haiku dan senryu dalam puisi Indonesia.Kata kunci: haiku, senryu, puisi IndonesiaAbstractHaiku, which is traditional Japanese poetry, is said to be a genre of poetry that is being activated in Indonesia. Not only poets, many ordinary people are interested in this Japanese poetry genre. Haiku has 17 syllables divided into 5-7-5 patterns, or 5 syllables on the first array, 7 syllables on the second array, and 5 syllables on the third array. Besides, what characterized haiku is the presence of kigo (season marker words) and kireji (cutting words that show pauses). With regard to seasons, Japan and Indonesia certainly have different seasons. Kigo or this season marker is a challenge for haiku poets in Indonesia, so writing haiku in Indonesia seems to eliminate the spirit of haiku. Most haiku poets in Indonesia talk about morality and criticism rather than natural atmosphere. The form of haiku which talks about morality actually in Japan includes its own genre of poetry, namely senryu. Using the comparison method, the author will study the differences in haiku and senryu in Indonesian poetry.Keywords: haiku, senryu, Indonesian poetry
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Zhang, Yu. "Information Construction of Sports Tourism in Haikou City under the Background of Internet." Wireless Communications and Mobile Computing 2022 (July 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/6171234.

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So far, there are few reports on the evaluation and analysis of sports tourism resources in Haikou by the combination of qualitative evaluation and quantitative evaluation. This paper comprehensively uses Delphi method, questionnaire survey method, analytic hierarchy process, mathematical statistics, and other research methods to take Haikou sports tourism resources as the research object. Through the field investigation of Haikou sports tourism resources, this paper comprehensively evaluates Haikou sports tourism resources by combining qualitative and quantitative evaluation methods, in order to improve and innovate the theoretical level of Haikou sports tourism resource evaluation and provide data support and practical basis for the development and utilization of sports tourism resources in Haikou, so as to promote the sustainable and efficient development of sports tourism industry in Haikou. The evaluation results of sports tourism resources in Haikou are divided into four parts: advantages, disadvantages, opportunities, and challenges. It is considered that the advantage of sports tourism resources in Haikou is the scarcity of resources, unique charm, exciting events, and strong appreciation. The disadvantage is that the popularity of sports tourism resources in Haikou is low, and the suitable travel period is short. The opportunity is that the natural environmental conditions and the traditional sports characteristics of ethnic minorities are prominent, the cooperation with surrounding cities in sports tourism is deepened, and the tourist market potential is huge. The threat is that the market competition of homogeneous sports tourism products is fierce, the conditions of sports tourism human resources are poor, the publicity methods are old, and the development of local air transportation is backward.
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Dissertations / Theses on the topic "Haikau"

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Savornin, Sabine. "De la réception du haiga en France ou de la relation entre poésie et peinture, entre mot et image." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10024.

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Depuis la japonisme, soit la seconde moitié du XIXe siècle, les études et expositions sur l'art japonais n'ont cessé de se mulitplier. Toutefois, ce sont généralement les mêmes oeuvres et artistes nippons qui sont mis en avant : d'une part les ukiyo-e avec Hokusai, Hiroshige ou Utamaro pour la peinture, d'autre part les haiku avec essentiellement Basho pour la poésie. Aussi se posait cette question : pourquoi le haiga est-il peu connu en France alors que la forme poétique à laquelle il se rattache - le haikai - y est largement connue et appréciée ? Notre hypothèse de départ est la suivante : le haiga reste méconnu en Occident pour deux raisons, l'une ayant trait à l'objet que constitue le haiga, l'autre au contexte du japonisme, ces deux raisons ayant partie liée selon nous à des conceptions différentes de la relation mot et image, qu'il s'agisse de différences culturelles, des conséquences de progrès techniques dans la production et reproduction d'image ou intérêts idéologiques ou commerciaux. Cette recherche se découpe en trois parties : la partie I où nous remontons aux sources du haiga pour restituer les conditions de son apparition dans l'histoire culturelle japonaise ; la partie II consistant en l'analyse de haiga et commentaires de traduction pour cerner la singularité du haiga et aborder la réception du haiga en Europe ; la partie III comparant la culture japonaise et la culture française pour envisager, d'une part, la réception de l'art japonais dans le contexte historique de l'époque et, d'autre part, reconsidérer l'influence de l'art japonais sur la peinture et la poésie en France et ses conséquences sur leur évolution.
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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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Araujo, Rodrigo Michell dos Santos. "Haikai do mundo haikai de mim : o nada na poesia de Paulo Leminski." Pós-Graduação em Letras, 2014. https://ri.ufs.br/handle/riufs/5750.

