Tesi: "Haiku" – Grafiati

1

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

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Abstract (sommario):

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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2

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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3

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

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4

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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5

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

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Abstract (sommario):

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

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6

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

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

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7

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

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8

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

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Abstract (sommario):

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

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9

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

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10

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

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

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11

Delteil, André. "Théorie et pratique du haiku dans la société japonaise contemporaine". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376131446.

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12

Hagnell, Fredrik, e Karl-Axel Zander. "Personalized Poetry Generator : Development of a mobile application for Android called Deleteby Haiku which generate poems in the Japanese poetry form haiku based on user’s SMS-logs". Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-128524.

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Researchers at Mobile Life Centre are working on a project called “Delete by Haiku - Concept development and visualization of persistence/an SMS log dilemma” (subproject of “Re-Mobiling -breaking apart time and technology”, 2012-). The purpose of that project is to evaluate an approach of handling the growing amount of users’ digital data in phones (especially SMS logs) by trying to create, in the deletion process of old SMS, something potentially meaningful in a playful manner: poems. The students’ project aimed to develop a concretized demo for their idea, an SMS log deleting and poetry generating application, more particularly the Japanese poetry form “haiku” as chosen style, developed on the mobile platform Android. The goal: to give the researchers a basis to proceed with into the user study and demonstration phase of their project. The result of the development process was a full scale working demo application, although naturally left with many improvement and addition possibilities due to the limited time plan for the student project, and presentation of solved solutions of arisen programming and design implementation challenges.
Forskare på forskningscentret Mobile Life Centre jobbar på projekt kallat “Delete by Haiku –konceptutveckling och föreställning av behållning/ett SMS-log dilemma” (delprojekt av ”Re-Mobiling – isärbrytning av tid och teknologi”, 2012-). Syftet av det projektet är att utvärdera ett sätt att hantera den växande mängden av användares digitala data i telefoner (speciellt SMS-loggar) genom att försöka skapa, i raderingsprocessen av gamla SMS, någonting potentiellt meningsfullt i lekfull stil: dikter. Studenternas projekt var att utveckla en konkretiserad demo för deras idé, en SMS-log-raderande och poesigenerande applikation, mer bestämt den japanska poesiformen ”haiku” som valt format, utvecklat på den mobila plattformen Android. Målet: att ge forskarna en grund att fortsätta med in i användarstudie- och demonstrationsfasen av deras projekt. Resultatet av utvecklingsprocessen var en fungerande demoapplikation i full skala, emellertid givetvis lämnad med många förbättrings och tilläggsmöjligheter på grund av den begränsade tidsplanen för studentprojektet, och presentationer av lösta programmeringsoch designimplementationsutmaningar.

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13

Sandegren, Anders. "Problematik vid översättning av japansk Haiku och de möjligheter som existerar". Thesis, Stockholms universitet, Avdelningen för japanska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-136820.

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14

Conger, Elizabeth C. "Alienation theory and its relationship to contemporary Arte Povera practice". AUT University, 2007. http://hdl.handle.net/10292/233.

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Abstract (sommario):

In this Exegesis I explore the rehabilitation of marginalized materials through a sculptural practice. The materiality of the work focuses on the commonality of the everyday through selection editing and transparency of materials. The materiality and concern for material presence in my work are used metaphorically to explore ideas of alienation in contemporary sculpture. My work has been informed by the writing Berthold Brecht specifically his alienation effect [A-Effect], a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, which consequently leads the audience to be a consciously critical observer". Through the use of situationist tactics in alienation works I seek to explore an atmosphere of fragile transience that can be recognized in ourselves even as we struggle against it.

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Dean, Sharon Elyse. "White Heron: Authorised Biography of Australia's Pioneering Haiku Writer Janice M Bostok". Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365429.

