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Articles de revues sur le sujet « Haiku »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 25 juillet 2025

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1

Mega, Sonya Kore, Tiarma Marpaung, and Yakob Metboki. "EXPLORING HAIKU IN STUDENTS’ ENGLISH CREATIVE WRITING AT SMA NEGERI 7 KOTA KUPANG." Journal on Language, Education, Literature, and Culture 1, no. 2 (2023): 9–18. https://doi.org/10.33323/l.v1i2.11.

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Getting challenged with academic writing, creative writing in a form of poetry can be delivered as an alternative task to help students cope with writing challenges. Haiku as one of the simplest poetry writings from Japan may help beginner writers to explore poetic words on certain objects or topics without using too many words in each line. Struggling writers can also use Haiku to stimulate their creative thinking in descriptive writing. With its simple pattern, Haiku can also boost students’ confidence to write. This study investigated whether students’ Haiku writing follows its rules and re

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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.

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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 (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 te

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

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Turner, Ashley R., Roque Anthony F. Velasco, Kathleen Oman, and Karen H. Sousa. "Aesthetic Knowing: Cut-Ups and Haiku Poems." Nursing Science Quarterly 36, no. 2 (2023): 181–85. http://dx.doi.org/10.1177/08943184221150263.

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

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

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Yuniman, Dwi Cahya. "4 Haiku Jazz (4 Jazz Haikus, 2021)." Jazz & Culture 7, no. 2 (2024): 110–12. https://doi.org/10.5406/25784773.7.2.08.

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

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St. Claire, Joshua. "Cloud Haiku, and: Ocean Haiku." North Dakota Quarterly 92, no. 1-2 (2025): 227–28. https://doi.org/10.1353/ndq.2025.a964125.

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Ramlan, Muhammad Nadzif. "Hana Wa Sakuragi: Discourse Analysis of Cherry Blossoms in Haiku of ‘The Great Four’." Japanese Research on Linguistics, Literature, and Culture 4, no. 1 (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 in

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Luqyana, Mahdiah, та Tri Mulyani Wahyuningsih. "MAKNA DUA HAIKU BERUNSUR BUAH 柿」(KAKI) KARYA MASAOKA SHIKI: PENDEKATAN SEMIOTIK RIFFATERRE". Alayasastra 17, № 1 (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 hermeneuti

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Kerslake, Lorraine. "Reconnecting with Nature through Haiku." Climate Literacy in Education 1, no. 1 (2023): 21–23. http://dx.doi.org/10.24926/cle.v1i1.5186.

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This reflection piece is a short summary of how haiku can help us to reconnect with nature and be used as a creative form of writing and a literary tool to raise environmental awareness and promote change. It is based on the experience developed in the chapter “Raising Environmental Awareness and Rewriting Education through Haikus” co-written by Lorraine Kerslake and Mª Encarnación Carillo and published in Literature as a Lens for Climate Change: Using Narratives to Prepare the Next Generation. 2022: pp. 171-193.

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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 (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 ber

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Fitriani, Indah. "Haiku dan Senryu dalam Puisi Bahasa Indonesia." Metahumaniora 8, no. 3 (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. Kig

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Fitriani, Indah. "Haiku dan Senryu dalam Puisi Bahasa Indonesia." Metahumaniora 8, no. 3 (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. Kig

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

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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 (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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Rosamond, Frances. "Haiku." Humanistic Mathematics Network Journal 1, no. 12 (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 (2001): 622. http://dx.doi.org/10.1080/10841806.2001.11643550.

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Rosen, David. "Haiku." Psychological Perspectives 47, no. 1 (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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Mossman, Lynn S. "Haiku." Religion & Public Education 15, no. 4 (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 (2013): 91. http://dx.doi.org/10.13109/leid.2013.2.3.91.

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Basho. "Haiku." Academic Medicine 77, no. 5 (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 (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 (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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Young, John. "Haiku about Haiku 1 & 2." English Journal 92, no. 6 (2003): 88. http://dx.doi.org/10.2307/3650549.

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Lange, Moritz Wulf. "Die Anfänge der deutschsprachigen Haiku-Dichtung." Zeitschrift für Germanistik 34, no. 3 (2024): 679–89. http://dx.doi.org/10.3726/92175_679.