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Esta dissertação investiga a produção de haikais do poeta curitibano Paulo Leminski, tomando como corpus de análise sua produção das décadas de 1970 e 1980, período de maior intensidade artística, a partir das obras Caprichos e Relaxos (1983) e La vie en close (1994). A investigação será possível mediante a constituição - pelo caminho das críticas literárias brasileira e francesa, de Benedito Nunes a Maurice Blanchot - de um espaço interseccional em que (i) a obra literária possa se abrir para o mundo, reatando os liames com o real; (ii) a literatura e a filosofia possam dialogar, sem nenhuma relação antipodal; (iii) a poesia se encontre com o pensamento oriental e com o Zen-budismo. Deste modo, defendemos a tese de que o haikai, pela sua estética do ver, do sentir e do experienciar o mundo, é a fina flor da poesia, e que os haikais de Leminski, em diálogo com a tradição nipônica e com a filosofia Zen, são carregados de experiência mística e contemplativa, um caminho em direção ao Nada.
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Nunes, Roberson de Sousa. "Haikai e performance: imagens poéticas." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/ECAP-8HCP4D.

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This thesis is dedicated to studies on haiku and performance, aiming to establish intersection points between the former, a kind of Japanese poetry, and the latter, a field of action and reflection which combines theory and practice. Starting from reference pathways regarding both forms, the research seeks to generate a dialogue between Western and Eastern ways of thinking, focused on artistic doings, in order to merge concepts and practices, and to contribute to the emergence of an up-to-date, transdisciplinary performatic critic. The art works used as examples in this study aimed to demonstrate trends expressed on the boundaries of the following fields: performance art, poetry, theater, dance, music, visual arts, photography, cinema, etc. The thesis was based on the experimentalist tradition in arts pervasive during the twentieth century, and reacted to, or dialogued with, the cultural and social contexts in which this tradition manifests itself. Having originated from the creation of the poetic and theatrical performance, HAIKU only clouds swim at the bottom of the river, the work focused on the conflicting connection between performative, pictorial, transient practices, and the poetic, academic record.
Esta tese se dedica a estudos sobre o 'haikai' e a performance, buscando estabelecer pontos de interseção entre aquela espécie de poesia japonesa e este campo de ação e reflexão, onde se conjuga a teoria e a prática. A partir de percursos referenciais a respeito de ambas as formas, a pesquisa procura criar uma interlocução entre os modos de pensar ocidental e oriental, voltados aos fazeres artísticos, no intuito de permeabilizar conceitos e práticas, e de contribuir para uma crítica performática atualizada e transdisciplinar. Os trabalhos de arte tomados como exemplos, neste estudo, correspondem ao desejo de se ilustrar tendências que se expressam nos espaços limiares entre os campos da 'performance art', da poesia, do teatro, da dança, música, das artes plásticas, da fotografia, do cinema, etc. A tese se realiza com base numa tradição experimentalista, em arte, que atravessa o século XX, reagindo a ou dialogando com os contextos culturais e sociais em que se manifesta. Tendo se originado desde a criação da performance poético-cênica 'HAIKAI - somente as nuvens nadam no fundo do rio', o trabalho investe na conexão paradoxal entre práticas performáticas, imagéticas e efêmeras, e o registro poético e acadêmico.
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Bueno, Iury Carlos. "Barthes, fotografia, haikai: a isenção do sentido." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20166.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-06-20T12:21:48Z No. of bitstreams: 1 Iury Carlos Bueno.pdf: 1651121 bytes, checksum: 664b6ab8d7f434050b9d7ee5f566ad59 (MD5)
Made available in DSpace on 2017-06-20T12:21:48Z (GMT). No. of bitstreams: 1 Iury Carlos Bueno.pdf: 1651121 bytes, checksum: 664b6ab8d7f434050b9d7ee5f566ad59 (MD5) Previous issue date: 2017-06-09
The present research is dedicated to a reflection on the possible relations between photography and haikai in the work of Roland Barthes, including those works of the author that can illustrate them: The Empire of Signs (1970), The Neutral (1977-1978), The Preparation of Romance (1978-1979) and Camera Lucida (1980). More specifically, we will focus on the concept of "punctum" in the light of the insistent notes on the instantaneousness of haiku that are disseminated in the barthesian text, proposing a nexus between literature and image. We hypothesize that "punctum" is the last manifestation of "zero degree" or "neutral", understood as a problematic stronghold of meaning that escapes the paradigm of meaning. The main corpus of the research comprises the barthesian texts in which we astonish said intersection and meetings. The theoretical references involve a state of the art of barthesian studies (Calvet, Marty, Batchen and among us Motta, Perrone-Moisés), the most relevant works on photography (Dubois, Soulages, Rouillé, Frade, Sontag) and studies on haiku (Blyth, Paz, Herrigel, Keene, and among us Franchetti, Leminski, Verçosa, Campos)
A presente pesquisa é dedicada a uma reflexão sobre as relações possíveis entre fotografia e haikai na obra de Roland Barthes, abarcando aquelas obras do autor suscetíveis de ilustrá-las a saber: O Império dos Signos (1970), O Neutro (1977- 1978), A Preparação do Romance (1978-1979) e A Câmara Clara (1980). Mais especificamente, enfocaremos o conceito de “punctum” à luz das insistentes notas sobre a instantaneidade do haikai que se disseminam no texto barthesiano, propondo um nexo entre a literatura e a imagem. Formulamos a hipótese de que o “punctum” é a última manifestação do “grau zero” ou do “neutro”, entendidos como reduto problemático do sentido que escapa ao paradigma do significado. O corpus principal da pesquisa compreende os textos barthesianos em que surpreendemos a referida intersecção e reuniões. Os referenciais teóricos envolvem um estado da arte dos estudos barthesianos (Calvet, Marty, Batchen e entre nós Motta, Perrone- Moisés), os mais relevantes trabalhos sobre fotografia (Dubois, Soulages, Rouillé, Frade, Sontag) e estudos abalizados sobre o haikai (Blyth, Paz, Herrigel, Keene, e entre nós Franchetti, Leminski, Verçosa, Campos)
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Hirashima, Cezar Katsumi. "O Haikai nas artes visuais: tradução intersemiótica." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-21072009-202225/.