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The form of this PhD is an authorised biography of Australia’s pioneering haiku writer, Janice M Bostok, titled White Heron. For the purposes of examination, the biography’s Introduction serves as an exegesis. Drawing on material acquired through unrestricted access to the subject and her personal papers, interviews with family and friends, and meticulous research into her prolific literary output, the work employs a double-stranded narrative structure to tell the story of Bostok’s difficult childhood, extraordinary love affairs and groundbreaking creative endeavours. Inquiry into the theory of English-language haiku – a genre of ‘one-breath’ poetry that originated in ancient Japan and is now growing in prominence worldwide – is woven throughout the text. The Introduction is the main repository of material relating to the genesis of the project. It articulates the book’s original contribution to knowledge (White Heron is the first Bostok biography), and contains two prominent lines of inquiry: one haiku-related, and the other associated with biographical theory. Haiku-related concerns include: discussion of a misconception over ‘syllable counting’ commonly associated with English-language haiku; a brief history of haiku and its related forms in Japan; a short analysis of the correspondences between meditation practice and haiku practice; an appraisal of the influence of traditional Japanese poetry on writers connected with the ‘Beat Generation’ (in particular, Jack Kerouac and Gary Snyder) and, in turn, the influences of these writers on Bostok; an examination of an over-valuing of the role of Zen in haiku; and, an assessment of the value of haiku as a ‘literary art’.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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16

Motiejunaite, Indra. "Deletion and digital memory : User study of mobile application “Delete by Haiku”". Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-107348.

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This study aims to analyse the interconnection between human memory and digital media technology, and its relation to forgetting and deletion. The main focus area is related to short messages (SMS) as a form of digital memory and mobile application Delete by Haiku that assists the user in creating poetry out of stored messages. The reception analysis approach was chosen and individual in-depth interview method was combined with focus group interview. The collected data regarding human memory and media indicates similarities between theoretical claims and respondents’ views; memory could be perceived as a narrative, storytelling, fading away. Informants’ relation to memorabilia and their deleting practices are very dependent on the personal and professional characteristics. Besides, deleting practices could be related to organization of a physical space. Delete by Haiku app could be seen as an invitation to engage into playful process of creation through deletion, however mostly for the people attached to memorabilia.

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Belaúnde, Degregori Alonso. "EL Haiku en la poesía del Javier Sologuren y Alfonso Cisneros Cox". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/10180.

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El presente trabajo analiza la aproximación al haiku de Javier Sologuren y Alfonso Cisneros Cox en el marco del creciente interés por este género a nivel latinoamericano. El análisis se centra en la comparación de los haikus con el modelo clásico japonés, tal como lo practicó Matsuo Bashō, siguiendo las teorías de los estudiosos Keene, Rodríguez Izquierdo, Rubio, Blyth y Haya Segovia. El haiku es valorado y ponderado como una expresión poética orientada a evocar un instante de experiencia en la naturaleza, logrando despertar el asombro ante la maravilla de la existencia. Los resultados del trabajo revelan la íntima afinidad de ambos poetas con el género, las modalidades de apropiación que practicaron, la priorización de ciertos aspectos estilísticos y espirituales en su comprensión del haiku, la innovación en los recursos para lograrlo y la singularidad de sus creaciones, basada en la mezcla auténtica del género con sus propias poéticas. La principal conclusión que puede desprenderse de este trabajo es que los autores asimilaron este género poético para dar forma y expresión a su particular sensibilidad e integrarlo a la tradición poética peruana.
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18

Козловська, Ганна Борисівна, Анна Борисовна Козловская e Hanna Borysivna Kozlovska. "To English Haiku Text as the Motivation Factor in the Process of Learning Foreign Language". Thesis, София: "Бял ГРАД - БГ" ООД, 2011. http://essuir.sumdu.edu.ua/handle/123456789/50961.

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Abstract (sommario):

Haiku is more than a form of poetry; it is a way of seeing the world. Each haiku captures a moment of experience; an instant when the ordinary suddenly reveals its inner nature and makes us take a second look at the event, at human nature, at life.

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Sloan, Steven Ernest. "The Seasons: 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and Baritone". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491382981518334.

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20

Somers, Seán. "The dryad's bubble, faith, nature, and movement in Charlotte Brontë, L.M. Montgomery, and haiku". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61499.pdf.

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21

Jonsson, Herbert. "Haikai poetics : Buson, Kitō and the interpretation of renku poetry /". Stockholm : Department of Oriental Languages, Stockholm University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1322.

