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Journal articles on the topic 'Haiku'

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Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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1

OTA, Seiko. "CARACTERÍSTICAS DE LOS HAIKUS DE JOSÉ JUAN TABLADA." SIGLO DIECINUEVE (Literatura hispánica), no. 17 (May 7, 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.
2

Ihanus, Juhani. "Therapeutic Poems for Advancing Coping, Empathy, and Cultural Well-Being." Creative Arts in Education and Therapy 8, no. 1 (August 23, 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.
3

Iida, Atsushi. "The value of poetry writing." Scientific Study of Literature 2, no. 1 (August 13, 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.
4

Genova, Pamela A. "Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku." Irish Journal of French Studies 15, no. 1 (December 1, 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.
5

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, no. 1 (November 30, 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.
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
7

Montaner Montava, María Amparo. "La tipología lingüística como factor determinante en la traducción poética." Hikma 21, no. 2 (December 23, 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
8

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

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9

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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11

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

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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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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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16

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

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17

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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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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22

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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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
27

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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28

Otsubo, Yuto, and Shigemi Yoshihara. "Preciousness: A reply to haiku with haiku." Journal of Paediatrics and Child Health 57, no. 2 (February 2021): 298. http://dx.doi.org/10.1111/jpc.15339.

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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.
30

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.
31

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.
32

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.
33

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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Kenyon, Tina. "Haiku poem." Families, Systems, & Health 38, Suppl 1 (2020): 18. http://dx.doi.org/10.1037/fsh0000541.

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Systemic Practitioners, Various. "Systemic Haiku." Murmurations: Journal of Transformative Systemic Practice 1, no. 1 (October 22, 2017): 80–83. http://dx.doi.org/10.28963/1.1.8.

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Gradick, Casey, Jonathan Hedges, Peter Yanke, and Laura Nell Hodo. "Project Haiku." Hospital Pediatrics 7, no. 9 (September 2017): 564. http://dx.doi.org/10.1542/hpeds.2017-0089.

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Chandra, Bhuvana. "Six Haiku." Annals of Internal Medicine 149, no. 5 (September 2, 2008): 367. http://dx.doi.org/10.7326/0003-4819-149-5-200809020-00029.

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Henle, R. J. "Chesterton Haiku?" Chesterton Review 12, no. 1 (1986): 131–34. http://dx.doi.org/10.5840/chesterton198612117.

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Rønhede, Nikolaj. "Omkring haiku." K&K - Kultur og Klasse 30, no. 93 (June 10, 2002): 31–47. http://dx.doi.org/10.7146/kok.v30i93.21073.

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Vincent, J. Keith. "On Haiku." Translation Review 112, no. 1 (January 2, 2022): 147–49. http://dx.doi.org/10.1080/07374836.2021.1904167.

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tSaoi, Máire Mhac an. "Ladhar haiku." Comhar 51, no. 12 (1992): 56. http://dx.doi.org/10.2307/25571965.

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Friedman, Edward H. "Comedia Haiku." Bulletin of the Comediantes 68, no. 2 (2016): 243–46. http://dx.doi.org/10.1353/boc.2016.0037.

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Cherry, James E. "Five Haiku." Callaloo 25, no. 1 (2002): 216. http://dx.doi.org/10.1353/cal.2002.0006.

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Thomas, Harry. "50 Haiku." Literary Imagination 21, no. 3 (October 9, 2019): 296–300. http://dx.doi.org/10.1093/litimag/imz052.

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Bright, Mary Anne. "Haiku Poetry." Clinical Nurse Specialist 11, no. 2 (March 1997): 85. http://dx.doi.org/10.1097/00002800-199703000-00015.

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Dziadek, Adam. "Haiku - transkulturowo." Teksty Drugie 4 (2017): 152–58. http://dx.doi.org/10.18318/td.2017.4.9.

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Ziliak, Stephen. "Haiku Economics." Rethinking Marxism 14, no. 3 (September 2002): 111–12. http://dx.doi.org/10.1080/089356902101242323.

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Tobriner, Frances. "Five Haiku." Jung Journal 14, no. 2 (April 2, 2020): 10. http://dx.doi.org/10.1080/19342039.2020.1742549.

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Bashō, Matsuo. "Two Haiku." Manoa 29, no. 2 (2017): 12. http://dx.doi.org/10.1353/man.2017.0017.

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Issa, Kobayashi. "Two Haiku." Manoa 29, no. 2 (2017): 13. http://dx.doi.org/10.1353/man.2017.0018.

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