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Com base na teoria da tradução intersemiótica desenvolvida por Julio Plaza, o objetivo central desta pesquisa é analisar o processo de recriação das formas estéticas em traduções intersemióticas de haikai para o universo das artes visuais. Mais especificamente, trata-se de considerar as especificidades desse tipo de poema em seus aspectos sintáticos, semânticos e pragmáticos e analisar como são obtidas as equivalências nesses níveis no processo de transmutação intersígnica. Além disso, tendo em vista a importância dos meios de produção artística, especialmente no caso da tradução intersemiótica, observaremos como o meio pode favorecer a obtenção da equivalência. Como estudo de caso, propomos analisar traduções intersemióticas do haikai Furuikeya, do poeta japonês Matsuo Bash, para artes visuais em três tipos distintos de meio, elencados a partir de suas especificidades semióticas em relação ao processo de produção de imagens: meios artesanais, meios mecânicos e meios eletrônicos.
Based on the theory of Intersemiotic Translation developed by Julio Plaza, the central purpose of this research is to analyse the process of recreation of aesthetical forms in intersemiotic translations of haiku into the universe of visual arts. More specifically, considering the peculiarities of this type of poem in its syntactic, semantic, and pragmatic aspects, we will analyse how the equivalences on these levels will be obtained in the process of intersign transmutation. Besides, since the media of artistic production are important, especially in the case of intersemiotic translation, we will observe how the medium can aid the achievement of equivalence. As a case study, we propose to analyse intersemiotic translations of the haiku Furuikeya (composed by the Japanese poet Matsuo Bash) into visual arts in three different types of medium, chosen from their semiotic peculiarities in relation to the process of image production: craft media, mechanical media, and electronic media.
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Wang, Xiaoxiao. "The Second Home Phenomenon in Haikou, China." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/1010.

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Second home ownership is a new and booming phenomenon in China. Although it has been widely discussed in newspaper, radio and other mass media, it has not raised much academic concern. This study is a preliminary research in this field.

In western counties, second home growth has caused a series of socio-economic impacts to the host community, including housing price inflation, displacement of local people, disruption of local service, etc. These effects identified by western literatures are examined in the context of Haikou, China.

Through applications of interview, on-site observation and secondary research, this study generally confirms the impacts addressed by other second home research. Similar to the western experience, the growth of second homes in Haikou has both positive and negative impacts. On the positive side, the increase of second home purchase contributes to the boom of property-related industry. On the negative side, it causes inflation pressure on housing price and affects the affordability of the housing for local people. The seasonality of second home occupation also leads to a "ghost communit" problem. However, as the development of second homes in Haikou is at an early stage, both their positive and negative impacts are not significant. Some effects such as the displacement of locals, the effects on local retail outlets and services are not detectable. Remarkably, this study addresses two problems that can only be found in China: "college entrance exam immigration" and "illegal sale of hukou".

