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Journal articles on the topic 'Haikau'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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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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2

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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3

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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5

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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6

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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7

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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8

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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9

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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10

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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박소현. "Sentiment and General Customs in Haiku: Focusing on the Haikus of Basho, Buson and Itusa." Journal of the society of Japanese Language and Literature, Japanology ll, no. 68 (February 2015): 351–70. http://dx.doi.org/10.21792/trijpn.2015..68.018.

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KASHIMOTO, Yuki. "The Representation of Death in Haiku Creation During the Second Sino-Japanese War ：Focusing on <i>Shina Jihen Sanzen Ku</i>." Border Crossings: The Journal of Japanese-Language Literature Studies 16, no. 1 (June 28, 2023): 77–96. http://dx.doi.org/10.22628/bcjjl.2023.16.1.77.

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The Haiku anthology <i>Shina Jihen Sanzen Ku</i> 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 <i>Shina Jihen Sanzen Ku</i>, which can expand the scope of research on Haiku expressiveness.

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13

Chen, Xin, Bei Bei Liu, and Li Xu Peng. "Study on the Assessment of Ecological Environment in Haikou City." Advanced Materials Research 838-841 (November 2013): 2570–77. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.2570.

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Based on the time series data of ecological environment in Haikou during 2001-2011 and determined the weights of ecological factor by the factor analysis method, the urban ecological environment of Haikou were evaluated dynamically using the comprehensive index evaluation method. The results show that the city ecological environment quality comprehensive index of Haikou is the level III and the ecological degree is general during 2001-2007，while the index of Haikou is the level II and has a higher degree of ecological during 2008-2011. It indicates that Haikou government is effect on promoting the ecological environment construction of the city. In order to construct the ecological environment of Haikou, we should increase the utilize level of water resources, change the use pattern of land resources, focus on the development of economy, improve the people's income level, improve the city medical level and increase the investment of science & technology education.

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14

Sulastri, Fera, Melisa Sri, and Sitti Syakira. "Utilizing Haiku as a Learning Reflection: Students’ Perception." AL-ISHLAH: Jurnal Pendidikan 14, no. 3 (October 18, 2022): 4505–12. http://dx.doi.org/10.35445/alishlah.v14i3.1545.

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Haiku, the 5-7-5 syllables of Japanese poetry, has been known widely as a tool to express voice and reflect on what happens to personal life experiences. Therefore, this study aimed to uses Haiku as a learning reflection on the Children’s Literature Class. Two questions were addressed to examine (1) Students’ perception of writing Haiku as a learning reflection and (2) challenges in writing Haiku as a learning reflection. Descriptive case A descriptive case study was used as the research methodology, while 49 students taking children's literature class participated. In data collection, this study used open-ended questionnaires given to all participants, while semi-structured interviews were delivered to 11 representative students. Students’ Haiku also were used as additional data. In addition, the data were analyzed thematically, using the framework of Braun and Clark (2006) and students’ Haiku were analyzed through document analysis. The findings show that students find that writing haiku as a learning reflection is fun and interesting. It also promotes their creativity in writing. However, since Haiku is fixed verse poetry, it does not cover students’ ideas of expressing their experience of learning freely and effectively. Eventually, Haiku still supports creativity, not effectiveness.

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15

Sütiste, Elin. "Translating the seventeen syllables." Sign Systems Studies 29, no. 2 (December 31, 2001): 563–86. http://dx.doi.org/10.12697/sss.2001.29.2.09.

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The present paper focuses on the similarities and differences between the formal characteristics of the traditional Japanese haiku and the translated haiku. more specifically, on the relations between the 5-7-5 syllable pattern in the Japanese haiku, and the patterns of syllable arrangement employed in the translations. Due to the influence of the target culture context, there emerge certain conventions in rendering the haiku form. the appearance of which is observed in the body of 420 haiku translations, made by 7 translators. On the basis of the overall frequency of appearance, as well as in respect to individual translators, tentative characterisation is proposed as to which types of syllable arrangement patterns can be considered more form-oriented than others in the context of the translated haiku, i.e., an attempt is made to mark the boundary between the "haiku-like" patterns and the "unhaiku-like" patterns.

