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Articoli di riviste sul tema "Haikau"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2025

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1

スエナガ, エウニセ SUENAGA Eunice. "ブラジル・ポルトガル語俳句の中のモデルニスタ詩人の痕跡 ―ギリェルミ・ヂ・アウメイダの作風と影響― TRACES OF THE MODERNIST POET IN THE BRAZILIAN PORTUGUESE HAIKAI: STYLE AND INFLUENCES OF GUILHERME DE ALMEIDA". Oriental Renaissance: Innovative, educational, natural and social sciences 3, № 20 (2023): 186–91. https://doi.org/10.5281/zenodo.8094470.

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<strong>ABSTRACT</strong> <em>This presentation aims to analyze the unique haiku (haikai) style of a Brazilian poet named Guilherme de Almeida (1890-1969), one of the organizers of the Modern Art Week in São Paulo in 1922, who created his own style of haikai in the first half of the twentieth century. Despite not being the first to introduce the haiku to Brazil, nor the one who first wrote the haiku in Portuguese, he is the most famous one, and consequently contributed enormously for the spreading of this poetry form in the country. In his article titled “My haikais” publish

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

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Teruko Fujino Oda (1945-) é poeta e exerce um papel importante na disseminação do haikai no Brasil. Filha de imigrantes japoneses e sobrinha de Hidekazu Masuda (1911-2008), o Mestre Goga, um dos fundadores do Grêmio Haicai Ipê, desde a infância Teruko Oda viu-se cercada pela natureza onde vivia no interior de São Paulo e pela prática do haikai. À frente da coordenação do Grêmio Haicai Ipê desde 2012, nesta entrevista inédita concedida em março de 2017, Teruko conta-nos sobre o seu primeiro contato com o haikai, sobre as atividades desenvolvidas pelo Grêmio Haicai Ipê e suas expectativas para o

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Sá, Michele Eduarda Brasil de, and Cacio José Ferreira. "Bacellar and Beça: an exercise of Haiku Translation." Afluente: Revista de Letras e Linguística 9, no. 25 (2024): 01–11. https://doi.org/10.18764/2525-3441v9n25.2024.04.

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Haiku as a poetic genre is widespread in many places around the world. In Brazil, where there is the largest population of Japanese descendants apart from Japan itself, haikai was assimilated in two ways: through Brazilian poets writing in Portuguese and immigrant poets writing in Japanese. Haikai in Portuguese was assimilated and adapted, combining it with local vocabulary related to the equally specific nature of each region. In Amazonas, two of the greatest exponents of haikai are the poets Luiz Bacellar and Aníbal Beça. This paper briefly presents some of their poems found in the books "Sa

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Graceillia, Eugenie, and Soni Mulyawan Setiana. "RANCANGAN MEDIA HAIKU NO HAJIMARI SEBAGAI MEDIA ALTERNATIF PEMBELAJARAN NIHON BUNKASHAKAI NYUUMON." MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya 1, no. 2 (2021): 229–40. http://dx.doi.org/10.34010/mhd.v1i2.5753.

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Penelitian ini bertujuan untuk mengetahui rancangan dari aplikasi media Haiku No Hajimari sebagai media alternatif dalam pembelajaran Nihon Bunkashakai Nyuumon. Media ini dibuat menggunakan aplikasi Thunkable.. Metode yang digunakan dalam penelitian ini yaitu metode pengembangan model ADDIE (Analysis, Design, Development, Implementation, dan Evaluation). Media ini membahas tentang perkembangan haikai mulai dari zaman Pramodern. Dalam penelitian ini, terdapat penjelasan mengenai media Haiku No Hajimari mulai dari rancangan tampilan pembuka hingga menu credit. Media ini dirancang untuk membantu

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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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Oliveira, Ana Maria Abrahão dos Santos. "ENTRE O VERBAL E O VISUAL: O HAIKAI E A FOTOGRAFIA NA POÉTICA DE PAULO LEMINSKI." A Cor das Letras 8, no. 1 (2017): 117. http://dx.doi.org/10.13102/cl.v8i1.1570.

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Este artigo pretende discutir a poética de Paulo Leminski, em espe-cial, o haikai, destacando sua relação com a fotografia. Primeiramente apre-senta um breve resumo sobre a questão do olhar desde a Antigüidade Clássi-ca até a Modernidade. Será discutida também a mesma questão, dando ênfase à poesia moderna, em especial, os haikais, relacionando-a com o olhar fotográfico.

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SILVA, B. A., R. R. M. LEITE, and M. S. REBOITA. "Haiyan and Haima typhoons: Characteristics During Formation, Maturation and Dissipation." Anuário do Instituto de Geociências - UFRJ 41, no. 3 (2018): 37–53. http://dx.doi.org/10.11137/2018_3_37_53.

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

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Luqyana, Mahdiah, 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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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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13

Zhang, Yu. "Information Construction of Sports Tourism in Haikou City under the Background of Internet." Wireless Communications and Mobile Computing 2022 (July 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/6171234.

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So far, there are few reports on the evaluation and analysis of sports tourism resources in Haikou by the combination of qualitative evaluation and quantitative evaluation. This paper comprehensively uses Delphi method, questionnaire survey method, analytic hierarchy process, mathematical statistics, and other research methods to take Haikou sports tourism resources as the research object. Through the field investigation of Haikou sports tourism resources, this paper comprehensively evaluates Haikou sports tourism resources by combining qualitative and quantitative evaluation methods, in order

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

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Based on the time series data of ecological environment in Haikou during 2001-2011 and determined the weights of ecological factor by the factor analysis method, the urban ecological environment of Haikou were evaluated dynamically using the comprehensive index evaluation method. The results show that the city ecological environment quality comprehensive index of Haikou is the level III and the ecological degree is general during 2001-2007，while the index of Haikou is the level II and has a higher degree of ecological during 2008-2011. It indicates that Haikou government is effect on promoting

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

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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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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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Abstract (sommario):

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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Ouyang, Fan-Xian, Yin Zhuo, Xiao-Xue Li, et al. "Development of Hypertension Diagnostic Cutoff Values in 6–15 Years Old Children in Haikou City and Their Comparison With the National Standard." American Journal of Hypertension 35, no. 2 (2022): 207. http://dx.doi.org/10.1093/ajh/hpab150.

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Abstract Background To develop the diagnostic criteria of childhood hypertension for different sex, age, and height in Haikou City and compare them with the national standard. Methods Stratified random cluster sampling method was used to sample 11,497 students from 227 classes of 29 primary and secondary schools at Haikou. Their height, weight, and blood pressure (BP) were measured during October 2013 to December 2014. The BP values were obtained with method of Korotkoff mercury sphygmomanometer by the trained examiners. Non-Haikou students and abnormal discrete samples were excluded. A total

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

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The article is studying on the Haikou city, using Remote Sensing technique and GIS technology, with ArcGIS, ERDAS, FRAGSTAS, analyzing the temporal and spatial variation of landscape in Haikou City from 2000 to 2010, drawing the conclusion: residents, construction, farmland and forest land is the main part of landscape pattern and increased rapidly. Besides the decrease of unused land and water area, it also reflects that not only the landscape fragmentation degree of the integral sight in Haikou City in relatively high, but the landscape fragmentation degree of the residents, construction, fa

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

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

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