Based on the major findings, policy recommendations for local government are provided. Implications for conducting research in China, and for future research opportunities are also suggested.
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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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Books on the topic "Haikau"

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Mora, Pat. Yum! mmmm! qué rico!: Brotes de las Américas. New York: Lee & Low Books, 2009.

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1947-, Katō Sadahiko, and Miura Jakkai, eds. Haikai jinbutsu binran: Tsuketari, Haika jinbutsu binran. Tōkyō: Yumanishobō, 1999.

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O'Mara, Joan Hertzog. The Haiga genre and the art of Yosa Buson (1716-84). Ann Arbor, Mi: University Microfilmes International, 1998.

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Fukumoto, Ichirō. Haiku geijutsuron. Tōkyō: Chūsekisha, 2000.

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Kubota, Motomi. Yojō no fukken: Gendai haiku no wasuremono. Tōkyō: Tōkyō Shiki Shuppan, 1999.

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Matsuoka, Kiyoshi. Gendai haiku hyōronshi. Tōkyō: Kadokawa Shoten, 2005.

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Hakubutsukan, Tateyama Shiritsu. Haikai-zanmai: Haiku ga hakobu Edo bunka : kikakuten zuroku. Tateyama-shi: Tateyama Shiritsu Hakubutsukan, 2004.

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Yosa, Buson. Botsugo 220-nen Buson. Kyōto-shi: Shibunkaku Shuppan, 2003.

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1943-, Fukumoto Ichirō, ed. Sanseidō meika meiku jiten. Tōkyō: Sanseidō, 2005.

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Aiba, Shin, and Nishiyama Matsunosuke. Matsumoto Kinkeijō no haiku: Aru Meiji haidan gaishi. Tōkyō: Nagata Shobō, 1989.

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Book chapters on the topic "Haikau"

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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, and 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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Conference papers on the topic "Haikau"

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Shang, Chunjing, Yifan Yang, Zhuangqin Yin, Yanrong Li, and Lance Liu. "Prediction and Analysis on the Amount of Construction Decoration Waste in Haikou, Hainan Province." In International Conference on Construction and Real Estate Management 2013. Reston, VA: American Society of Civil Engineers, 2013. http://dx.doi.org/10.1061/9780784413135.147.

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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, and 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, and 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, and 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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WU, XIAN-XIAN, and HONG-JUN FAN. "ANALYSIS OF THE EVALUATION FOR HIGH-TOP TOURISM DEVELOPMENT IN HAINAN UNDER THE BACKGROUND OF FREE TRADE PORT CONSTRUCTION—BASED ON THE APPLICATION OF HIGH-TOP TOURISM DEVELOPMENT EVALUATION STANDARD SYSTEM." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtem/mebit2021/35626.

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Improving the high-top tourism service capacity is an important requirement for the construction of Hainan free trade port and the development of innovative service industry. Based on the evaluation indexes of high-top tourism development, this paper uses the methods of quantitative research, information research and descriptive analysis to deeply analyze and evaluate the development of high-top tourism in Hainan. From the perspective of high-top tourism elements, this paper uses the application of the evaluation standard system of high-top tourism development to study and analyze the development of high-top tourism in Hainan. This paper holds idea that the development of high-top tourism in Hainan has unique advantages in market, industry, investment and environment, and has broad prospects for development. In the future, the focus of Hainan's high-top tourism development lies in adjusting the supply structure of high-top tourism, improving the management of high-top tourism, focusing on the key points, making up for the weaknesses and strengthening the weak points, so as to help Hainan's high-top tourism develop in an all-round way.
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Chen, C., Z. S. Wu, S. J. Sun, Z. H. Ding, and Z. W. Zhao. "MUF Variability at Haikou, China." In 2008 8th International Symposium on Antennas, Propagation & EM Theory (ISAPE - 2008). IEEE, 2008. http://dx.doi.org/10.1109/isape.2008.4735232.

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Ito, Takuya, Jumpei Ono, and 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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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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Reports on the topic "Haikau"

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Tran, Minh, and Reinna Bermudez. Durable Solutions for People Displaced by Typhoon Haiyan in Tacloban, Philippines. Stockholm Environment Institute, December 2022. http://dx.doi.org/10.51414/sei2022.050.