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22

Almeida, Ana Catarina Dias Nunes de. "Migração silenciosa. Marcas do pensamento estético do Extremo Oriente na poesia portuguesa contemporânea". Doctoral thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2012. http://hdl.handle.net/10362/7342.

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Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Portugueses, especialização em Estudos de Literatura
Na viragem do séc. XIX para o séc. XX, sobretudo através de Wenceslau de Moraes e de Camilo Pessanha, a literatura e a poesia portuguesas acompanharam o interesse pela poesia do Extremo Oriente que afectou igualmente outras literaturas europeias. Porém, uma influência mais alargada e regular apenas se consolidou desde a década de 1980 em diante. O conjunto de poetas envolvidos e a qualidade e continuidade da sua obra permite falar de uma migração silenciosa de preceitos formais, de obsessões temáticas e de modos de figuração oriundos da poesia chinesa e japonesa. Esse processo lento e subtil está a mudar a relação com a tradição poética e traz consigo novos modos de entender a escrita poética, que requerem a tentativa de leitura sistemática aqui conduzida. O pensamento Zen é igualmente analisado, dado ser claramente parte activa no interesse constante dos poetas portugueses contemporâneos pela poesia clássica e contemporânea escrita na China e no Japão.

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23

Younkin, Christopher Stuart. "Origami". Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1368116187.

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Miller, Rachel Marie. "THE EMOTIONAL WEIGHT OF POETIC SOUND: AN EXPLORATION OF PHONEMIC ICONICITY IN THE HAIKU OF BASHŌ". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1447.

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This paper proposes that SOUND SYMBOLISM, and more specifically PHONEMIC ICONICITY, plays a role in conveying emotional weight in the context of poetry. Previous research has indicated that the ratio of plosives to nasals in poetry predicts overall perception of emotional affect, with plosives designating activity and pleasantness, and nasals designating inactivity and unpleasantness (Auracher, Albers, Zhai, Gareeva, & Stavniychuk 2010); however, this research has ignored the influence of such potentially mitigating factors as orthography and lexical meaning. The current study involves naive English L1 speakers listening to recordings of selected haiku from Matsuo Basho's Oku No Hosomichi (`Narrow Road to the Deep North') in the original Japanese, and as such, the potential of orthography and lexical meaning to influence perception of emotion is eliminated. After listening to each haiku twice, subjects were asked to rate the appropriateness of eight emotion words that ranged from active and positive to inactive and positive, and from active and negative to inactive and negative, on a five-point Likert scale. Emotion words were chosen on the basis of their respective positions on the Circumplex Model of Affect, in which each emotion is conceptualized in terms of its location along two intersecting axes measuring valence (negative - positive) and arousal (inactive - active) (Russell 1980). The selected words occupied regularly spaced positions along this two-dimensional circular model. Results indicate that plosive to nasal ratio may indeed play a role in the perception of emotion in poetry, particularly in the case of poems with high plosive to nasal ratios, which were perceived as markedly more active and positive than other poems. Wider implications of the discernible patterns of perception of emotional affect based on plosive to nasal ratio include the possibility that phonemic iconicity plays a role in general language processing. As this research involves Japanese L2 phonemic perception by naÃ&hibar;ve English L1 listeners, current L2 phonological perceptual theory is discussed, and taken into account in the analysis of the results. Specific consideration is given to the potential of English L1 speakers to perceive the Japanese rhotic /r/, which does not appear in English, as the plosives /t/ or /d/, and the Japanese affricate /ts/, which commonly appears syllable-initially in Japanese, but is much rarer in this position in English, as /s/ (Nozawa 2008). Future research on English L1 speakers' underlying perceptual categorizations of targeted sounds in Japanese is also proposed.

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Sommerkamp, Sabine [Verfasser]. "Der Einfluß des Haiku auf Imagismus und jüngere Moderne : Studien zur englischen und amerikanischen Lyrik / Sabine Sommerkamp". Hamburg : Universität Hamburg, 2020. http://d-nb.info/1225852471/34.

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26

Akiba, Minami. "La sociabilité des haïkistes au Japon ˸ flexibilité et pluralité des liens humains". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA115.