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16

Suri, Intan, Nana Rahayu, and Siti Nuraisyah. "Indeks Kigo pada Haiku Karya Matsuo Basho dalam Perspektif Semiotik Charles Sanders Peirce." Ayumi : Jurnal Budaya, Bahasa dan Sastra 10, no. 2 (January 17, 2024): 151–62. http://dx.doi.org/10.25139/ayumi.v10i2.7196.

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Penelitian ini ditujukan untuk mendeskripsikan bagaimana indeks kigo yang terdapat dalam haiku karya Matsuo Basho dalam perspektif semiotik Charles Sanders Peirce. Metode yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan teknik pengumpulan data yaitu studi pustaka. Tujuan dari penelitian ini adalah untuk mengetahui indeks kigo apa saja pada haiku karya Matsuo Basho. Hasil dari penelitian ini adalah ada lima haiku yang menjelaskan kigo yang mempunyai sebab akibat. Kigo tersebut berhubungan dengan kondisi alam dan musim sehingga dapat diasumsikan bahwa melalui kigo dapat digambarkan suasana hati penyair. Dalam penelitian ini, diharapkan selain mampu menambah wawasan mengenai indeks, penelitian ini dapat menjadi referensi untuk penelitian selanjutnya yang inigin membahas kigo dalam haiku. Khususnya haiku karya Matsuo Basho. Kata Kunci: haiku; indeks; kigo; Matsuo Basho.

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17

Gordon, Chris. "Haiku." Antioch Review 63, no. 4 (2005): 732. http://dx.doi.org/10.2307/4614896.

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Mountain, Mary Tall. "Haiku." Wicazo Sa Review 4, no. 2 (1988): 64. http://dx.doi.org/10.2307/1409285.

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Cook, Annischa. "Haiku." Anthurium A Caribbean Studies Journal 5, no. 1 (January 1, 2007): 8. http://dx.doi.org/10.33596/anth.94.

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Spencer, Tanya. "Haiku?" Agenda, no. 12 (1992): 88. http://dx.doi.org/10.2307/4065489.

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21

Rosamond, Frances. "Haiku." Humanistic Mathematics Network Journal 1, no. 12 (October 1995): 40. http://dx.doi.org/10.5642/hmnj.199501.12.14.

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Eikenberry, Angela M. "Haiku." Administrative Theory & Praxis 23, no. 4 (December 2001): 622. http://dx.doi.org/10.1080/10841806.2001.11643550.

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23

Rosen, David. "Haiku." Psychological Perspectives 47, no. 1 (January 2004): 89. http://dx.doi.org/10.1080/00332920408407127.

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Ovando, Jorge. "Haiku." Philosophy and Global Affairs 2, no. 1 (2022): 1. http://dx.doi.org/10.5840/pga2022211.

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Rosenstock, Gabriel. "Haiku." Comhar 60, no. 2 (2000): 26. http://dx.doi.org/10.2307/25573960.

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26

Mossman, Lynn S. "Haiku." Religion & Public Education 15, no. 4 (October 1988): 368. http://dx.doi.org/10.1080/10567224.1988.11488068.

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27

Shirane, Haruo. "Haiku." New Literary History 50, no. 3 (2019): 461–65. http://dx.doi.org/10.1353/nlh.2019.0043.

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Mutsuo, Takahashi, Jeffrey Angles, and Emiko Miyashita. "Haiku." Manoa 29, no. 2 (2017): 136–46. http://dx.doi.org/10.1353/man.2017.0030.

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Kofler, Brigitta, Sylvia Brathuhn, Dorothee Bürgi, Monika Müller, and Petra Rechenberg-Winter. "Haiku." Leidfaden 2, no. 3 (July 2013): 91. http://dx.doi.org/10.13109/leid.2013.2.3.91.

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Basho. "Haiku." Academic Medicine 77, no. 5 (May 2002): 413. http://dx.doi.org/10.1097/00001888-200205000-00014.

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Savishinsky, J. "Haiku." American Journal of Gastroenterology 97, no. 4 (April 2002): 1070. http://dx.doi.org/10.1016/s0002-9270(02)03996-5.

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Stiles, Peter. "Haiku." Christianity & Literature 50, no. 4 (September 2001): 774. http://dx.doi.org/10.1177/014833310105000433.

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Woodward, C. Vann. "Haiku." Southern Cultures 4, no. 4 (1998): 19. http://dx.doi.org/10.1353/scu.1998.0032.

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34

Young, John. "Haiku about Haiku 1 & 2." English Journal 92, no. 6 (July 2003): 88. http://dx.doi.org/10.2307/3650549.

