Haiku Poetry

The haiku appeared in Cholla Needles, October 2017 issue. It drew attention of the Arabic poet scholar who translated the poems into Arabic and posted it on Facebook on 21 June 2018:  https://www.facebook.com/photo.php?fbid=1868228216573766&set=a.502181063178495.1073741828.100001598184341&type=3&theater

Ein praktisches Verständnis von Silben im Deutschen zu entwickeln ist für Lerner japanischer Muttersprache kein leichtes Unterfangen. Die bekannten japanischen Gedichtformate Haiku  und Tanka bieten jedoch interessante Möglichkeiten. Für japanische Lerner bietet die, teilweise auch problematische, Gleichsetzung, japanischer Moren mit Silben im Deutschen überraschendes Potenzial. Der Lerner entwickelt im DaF-Unterricht ein praktisch-kognitives Verständnis von Silben vermittels des Schreibens von Haiku und Tanka auf Deutsch. Mit ihren festen Strukturen von 5-7-5 Moren bzw. Ersatzweise Silben (Haiku) und 5-7-5-7-7 (Tanka) bieten diese Gedichte eine gute Ausgangsbasis für die spielerische Manipulation von Sprache – besonders kommunikativer Chunkstrukturen, die integraler Bestandteil des Lehrwerks sind – in einem fest begrenzten Rahmen. Sie ermöglichen somit auch die Annäherung an Silbenstrukturen und erleichtern das Realisieren von Silbengrenzen im Deutschen. Poetische Freiheiten bei der Verkürzung oder Verlängerung von Silben und gesprochensprachliches Einfügen von Modalpartikeln und Pronomina und Klitisierung sind auch und gerade für japanische Anfänger interessante Felder des praktischen Entdeckens und Kennenlernens rhythmischer Strukturen der Zielsprache Deutsch. Insbesondere ermöglichen sie das behutsame aber sukzessive Loslösen von der, besonders die extreme Limitierung des Vokalphoneminventars betreffenden folgenschweren, Repräsentation der phonetisch-phonologischen Realität des Deutschen mittels des japanischen Silbenalphabets katakana. Anhand von Beispielen aus der Unterrichtspraxis werden Grenzen und Möglichkeiten dieses Ansatzes und auch das Potenzial für den Einsatz in anderen ausgangssprachlichen Kontexten illustriert und erörtert.

This treatise is actually the Foreword of the haiku book, A Tree Frog's Eyes: Haiku, by David E Navarro. It is extracted and presented here as its own paper since it is complete in itself and explains a little about the historical essence of haiku, as well as four core essentials (zoka, ma, tathata, and toriawase) and two core functional elements (kigo and kireji) of it. It also briefly touches on the Zen quality of kensho in Zen influenced haiku. Not all haiku is Zen, nor does it need to be, but Zen haiku poets are fond of its use and impact. It also discusses some of the ramifications of Japanese haiku as translated into English and explains what the author means by jhetsu. Finally, there is an explanation of the rare list or trio haiku and some thoughts about haiku vs. senryu. It was originally written to give background and context to the haiku and senryu written by the author and poet of the book.

The research, which constitutes the first part of the author’s multivolume History of the New Japanese Poetry, traces the process of emergence and evolution of verse in the new forms after the Meiji Restoration. A totally new worldview forged in the fire of polemics on the pages of critical journals paved the way for the innovative aesthetics of the XX century Japan. The eloquent melodic Romanticist shintaishi poetry by Shimazaki Toson and Doi Bansui born from the synthesis of East and West, the lyrical masterpieces by the great Symbolists Kitahara Hakushu, Miki Rofu, Kinoshita Mokutaro and a brilliant constellation of other young talents laid the foundation for the modern Japanese poetry and poetics. The book is richly illustrated with portraits of the poets and original paintings.

The introduction of haiku to the Western world was a major cultural event that initiated an expanding movement that over time has quietly permeated Western thinking and behavior as evidenced by its manifold use and expression in Western poetry, literature, science, philosophy, academia, culture, psychology, business, commerce, and technology, and which has challenged Western ethical foundations. Haiku has directly or indirectly affected everyone. Trumbull’s history of the Western haiku movement seems to naturally fall into three clear phases: 1) the Initial phase, 1853-1945; 2) the Great Expansion, 1946-1968; and 3) the explosive Multicultural Global Integration, 1969-2019. This paper shows how the practice of haiku has already benefited individuals and society in such areas as multicultural values, imagination, integration, mental health, well-being, professional development, stress reduction, personal expression, linguistic eloquence, technology, business and commerce, scientific innovation, aesthetic appreciation, and more. But this only hints at the possibilities of further exploration and study.