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Abstract (sommario):

Le haïku est un genre poétique japonais né au XIXe siècle, constitué de 17 syllabes. De nos jours, le Japon compterait quelque 10 millions d’amateurs et de professionnels de haïku pour une population totale de 127 millions. Ces Japonais composent des haïkus afin d'exprimer leur sensibilité, mais aussi de les montrer aux autres qui les jugent, dans le cadre de réunions poétiques de groupes associatifs, dans des rubriques haïkistes de journaux et de magazines, lors de compétitions, ou encore à l’école. Le haïku interpelle l’imagination et l’empathie des autres pour s’épanouir pleinement en tant qu’œuvre. Cherchant la reconnaissance des autres, le haïku est une activité sociale grand public au Japon. Plusieurs mécanismes propres à la pratique du haïku empêchent l’établissement d’une hiérarchie complète dans ce vaste monde des haïkistes japonais : notation sous anonymat (donc égalité lors de l’appréciation), utilisation de pseudonymes, liberté d’appartenance à plusieurs groupes de son choix, absence de critères poétiques absolus. Le haïku offre de multiples possibilités de participations, répond à de multiples désirs tels que se montrer, être reconnu, découvrir autrui, jouer sous une autre identité. Ainsi le haïku attire-t-il de nombreux adeptes. La brièveté extrême du haïku assure une grande accessibilité et facilite des échanges sur peu de temps. Être bref accentue le côté ludique de la poésie et crée une forte sociabilité. Par ailleurs, cette concision oblige systématiquement les haïkistes à avoir une retenue vis-à-vis de soi et des autres. Restant courtois, les haïkistes continuent interminablement ce jeu de « présentation – appréciation » dans lequel chacun a l’assurance d’être écouté
Haiku is a type of Japanese poem originating from the 19th century, consisting of 17 syllables. Nowadays, Japan has nearly 10 million amateur and professional haiku poets, from a total population of 127 million. These people compose haikus to express themselves, and also to present their poems to be judged by others. They present them in poetry clubs, in haiku columns in newspapers and magazines, in various competitions, or in classes at school. In order to fully flourish as a work, haiku challenges the imagination and empathy of others. Through seeking recognition from other people, haiku has become a social activity of the general public in Japan. Several mechanisms specific to the practice of haiku writing impede the establishment of a proper hierarchy in the wide world of haiku poetry such as assessing under anonymity (resulting in equality during the judging), the use of pseudonyms, the freedom to join multiple haiku groups of their choice and the absence of absolute poetic criteria. There are various reasons why people participate in writing haiku, fulfilling several desires such as to express oneself, to be applauded, to meet other people, and to assume a different identity. For these reasons, haiku attracts many enthusiasts. The extreme brevity of haiku enables wide accessibility and rapid exchanges. Its brevity accentuates the recreational side of the poem and creates strong sociability between participants. In addition, brevity compels haiku poets to be discreet towards themselves and towards others. By remaining courteous, the haiku poets continue an interminable game of "presentation - appreciation" in which everyone has the assurance of being listened to

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Dayton, Joshua. "The Academic Manuscript: Media Production and the Process of Turning an Idea into a Marketable Entity". Kent State University Liberal Studies Essays / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuls1334108718.

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28

Bartholomew, Wayne Alan II. "The Bronze Dame". Youngstown State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1234824916.

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29

Ecker, Dylan Joseph. "Super Bloom". Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595592033040779.

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30

Arimitsu, Michio. "Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11208.

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Abstract (sommario):

Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013 sheds new light on the hitherto neglected engagements of African American writers and thinkers with various literary, cultural, and artistic traditions of Asia. Starting with a reevaluation of Lewis G. Alexander's transcultural remaking of haiku in 1923, this dissertation interrogates and revises the familiar interracial (read as "black-white") terms of the African American struggle for freedom and equality. While critics have long taken for granted these terms as the sine qua non of the African American literary imagination and practice, this dissertation demonstrates how authors like Alexander defied not only the implicit dichotomy of black-and-white but also the critical bias that represents African American literature as a nationally segregated tradition distinctly cut off from cultural sources beyond the border of the United States and made legible only within its narrowly racialized and racializing contexts.
African and African American Studies

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31

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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32

Moura, Carla Brogliato Cardoso de. "O haicai de Paulo Leminski: a busca da forma para sua poesia". Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14712.