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Abstract Auf Deutsch könne man keine Haiku schreiben – diese Ansicht vertrat Prof. Erwin Jahn, der in Japan Jahrzehnte lang Deutsche Literatur gelehrt hatte, am 13. Februar 1960 in einem seitdem immer wieder zitierten1 Artikel in der FAZ.2 Sechzig Jahre später ist das Haiku (das in der Literatur aus historischen Gründen gelegentlich auch als Hokku oder Haikai bezeichnet wird) fest in der deutschsprachigen Literatur etabliert. Bedeutende zeitgenössische Lyrikerinnen und Lyriker – alle im Folgenden Genannten haben den Büchner-Preis erhalten – kommen immer wieder auf das Haiku zurück, sei es mit

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Tateishi, Koichi, and Shinobu Mizuguchi. "Are we biased against AI-made haiku poems?" Proceedings of the Linguistic Society of America 10, no. 1 (2025): 5885. https://doi.org/10.3765/plsa.v10i1.5885.

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Haiku is a traditional Japanese unrhymed short poem of 17 syllables with ‘a seasonal word’ and ‘a cut letter’ to divide 17 syllables into smaller units of [5][75], [57][5], or [5][7][5]. Due to its brevity, haiku often lack arguments and predicates, and a cut letter separates the text into smaller parts, making it difficult to establish local coherence. However, Gilbert (2024) claims that the play of disjunction and coherence is a taproot of haiku. Haiku, or a version of it, is now written by poets worldwide and even by AI. This paper examines how humans evaluate AI-generated haiku poems throu

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Graziani, Michela. "La tradizione haiku nella poesia contemporanea di lingua portoghese." DILEF. Rivista digitale del Dipartimento di Lettere e Filosofia, no. 3 (November 7, 2023): 103–33. http://dx.doi.org/10.35948/dilef/2024.4330.

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Il fascino e l’attenzione dei portoghesi verso le culture estremo-orientali (cinese e giapponese) risale al periodo dei viaggi marittimi (XV-XVI secolo). Da lì in avanti, fino all’epoca a noi contemporanea, vari poeti portoghesi si sono ispirati a elementi estetici o filosofico-religiosi della cultura cinese o giapponese, oppure hanno tradotto in lingua portoghese poesie cinesi o giapponesi. Nel presente lavoro intendiamo illustrare le fasi più salienti della ricezione del genere poetico giapponese haiku in Portogallo e Brasile, cercando di capirne i motivi e di mettere in risalto alcuni poeti

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Graziani, Michela. "La tradizione haiku nella poesia contemporanea di lingua portoghese." DILEF. Rivista digitale del Dipartimento di Lettere e Filosofia, no. 3 (November 7, 2023): 1–31. http://dx.doi.org/10.35948/dilef/2023.4330.

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Il fascino e l’attenzione dei portoghesi verso le culture estremo-orientali (cinese e giapponese) risale al periodo dei viaggi marittimi (XV-XVI secolo). Da lì in avanti, fino all’epoca a noi contemporanea, vari poeti portoghesi si sono ispirati a elementi estetici o filosofico-religiosi della cultura cinese o giapponese, oppure hanno tradotto in lingua portoghese poesie cinesi o giapponesi. Nel presente lavoro intendiamo illustrare le fasi più salienti della ricezione del genere poetico giapponese haiku in Portogallo e Brasile, cercando di capirne i motivi e di mettere in risalto alcuni poeti

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Ni Luh Gede Meilantari, I Nyoman Suarka, I Ketut Sudewa, and Igaa Mas Triadnyani. "The Evolution Of Japanese Haiku: From Paper To Digital." International Journal of Education and Literature 3, no. 2 (2024): 128–35. http://dx.doi.org/10.55606/ijel.v3i2.118.

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Haiku is a type of traditional Japanese poetry that originated in the Muromachi era (13th-15th centuries) and evolved further throughout the Edo era (17th century). Haiku, along with Ninja, Manga, Samurai, and Karaoke, has become a prominent Japanese vocabulary word around the world. Haiku is a form of poetry that can be found in both Japanese and international literature. Haiku has grown in popularity as a result of technological advancements in the twenty-first century, particularly through the internet and social media. This study attempts to summarize the evolution of haiku from paper to d

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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 (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 st

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

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Sütiste, Elin. "Translating the seventeen syllables." Sign Systems Studies 29, no. 2 (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

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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 (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 di

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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 mencio

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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 (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

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Yokota, Yuya. "Questions de création poétique dans la traduction des haïkus." Translationes 10, no. 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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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, № 4 (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 s

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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 (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

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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 (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 dal

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Cheney, Matthew A. "Expanding Vision: Teaching Haiku." English Journal 91, no. 3 (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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