Although translations differ, the impact of this seventeen syllable (in Japanese) tiny poem was huge. The striking beauty of the poem lies in the concise description of a certain moment without the involvement of the subjective interpretation of the persona, but only with the necessary involvement of nature. As A. Jones puts it in an accurate description, "it (haiku)

Penelitian ini berangkat dari pemikiran bahwa haiku termasuk ke dalam genre puisi. Sebagai salah satu genre sastra, puisi tidak hanya merangkai kata. Puisi berangkat dari imajinasi penyair yang mencoba mengkaji kehidupan dan merespon masalah-masalah dalam kehidupan. Ada tiga permasalahan yang diajukan dalam penelitian ini, yaitu mengungkap makna kata salju dalam kumpulan haiku Issa Haikushuu karya Kobayashi Issa, mengetahui wacana dominan dalam haiku Kobayashi Issa, dan sejauh mana wacana tersebut merefleksikan fenomena atau kondisi sosial budaya masyarakat Jepang. Untuk menjawab permasalahan tersebut digunakan teori semiotika Rifaterre sebagai teori utama dan teori sosiologi sastra sebagai teori pendukung. Hasil analisis mengenai makna denotatif dan konotatif menunjukkan hal-hal sebagai berikut. Pertama, bagi Issa, salju adalah sesuatu yang tidak bisa dipisahkan dari Shinano, kampung halamannya, salju bagi Issa, sama seperti kampung halamannya sendiri. Kedua, salju bagi Issa adalah perwujudan dari keindahan alam yang merupakan ciptaan Tuhan Yang Mahaesa. Ketiga, salju bagi Issa adalah simbol kemampuan manusia untuk beradaptasi dengan lingkungannya. Ada empat wacana dominan dalam haiku karya Kobayashi Issa, yaitu wacana cinta tanah air, wacana cinta kasih, wacana religius, dan wacana ekonomi. Haiku-haiku karya Issa bisa dikatakan sebuah dokumen sosial tentang kehidupan sehari-hari rakyat jelata pada zaman Edo. Apa yang populer pada zaman itu, dan apa yang dilakukan masyarakat pada musim dingin bisa diketahui melalui haiku karya Issa. Kata kunci: haiku, salju, Kobayashi Issa 1 1 Disarikan dari tesis berjudul sama dan diunggah dalam bentuk e-journal UNUD

Il lettore giapponese che affronti per la prima volta l'opera di Salvatore Quasimodo (1901-1968) potrebbe avere la sensazione di leggere qualcosa di familiare, di già udito. Nella sua mente, infatti, potrebbero sollevarsi echi che lo riportano al waka e, ancor di più, allo haiku. Questo accade in special modo con le prime poesie di Quasimodo contenute nella silloge Ed è subito sera, ed in particolare nella parte intitolata Acque e Terre.

Già dall'anno di nascita del poeta Masaoka Shiki 正岡子規  - il 1867- si può intuire quale fu la sua posizione all'interno del panorama letterario giapponese. Nato in un momento di passaggio  -  dall'epoca Tokugawa 徳川 (1603-1867) a quella Meiji 明治 (1868-1912) con i cambiamenti apportati dalla fine della politica di  chiusura del sakoku jidai  鎖国時代 e la conseguente apertura all'Occidente con l'importazione di modelli culturali stranieri - Shiki  potrebbe essere un ottimo rappresentante del momento storico con le sue tensioni e contraddizioni. Nel presente articolo analizzeremo il modo in cui il contatto con il mondo Occidentale influenzò le teorie estetiche di Shiki e come questi si ponga come tramite fra il passato culturale e letterario del Giappone e il presente dell'era Meiji coi suoi mutamenti, allargando l'analisi dal mondo dello haiku a quello del tanka, forma poetica egualmente cara a Shiki.