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The main goal of this study is to investigate how the poet Paulo Leminski reveals language awareness under the haiku form, and expresses his sensibility thought it. Particularly questions how far his poetry reveals the haiku s intellectual structure. To guide our research on Paulo Leminski s work, we studied different procedures present in the eastern haiku, like the connection with the Zen gesture, the rhythm and the visual presentation of the letters and words, trying to capture them throughout his poetries. All kinds of poems and different structure options were selected for the analysis, so we could point its plurality. By translating different imagistic procedures, Leminski builds up a form for his own Brazilian haiku, presenting us the craft of his poetry
O objetivo central desta pesquisa é investigar como Paulo Leminski, em sua produção poética, manifesta consciência de linguagem sobre a forma do haicai e expressa nela sua sensibilidade. Especialmente, interroga até que ponto a poesia leminskiana revela a linha de pensamento construtora do haicai. Para orientar nossa reflexão acerca da poesia leminskiana, averiguamos distintos procedimentos presentes no haicai oriental, como a articulação com o gesto Zen, a visualidade das letras e palavras, o ritmo, o movimento, buscando apreendê-los na produção do poeta. A fundamentação teórico-crítica baseouse nos estudos de Caetano Veloso e do próprio Leminski sobre o contexto da época, assim como, para a reflexão sobre o hacai, nos de Ernest Fenollosa, Haroldo de Campos, Octavio Paz e Paulo Leminski. Selecionamos, para análise, poemas com diferentes procedimentos de construção, para que pudéssemos evidenciar sua pluralidade poética. Ao traduzir diferentes procedimentos imagéticos, o poeta constrói uma forma para o seu haicai brasileiro, ensinando a ver a forma de sua poesia

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33

Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.

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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.

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34

Dantas, Walm?ria Oliveira. "Flash po?tico: uma experi?ncia de leitura e produ??o de haicais e fotografias na perspectiva do letramento liter?rio". Universidade Estadual de Feira de Santana, 2016. http://localhost:8080/tede/handle/tede/500.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
The present master's thesis (PROFLETRAS) is based on the qualitative research, focusing on the action research, presents as a proposal of intervention a didactic work based on the discursive genres (BAKHTIN, 2003), according to National Curricular Parameters guidelines (BRASIL, 1997) , With activities of reading and production of haiku and photographs, that approach the teaching of the language from the theoretical orientation of study of the genres, within a proposal sociointeractionist of the language. It seeks to contribute to the promotion of literacy levels and literacy of a group of seventh-year primary school students. The data of the research were collected through participant observation concomitant to the notes in the researcher's logbook, videotapes, questionnaires and testimonials of the participants. This work searches in the vast literature on literacy (KLAIMAN, 2007, SOARES, 2002), literary literacy (COSSON, 2014), haiku (FRANCHETTI, 2014, GOGA, 1988; PAZ, 1999), photography (BARTHES, 1984; FLUSSER, 1985) and didactic sequence (DOLZS, NOVERRAZ and SCHNEUWLY, 2004), among others, find ways to enable the student to develop reading skills and language skills so necessary for the exercise of citizenship. The analysis of the data evidences the importance of teacher mediation in the formation of the student reader and shows that the Didactic Sequence can be an efficient methodology to assist teachers in the motivation of their students, with a view to the promotion of literary literacy.
A presente disserta??o de mestrado (PROFLETRAS) baseia-se na pesquisa qualitativa, com foco na pesquisa-a??o, apresenta como proposta de interven??o um trabalho did?tico fundamentado nos g?neros discursivos (BAKHTIN, 2003), segundo orienta??es dos Par?metros Curriculares Nacionais (BRASIL, 1997), com atividades de leitura e produ??o de haicais e fotografias, que abordam o ensino da l?ngua a partir da orienta??o te?rica de estudo dos g?neros, dentro de uma proposta sociointeracionista da linguagem. Busca contribuir para a promo??o dos n?veis de leitura e letramento liter?rio de uma turma de alunos do s?timo ano do Ensino Fundamental. Os dados da pesquisa foram coletados por meio da observa??o participante concomitante ?s anota??es no di?rio de bordo da pesquisadora, v?deo grava??es, question?rios e depoimentos dos sujeitos participantes. Esse trabalho busca na vasta literatura existente sobre letramento (KLAIMAN, 2007; SOARES, 2002), letramento liter?rio (COSSON, 2014), haicais (FRANCHETTI, 2014; GOGA, 1988; PAZ, 1999), fotografia (BARTHES, 1984; FLUSSER, 1985) e sequ?ncia did?tica (DOLZS, NOVERRAZ e SCHNEUWLY, 2004), dentre outros, encontrar caminhos que possibilitem ao aluno, o desenvolvimento das habilidades de leitura e capacidades de linguagem t?o necess?rias para o exerc?cio da cidadania. A an?lise dos dados evid?ncia a import?ncia da media??o do professor na forma??o do aluno leitor e mostra que a Sequ?ncia Did?tica pode ser uma metodologia eficiente para auxiliar professores na motiva??o de seus alunos, com vistas ? promo??o do letramento liter?rio.