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35

Jorge, Julia. "Re-trazar el Haiku." Saga. Revista de Letras, no. 9 (October 17, 2020): 144–75. http://dx.doi.org/10.35305/sa.vi9.11.

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El presente trabajo se ocupa de estudiar la materialidad del haiku japonés de principios del siglo XX. Luego de un panorama general de los estudios del haiku en Occidente, se ocupa de la presentación de una categoría teórico-analítica para abordar el haiku japonés: re-trazar. Sirviéndose de algunas nociones de la deconstrucción y recorriendo el problema de la traducción en dicho marco, el re-trazar se configura como un hacer que se sitúa entre la traducción y la crítica del haiku. Para poner en ejercicio dicha categoría se estudian algunos haiku de un poeta característico del periodo ya mencionado: Taneda Santōka.

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LEE, Cheyu. "Exploring the Foundation of the Taipei Haiku Association ：An Analysis of the ‘Internationalization of Haiku’ and its Connection to the Shichisai Haiku Association." Border Crossings: The Journal of Japanese-Language Literature Studies 18, no. 1 (June 28, 2024): 95–112. http://dx.doi.org/10.22628/bcjjl.2024.18.1.95.

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This paper focuses on the Taipei and the Shichisai Haiku Associations. The Taipei Haiku Association has become the focus of research in recent years, and the Shichisai has been deeply involved in the early stages of its formation. This research recaptures the relationship between the two associations and their subsequent breakdown. It also examines the background of Sanae AZUMA, the haiku poet who presided over Shichisai, and his idea of the ‘internationalization of haiku’, which has been often overlooked in previous studies, in light of its reception in Taiwan. Furthermore, while reassessing the formation and independence acquired by the Taipei Haiku Association, which was established as a branch of Shichisai, this paper will examine the discrepancy between AZUMA’s perspective on the role of the Japanese language in creative expression and that of Taiwanese haiku poets.

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Ouyang, Fan-Xian, Yin Zhuo, Xiao-Xue Li, Gui-Yu Fang, Ping-Feng Bu, Jia-Ren Zhuo, Kai-ming Huo, and Ren-He Yu. "Development of Hypertension Diagnostic Cutoff Values in 6–15 Years Old Children in Haikou City and Their Comparison With the National Standard." American Journal of Hypertension 35, no. 2 (February 1, 2022): 207. http://dx.doi.org/10.1093/ajh/hpab150.

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Abstract Background To develop the diagnostic criteria of childhood hypertension for different sex, age, and height in Haikou City and compare them with the national standard. Methods Stratified random cluster sampling method was used to sample 11,497 students from 227 classes of 29 primary and secondary schools at Haikou. Their height, weight, and blood pressure (BP) were measured during October 2013 to December 2014. The BP values were obtained with method of Korotkoff mercury sphygmomanometer by the trained examiners. Non-Haikou students and abnormal discrete samples were excluded. A total of 9,100 students of normal weight and height, aged 6–15 years, were enrolled. The sex-, age-, and height-specific BP percentile of 90%, 95%, and 99% (P90, P95, and P99) were calculated. Results The sex-, age-, and height-specific BP cutoff values of prehypertension (P90), grade 1 hypertension (P95), and grade 2 hypertension (P99) of children aged 6–15 years were developed. Compared with the 2017 national reference (“reference 2017”), the following characteristics were observed. The average height and height range of the same percentile in children at Haikou were lower. The P90 and P95 of systolic BP in Haikou were similar in most age groups of both sexes, but 4–5 mm Hg lower in 15-year-old males. Likewise, the P99 of systolic BP in Haikou was 1–8 mm Hg higher, except for 15-year-old males, which was 2 mm Hg lower. The difference of P90, P95, and P99 of diastolic BP between Haikou and “reference 2017” ranged from −1 to 5 mm Hg. Conclusions Hypertension of children aged 6–15 years in Haikou has its own characteristics and is different from the “reference 2017.”

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Nguyễn, Vũ Quỳnh Như. "Kobayashi Issa: Cá tính mạnh mẽ và tiên phong đại chúng hóa thơ Haiku." Tạp chí Khoa học Đại học Văn Hiến 8, no. 4 (November 8, 2022): 70–87. http://dx.doi.org/10.58810/vhujs.8.4.2022.353.