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This research assesses the impacts of displacement on quality of life and human rights in resettlement villages in Tacloban, a city in Region VIII of the Philippines that was hit the hardest by Typhoon Haiyan in 2013. Typhoon Haiyan, one of the most powerful tropical storms ever recorded, displaced over four million people in the Philippines. To understand the long-term impacts of displacement from this disaster, SEI and the Philippines’ national-level independent Commission on Human Rights (CHR) began research in 2020 on the development implications of disaster displacement and durable solutions. The study aims to inform legislative and policy processes related to human rights, development, transformative disaster risk reduction, long-term disaster recovery, durable solutions and internal displacement in the Philippines. The findings presented here are the first results from this study, which will be published in whole as a separate report.
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Englebretson, Ronald E., and Richard D. Gilmore. Severe Weather Guide - Mediterranean Ports. 15. Haifa. Fort Belvoir, VA: Defense Technical Information Center, March 1988. http://dx.doi.org/10.21236/ada199674.

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Hill, L. J., M. Russell, W. F. Barron, P. LaRocco, and Z. Shen. A prefeasibility study of energy resource options in Hainan, China. Office of Scientific and Technical Information (OSTI), October 1992. http://dx.doi.org/10.2172/10190984.

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Hill, L. J., M. Russell, W. F. Barron, P. LaRocco, and Z. Shen. A prefeasibility study of energy resource options in Hainan, China. Office of Scientific and Technical Information (OSTI), October 1992. http://dx.doi.org/10.2172/6988491.

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Bednarski, J. M., and L. J. Leonard. Photographic record of the tsunami impacts on western Haida Gwaii following the Mw 7.8 Haida Gwaii earthquake on October 28, 2012. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2016. http://dx.doi.org/10.4095/298808.

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Aaron Hogan, Aaron Hogan. How do roots vary? An exploration of root functional traits across an environmental gradient in Hainan, China. Experiment, June 2017. http://dx.doi.org/10.18258/9485.

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Fogarassy, J. A. S., and W. C. Barnes. The middle Cretaceous Haida Formation: a potential hydrocarbon reservoir in the Queen Charlotte Islands, British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1989. http://dx.doi.org/10.4095/127401.

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Rosenberger, A., A. Bird, M. E. Turek, S. Huffman, G. Rogers, J. Cassidy, and T. Mulder. Strong motion data from the magnitude 7.7 "Haida Gwaii" earthquake on October 27, 2012 (local time). Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2013. http://dx.doi.org/10.4095/292275.

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Samsonov, S. V., and M. Czarnogorska. Ground deformation produced by 2012 M7.8 Haida Gwaii earthquake in Canada mapped with RADARSAT-2 DInSAR. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2013. http://dx.doi.org/10.4095/293325.

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Farahbod, A. M., and J. F. Cassidy. Temporal variations in coda Q before and after the 2017 Barrow Strait earthquake (Mw 5.9) in Nunavut and the 2012 Haida Gwaii earthquake (Mw 7.8) in British Columbia. Natural Resources Canada/CMSS/Information Management, 2022. http://dx.doi.org/10.4095/331095.

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In this study, we examine potential temporal changes in coda Q values for two significant Canadian earthquakes in different tectonic environments: the 2017 (Mw 5.9) Barrow Strait earthquake along Canada's northern margin and the 2012 (Mw 7.8) Haida Gwaii subduction earthquake on Canada's west coast. Waveforms from 124 earthquakes (2.0 </= M </= 4.6) for ~30 years prior to the January 8, 2017 Barrow Strait earthquake and 66 events (mainly aftershocks of M 2.0-5.3) in about 4 years after the mainshock recorded by the closest seismic station (RES) of the Canadian National Seismograph Network (CNSN) were utilized in this study. Based on our analysis, overall average of Q0 (Q at 1 Hz) decreased from 92 (before the mainshock) to 81. The most significant decrease in the frequency range between 2 and 16 Hz is observed for areas corresponding to ellipse parameter a2 of 50, 70 and 80 mainly related to aftershock activity. Precursory Q changes could not be evaluated before the mainshock due to the lack of reported seismicity within 100 km of the recording seismic station for almost 2 years from April 2015 to January 2017. Coda Q values before and after the October 28, 2012 Haida Gwaii earthquake in British Columbia show a similar pattern. Waveforms from 249 earthquakes (2.0 </= M </= 4.9) in 2 years before the mainshock and 498 events (2.5 </= M </= 6.3) in 2 years after the mainshock recorded by the three closest seismic stations of the CNSN were utilized. Overall average of Q0 decreased from 89 (before the mainshock) to 69 (station BNB), from 90 to 79 (station DIB) and from 86 to 78 (station VIB). In general, these results are in agreement with other global studies that show a decrease in Q0 following a major earthquake, likely the result of increased fracturing and fluids in the epicentral region.
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