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35

Ferreira, Lorena Vita. "Renato Gonda : uma poética rumo ao nada /". São José do Rio Preto : [s.n.], 2006. http://hdl.handle.net/11449/94184.

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Orientador: Rogério Elpidio Chociay
Banca: Nelson Luis Ramos
Banca: Kenia Maria de Almeida Pereira
Resumo: Esta dissertação tem por objetivo investigar a dicção poética de Renato Gonda (1959- ) em seu livro AD NADA (1994). Nesta obra encontramos breves e condensadas manifestações poéticas - "101 haikais ou quase" (assim os denomina o próprio sujeito lírico). A confluência de registros poéticos datados e consagrados imprime uma informação estética diversificada, característica freqüente na cena literária contemporânea brasileira. Em relação ao conteúdo, os poemas de AD NADA apresentam um caráter niilista que impulsiona seu sujeito lírico a reconsiderar/questionar as concepções absolutas presentes na nossa existência, tal como a noção de Deus, imposta ao homem, principalmente, pela metafísica e teologia ocidental. Repensar tais conceitos é repensar também a linguagem automatizada e ter a possibilidade de criar uma outra que desestabilize os discursos cristalizados e estereotipados que subjugam a condição humana. A partir dessas perspectivas, analisaremos e interpretaremos a configuração do niilismo na obra para, então, verificarmos como esse posicionamento frente ao mundo influencia o fazer poético do eu-lírico e a sua relação com a palavra poética.
Abstract: This thesis is aimed at investigating the poetic diction of Renato Gonda (1959- ) in AD NADA, a work which contains his brief poetic manifestations: "101 haikais ou quase" (101 haikus or almost), as the author himself calls them. The confluence of dated and consecrated poetic registers imparts a diversified aesthetic information, a frequent characteristic found in the contemporary Brazilian literary scene. As for theme, the poems of Ad Nada present a nihilistic character which leads their lyric subject to reconsider or to call in question the absolute conceptions present in our life, such as the notion of God, imposed to man mainly by western metaphysics or theology. To rethink such concepts is also to rethink automatized language and have the possibility of creating another one, which destabilizes the crystallized and stereotyped discourses which subjugate human condition. On the basis of such perspectives, nihilism will be analyzed and interpreted in the work at hand in order to verify how this positioning before the world influences the poetical work of the lyric self and its relationship with the poetic word.
Mestre

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36

Jonsson, Herbert. "Haikai Poetics : Buson, Kitō and the Interpretation of Renku Poetry". Doctoral thesis, Stockholm University, Department of Oriental Languages, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1322.

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The dissertation is a study of the poetics of haikai in eighteenth-century Japan. It is more specifically concerned with the works of Yosa Buson and some of his followers. Rather than being a study of certain poems, it is an investigation of theories of aesthetics and composition, and of criticism. Most studies of haikai focus on the short haiku (or hokku) form, but the present study is more concerned with the core form of this poetry, the long chains of verses called "renku" or "haikai no renga".