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Thơ Haiku - một thể thơ được xem là ngắn nhất thế giới với 17 âm tiết đã có sức lan tỏa rộng khắp. Có thể nói ngày nay thơ Haiku đã trở thành loại hình nghệ thuật đại chúng hiếm có trên thế giới. Từ thời cổ điển, thơ Haiku Nhật Bản đã sản sinh ra nhiều nhà thơ tên tuổi có sức lan tỏa rộng rãi đến nhiều nước trên thế giới. Cuối thời kỳ Edo, Kobayashi Issa (1763 - 1828) xuất hiện với những vần thơ Haiku mang bản sắc rất riêng. Vượt qua những câu nệ của ngôn từ, Issa xây dựng phong cách thơ Haiku một cách lạ thường nhưng vô cùng mộc mạc, gần gũi với đời sống người dân thời bấy giờ. Thơ của Issa sâu thẳm cái tôi rất trữ tình, đầy lòng đồng cảm với nhân gian, bộc lộ nội tâm từ bi, yêu thương, thấu hiểu thế giới sinh vật nhỏ nhoi yếu đuối. Chính nhờ thế, thơ Haiku của Issa được nhiều người biết đến và yêu mến. Vào thời kỳ cận đại, cùng với trào lưu đổi mới phổ biến văn học, đọc thơ Haiku của Issa khiến thức tỉnh giá trị văn chương của Issa - người đã đưa thơ Haiku phổ biến trong thị dân, nói cách khác đã có công đại chúng hóa thơ Haiku từ trước thời kỳ cận đại.

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Wang, Feng Xia, and Wei Hong Liu. "Study on the Landscape Pattern Change of Haikou City Based on GIS." Advanced Materials Research 989-994 (July 2014): 5394–97. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.5394.

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The article is studying on the Haikou city, using Remote Sensing technique and GIS technology, with ArcGIS, ERDAS, FRAGSTAS, analyzing the temporal and spatial variation of landscape in Haikou City from 2000 to 2010, drawing the conclusion: residents, construction, farmland and forest land is the main part of landscape pattern and increased rapidly. Besides the decrease of unused land and water area, it also reflects that not only the landscape fragmentation degree of the integral sight in Haikou City in relatively high, but the landscape fragmentation degree of the residents, construction, farmland and forest land, which are the main part of Haikou City , is also relatively high.. Besides, the data also shows that each landscape didn’t connect well and the exchange of material energy among landscapes is not smoothly, which go against the mutual development between the landscape. However, the distribution of landscape in Haikou City is fairly balanced. There is no particularly advantaged type, which contributes to the balanced development of the landscape.

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Yokota, Yuya. "Questions de création poétique dans la traduction des haïkus." Translationes 10, no. 1 (December 1, 2018): 131–47. http://dx.doi.org/10.2478/tran-2018-0008.

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Abstract Translating haiku requires some sense of context. This article examines three elements of that context: seasonal words, the society in which haiku are produced, and prose (such as journal or short story). Behind the haiku there is a particular community in which poet and reader are close to each other, allowing the haiku to communicate more than their literal meaning. Taking this into consideration facilitates their translation.

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Fairuz, Fairuz, Indah Mutiara, and Fadhilah Fadhilah. "Meaning and Use of Haiku in the Game “Bungou to Alchemist”." ELS Journal on Interdisciplinary Studies in Humanities 5, no. 3 (September 30, 2022): 573–85. http://dx.doi.org/10.34050/elsjish.v5i3.23170.

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Haiku is a Japanese poem that is unique and uses a minimum of words, but it is still beautiful and has deep meaning. In this modern era, there are educational games that use haiku. One of them is the Japanese literary-themed game 'Bungou to Alchemist'. This game is about poets who are brought to life by alchemists to protect endangered Japanese literary works and eradicate the enemy, namely shinshokusha. Alchemist plays the role of librarian (shisho), who directs the bungou (poet) to eradicate the shinshokusha. One of them is Kawahigashi Hekigotou, a famous Japanese haiku poet. The aim of this study is to find the meaning contained in Hekigotou's four haiku that appear in the game and to identify the cause of the four haiku being used, using Roland Barthes' semiotic theory. This study used qualitative research methods. The result of the analysis is to show that Hekigotou's haiku used in this game has meaning related to life and is used to strengthen the conveying of Bungou to Alchemist ideas contained in the haiku in the form of a representation of Kawahigashi Hekigotou's feelings. At the same time, this game is a place for young people to get to know and learn literature, especially haiku.

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Milawati, Ayunda Wasly, and Cicilia Tantri Suryawati. "KIGO DALAM HAIKU KOBAYASHI ISSA DENGAN PENDEKATAN SEMIOTIK." AKIRA: Jurnal Bahasa, Budaya, dan Sastra Jepang 1, no. 1 (May 8, 2023): 51–67. http://dx.doi.org/10.25139/akira.v1i1.5922.

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Haiku memiliki keunikan makna di dalamnya, bentuknya pendek, tetapi dapat menyatakan makna keseluruhan melalui kigo. Penelitian ini membahas jenis kigo dan makna kigo yang terkandung dalam haiku karya Kobayashi Issa dengan pendekatan semiotik. Penelitian ini menggunakan teori jenis kigo menurut Higginson menyatakan bahwa kigo dibagi menjadi tujuh kategori, yaitu Jikou, tenmon, chiri, seikatsu, gyouji, doubutsu, shokubutsu. Sementara untuk makna kigo digunakan teori segitiga makna Pierce, makna kigo diklasifikasikan maknanya menjadi ikon, indeks, dan simbol. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif. Dalam penelitian ini, peneliti akan menganalisis makna kigo yang terkandung dalam haiku karya Kobayashin Issa dengan teori Semiotik. Data yang akan digunakan dalam penelitian ini adalah kigo yang terdapat dalam haiku karya Kobayashi Issa sebanyak 15 haiku yang diambil dari bulu kumpulan haiku yang ditulis oleh Yuzura Miura diterbitkan oleh The Charles E. Tutle company tahun 1991 Tokyo. Berdasarkan hasil analisis didapat simpulan sebagai berikut: Jenis kigo yang ditemukan adalah kigo doubutsu, kigo tenmon, kigo seikatsu, kigo shokubutsu, kigo chiri, sedangkan kigo jikou dan gyouji tidak ditemukan. Makna kigo berdasarkan klasifikasi ditemukan bahwa kigo pada haiku Kobayashi Issa termasuk pada makna simbol dan indeks, sementara makna secara ikon tidak ditemukan. Kata Kunci : Haiku; Kigo; Kobayashi Issa; Semiotik

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Zheng, Zuohuan, Kaihua Wang, Daiyu Yang, Feifei Yin, Dingwei Sun, Weiyan Yu, Jialun Lin, et al. "Factors affecting the transmission of dengue fever in Haikou city in 2019." Mathematical Biosciences and Engineering 20, no. 9 (2023): 16043–58. http://dx.doi.org/10.3934/mbe.2023716.

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<abstract><p>In this study, due to multiple cases of dengue fever in two locations in Haikou, Hainan, several factors affecting the transmission of dengue fever in Haikou in 2019 were analyzed. It was found that dengue fever spread from two sites: a construction site, which was an epidemic site in Haikou, and the university, where only four confirmed cases were reported. Comparative analysis revealed that the important factors affecting the spread of dengue fever in Haikou were environmental hygiene status, knowledge popularization of dengue fever, educational background, medical insurance coverage and free treatment policy knowledge and active response by the government.</p></abstract>

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Zhang, Xiaohai. "Analysis and Forecasting of Influencing Factors of Real Estate Price in Haikou City." Highlights in Business, Economics and Management 19 (November 2, 2023): 230–36. http://dx.doi.org/10.54097/hbem.v19i.11882.

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With the start of construction of the Hainan Free Trade Port in 2018, Hainan has gradually become a new focus area. Haikou City, as the capital city of Hainan Province, has also begun to be paid more and more attention. Therefore, based on the relevant economic data of Haikou City from 2011 to 2021 and the grey correlation analysis and GM (1,1) prediction model, this paper investigates the variables that affect the cost of real estate in Haikou City and produces projections. According to the analysis, the real estate price in Haikou City is mainly affected by the number of deposits of financial institutions at the final year among the selected variables. Besides the real estate price in this area will have a relatively obvious growth in the next ten years. Considering the outcomes above, this study provides the government with reasonable control over the real estate industry by controlling the year-end deposit balance of financial institutions, an important indicator, and at the same time gives investors suggestions on long-term investment and holding of real estate-related products in Haikou City. These results can give relevant suggestions to Haikou City government and real estate investors, which also shed light on offering some suggestions for the study of new areas.