One important object of this study is to challenge some of the established views of haikai found in modern scholarship. For this purpose, many standpoints of haikai theory have been found useful, since they often approach questions of interpretation from new and unexpected angles. Theoretical stances that stress convention and traditionalism are criticized and the spirit of haikai is found to be more in concord with theories of cognitive poetics.

The dissertation consists of three parts. The first is a study of general haikai theory. In this part are discussed theories of aesthetics, theories of creativity, and a few questions related to the interpretation of this kind of poetry. This discussion focuses on those questions that are central in Buson’s own writing on poetics and puts them into a broader context.

The second part deals with practical theories of renku composing. An introductory chapter gives a historical background to many concepts used in Buson’s age, and this is followed by a full translation and critical study of a renku treatise written by his disciple Takai Kitō.

The last part is an investigation of modern criticism written on Buson’s renku. All existing full-length studies of these poems are discussed in comparison. The absence of a long critical tradition concerning Buson’s renku has, in many cases, prevented the formation of established interpretations, and this is ideal for a study of this kind.

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37

Kitamura, Miou. "La poésie française et le haïku". Dijon, 2007. http://www.theses.fr/2007DIJOL005.

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Le Haïku fut introduit en France au début du XXe siècle, époque où la poésie française était fascinée par l’art du bref. De nos jours, la forme brève poétique japonaise inspire encore de nombreux amateurs français. Cette étude met en lumière l’originalité du Haïku français par rapport à la nature et à la tradition du Haïku japonais, et enfin décrit leur évolution respective. Ce dernier est fidèle aux règles formelles et bannit tout sentiment personnel excessif ; quant au Haïku français, il manifeste une relative liberté formelle et permet l’expression de moi. Même si les deux Haïkus se rapprochent l’un de l’autre, car le Haïku français a appris l’art de la suggestivité, ils conservent cependant une différence irréductible
Haiku was introduced into France at the beginning of the 20th century, when brevity started to take on an important place in French poetry. Nowadays, the short Japanese poetical form inspires many French amateurs. This study aims to show the originality of French Haiku in comparison with the nature and tradition of Japanese Haiku, and thier respective evolutions. Japanese Haiku adheres to formal rules and does not accept excessive personal expressions. As for French Haiku, it is marked with relative liberty in form and allows for being expansive. In spite of their fundmental differences, the two Haikus are moving closer. French Haiku, especially, learnt the art of suggestivity. Yet, within that relationship, they will obviously still be clearly distinguishable, one from the other, and preserve their particularities

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38

Ferreira, Lorena Vita [UNESP]. "Renato Gonda: uma poética rumo ao nada". Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/94184.

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Esta dissertação tem por objetivo investigar a dicção poética de Renato Gonda (1959- ) em seu livro AD NADA (1994). Nesta obra encontramos breves e condensadas manifestações poéticas - “101 haikais ou quase” (assim os denomina o próprio sujeito lírico). A confluência de registros poéticos datados e consagrados imprime uma informação estética diversificada, característica freqüente na cena literária contemporânea brasileira. Em relação ao conteúdo, os poemas de AD NADA apresentam um caráter niilista que impulsiona seu sujeito lírico a reconsiderar/questionar as concepções absolutas presentes na nossa existência, tal como a noção de Deus, imposta ao homem, principalmente, pela metafísica e teologia ocidental. Repensar tais conceitos é repensar também a linguagem automatizada e ter a possibilidade de criar uma outra que desestabilize os discursos cristalizados e estereotipados que subjugam a condição humana. A partir dessas perspectivas, analisaremos e interpretaremos a configuração do niilismo na obra para, então, verificarmos como esse posicionamento frente ao mundo influencia o fazer poético do eu-lírico e a sua relação com a palavra poética.
This thesis is aimed at investigating the poetic diction of Renato Gonda (1959- ) in AD NADA, a work which contains his brief poetic manifestations: “101 haikais ou quase” (101 haikus or almost), as the author himself calls them. The confluence of dated and consecrated poetic registers imparts a diversified aesthetic information, a frequent characteristic found in the contemporary Brazilian literary scene. As for theme, the poems of Ad Nada present a nihilistic character which leads their lyric subject to reconsider or to call in question the absolute conceptions present in our life, such as the notion of God, imposed to man mainly by western metaphysics or theology. To rethink such concepts is also to rethink automatized language and have the possibility of creating another one, which destabilizes the crystallized and stereotyped discourses which subjugate human condition. On the basis of such perspectives, nihilism will be analyzed and interpreted in the work at hand in order to verify how this positioning before the world influences the poetical work of the lyric self and its relationship with the poetic word.