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Cheney, Matthew A. "Expanding Vision: Teaching Haiku." English Journal 91, no. 3 (January 1, 2002): 79–83. http://dx.doi.org/10.58680/ej2002869.

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According to Matthew Cheney, “English teachers have often been enemies of poetry—killing all beauty and pleasure with our precise dissections of symbols, themes, images, devices—but no poetic form has suffered worse mistreatment in our hands than haiku. Despite common misconceptions about haiku, there is a lively and vibrant haiku community throughout the United States and many other countries.” Read this article for further discussion on the use of haiku in your own classroom.

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Kexiu, Tan, Ming Di, and Frank Stewart. "Haikou–Changsha." Manoa 32, no. 1 (2020): 95. http://dx.doi.org/10.1353/man.2020.0034.

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Nelson, Tollof. "Theoretical Apparitions of Haiku : An Intermedial Interrogation of Modernity." Cinémas 10, no. 2-3 (October 26, 2007): 185–203. http://dx.doi.org/10.7202/024822ar.

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ABSTRACT At the turn of the twentieth century, the translation and the reception of haiku poetry allowed for theoretical advances beyond the purview of the literary. The haiku-idiom reinvented itself as a practice of poetry as audio-visual technique : haiku as a line of flight, medium of another relationship to language and to images. A hybrid-model of the modernist arts (poetry photography, film), the haiku-idiom became a vehicle for theories articulating the experience of a new spatio-temporal economy of images. As a mode of writing in laconic fragments, gestures of everyday-life, and shadows of memory, the haiku-idiom mobilized for others a relationship of movement, opacity, and distance to language.

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Smith, Crystal Simone. "Mentoring a New Generation of African American Haiku Writers: In Conversation with Lenard D. Moore." African American Review 56, no. 1 (March 2023): 1–8. http://dx.doi.org/10.1353/afa.2023.a903594.

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Abstract: Lenard D. Moore has published more haiku than any other African American writing in the genre. He has also mentored a new generation of African American haiku writers, including Camille Dungy. This interview details his work as a prolific haiku poet and a mentor.

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Datsko, D. A. "CHARACTERISTIC ASPECTS OF GERMAN PHILOSOPHICAL LYRICS OF ХХI CENTURY." Bulletin of Udmurt University. Series History and Philology 31, no. 6 (December 29, 2021): 1330–42. http://dx.doi.org/10.35634/2412-9534-2021-31-6-1330-1342.

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This article examines the features of explication of modern German philosophical lyrics represented by the transnational genres of haiku and tanka. The author focuses on the problem of definition of the term “philosophical lyrics”, observes the process of formation and representation of haiku and tanka as syncretic genres in German poetry, conducts a comparative analysis of these genres. The universal features of haiku as well as features peculiar to European culture are summarized and described. The article also analyzes the concept of the connection between haiku and painting and describes the haiga genre as a symbiosis of poetry, calligraphy and painting. The research is based on the haiku and tanka of modern German authors: I Kunshke, H. Tum, M. Bagdan, M. Berner, S. Kempen, F. Ditrich. The applied methods of linguistic-stylistic and literary analysis are aimed at identifying the linguistic means of German haiku and tanka poetry, giving insight into formation of the philosophical worldview of the Western European society.

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Ardiansyah, Rahmad Novianto. "ANALISIS SEMIOTIKA RIFFATERRE PADA HAIKU MUSIM PANAS DALAM BUKU OKU NO HOSOMICHI KARYA MATSUO BASHO." SUAR BETANG 12, no. 2 (January 13, 2018): 173. http://dx.doi.org/10.26499/surbet.v12i2.29.

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Haiku is a literary kind of poetry that originated in Japan. Haiku initially have three major streams namely Teimon, Danrin, and Basho. Haiku has rules in writing that is using the 5-7-5 syllable construction, using kireji, and Kigo included therein. This study will use ten haiku of Matsuo Basho summer work in the book Oku no Hosomichi drawn randomly. This study uses structural semiotics, a method that examines the content of literature and semiotic approach. The semiotic approach used here is Riffaterre semiotic, namely heuristic reading, hermeneutic reading, matrices seeking, models, and variants, as well as the hipogram. The results of this study are the meaning of ten haiku is Basho sense of awe, gratitude, joy, serenity, solitude and sadness

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