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39

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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40

Kinzel, Haiko [Verfasser]. "Einfluss passiver Stentbeschichtungen bei koronaren de-novo Läsionen / Haiko Kinzel". Ulm : Universität Ulm. Medizinische Fakultät, 2012. http://d-nb.info/1029142394/34.

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41

Zhang, Haikuo [Verfasser]. "Investigating the molecular mechanisms underlying Geroderma-Osteodysplastica-(GO)- Syndrome / Haikuo Zhang". Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1025159357/34.

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42

Hildebrandt, Haika Verfasser], Martin [Akademischer Betreuer] [Möller e Jürgen [Akademischer Betreuer] Groll. "Multifunctional nanogels for biomedical applications / Haika Hildebrandt ; Martin Möller, Jürgen Groll". Aachen : Universitätsbibliothek der RWTH Aachen, 2018. http://d-nb.info/1181335221/34.

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43

Hildebrandt, Haika [Verfasser], Martin [Akademischer Betreuer] Möller e Jürgen [Akademischer Betreuer] Groll. "Multifunctional nanogels for biomedical applications / Haika Hildebrandt ; Martin Möller, Jürgen Groll". Aachen : Universitätsbibliothek der RWTH Aachen, 2018. http://d-nb.info/1181335221/34.

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44

Morgenstern, Haiko [Verfasser], e Herbert [Akademischer Betreuer] Reichl. "Effiziente Verifikation der Robustheit komplexer integrierter Schaltungen / Haiko Morgenstern. Betreuer: Herbert Reichl". Berlin : Universitätsbibliothek der Technischen Universität Berlin, 2011. http://d-nb.info/1014756731/34.

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45

Rolff, Haiko [Verfasser]. "Hall- und Bend-Widerstands-Magnetometrie an mikro- und nanostrukturierten Ferromagneten / Haiko Rolff". Aachen : Shaker, 2003. http://d-nb.info/117054326X/34.

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46

Dannowski, Haike [Verfasser], Richard [Gutachter] Lucius, Thomas [Gutachter] Ritter e Uwe [Gutachter] Pleyer. "Gentransfer in korneale Endothelzellen / Haike Dannowski ; Gutachter: Richard Lucius, Thomas Ritter, Uwe Pleyer". Berlin : Humboldt-Universität zu Berlin, 2004. http://d-nb.info/1207654639/34.

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47

Lorenz, Haik [Verfasser], e Jürgen [Akademischer Betreuer] Döllner. "Texturierung und Visualisierung virtueller 3D-Stadtmodelle / Haik Lorenz. Betreuer: Jürgen Döllner". Potsdam : Universitätsbibliothek der Universität Potsdam, 2011. http://d-nb.info/1015693784/34.

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48

Abou, Ghannam Anis. "Farjallah Haik, un romancier libanais entre deux cultures étude de style /". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376111212.

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49

Hui, Sarah Mei-Yen. ""Haikus in the subway" understanding student meaning-making of an alternative spring break trip /". College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9471.

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Abstract (sommario):

Thesis (M.A.) -- University of Maryland, College Park, 2009.
Thesis research directed by: Dept. of Counseling and Personnel Services. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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50

Taye, Addisalem Hailu [Verfasser]. "Optimization of drying process for better quality retention of dried potato / Addisalem Hailu Taye". Kassel : Universitätsbibliothek Kassel, 2018. http://d-nb.info/1162154594/34.

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Tesi sul tema "Haiku"

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