Στην ανακοίνωση αυτή παρουσιάζεται μια καλή πρακτική δημιουργικής γραφής χαϊκού και χάιγκα στο Γυμνάσιο. Το χαϊκού, το γνωστότερο είδος ασιατικής ποίησης στην Ευρώπη, χαρακτηρίζεται για τη λιτότητα και τη συντομία του. Βάση του είναι εικόνες της φύσης ή της καθημερινής ζωής που αποκαλύπτουν μια σημαντική πλευρά του κόσμου.Το γιαπωνέζικο επίσης στην καταγωγή του χάιγκα, συνδυασμός χαϊκού και εικόνας, βοηθάει τους μαθητές να αντιληφθούν καλύτερα τα βασικά χαρακτηριστικά του ποιητικού αυτού είδους. Στο πρώτο μέρος της δραστηριότητας οι μαθητές πληροφορούνται τα κυριότερα στάδια της γένεσης και της ιστορίας του χαϊκού και εξοικειώνονται με τα βασικά χαρακτηριστικά του. Στη συνέχεια παράγουν τα δικά τους χαϊκού και χάιγκα με αφετηρία κατάλληλα επιλεγμένες φωτογραφίες. Στο τέλος της ανακοίνωσης περιλαμβάνονται αντιπροσωπευτικά παραδείγματα από τα χαϊκού και τα χάιγκα που παρήγαγαν οι μαθητές στο πλαίσιο του Ομίλου Δημιουργικής Γραφής και Ανάγνωσης και του μαθήματος της Λογοτεχνίας (από το σχολικό έτος έτη 2013-14 μέχρι σήμερα).

Un o de los aspectos menos conocidos de la historia del haiku es su relación con la filosofía zen. El zen 禅 (literalmente, 'meditación', 'contemplación', 'quietud' y 'calma') es una doctrina religiosa, proveniente del budismo mahāyāna, que fue introducida en Japón a lo largo de los periodos Nara (710-794) y Heian (795-1185), y que tuvo su desarrollo más importante durante el periodo Kamakura (1186-1382).

Este libro, incluido el diseño de la portada, no puede ser reproducido, transmitido o almacenado, sea por procedimientos mecánicos, ópticos, químicos o electrónicos, incluidas las fotocopias, sin permiso previo del editor o traductor, quienes permiten las citas con mención de la fuente.

Masaoka Shiki (1867-1902) è conosciuto per aver dato nuovo impulso allo haiku , attraverso la creazione di un nuovo ideale estetico: lo shasei (ritrarre dal vero.). Lo shasei, come stanno ad indicare i due caratteri che lo compongono, ossia “utsusu” “copiare”, “riprodurre” e “ikiru” “vivere” “esistere”, pone l’accento sull’osservazione diretta dell’oggetto artistico e sulla sua riproduzione oggettiva, realistica. 
  Le influenze che Shiki subì nell’elaborazione dello shasei furono diverse, ma una mi sembra sia particolarmente rilevante: quella della pittura.  In questo articolo mi propongo, quindi, di illustrare l’interesse del poeta sia verso la pittura giapponese che verso quella occidentale, e come questa sia riuscita ad influenzarne la poesia  a tal  punto che Shiki ritenne di poter trasferire il  vocabolario e le tecniche dall’una all’altra.

Tämän runokokoelman kirjoittaja ei tehnyt kymmeneen vuoteen elämässään käytännöllisesti katsoen juuri mitään muuta kuin nukkui. Hänen psyykeensä sairaudeksi luokiteltua tilaa koetettiin analysoida mm. lääketieteen, fysiikan, kemian, biologian, astrobiologian, astrologian, alkemian ja maailmanhistorian morfologian keinoin, mutta mysteeri ei auennut, eikä merkillinen ikiuni saanut pätevää selitystä – ei tieteellisesti eikä hengellisesti. Lopulta selitystä etsittiin sadun keinoin ja syntyi teoria Ruusunpunaisesta unesta. Kaikkein likimmäs ratkaisua tuli kenties kuitenkin heprealaisen Raamatun teoria tardêmâsta, syvän unen hengestä, johon Jumala vaivutti Adamin luodakseen hänelle puolison tämän omasta kaipauksestaan. Syvän horroksen kauden seurauksena syntyi ikuisesti raolleen jäänyt unipäiväkirja, johon Morfeuksen kanssa ystävystynyt unikeko kalastaa unia yhä edelleenkin. Samalla syntyi tämä  salaperäinen runokokoelma Uuno Kailaan Uni ja kuolema-teoksen hengessä, jonka manikealalainen angsti uhmaa painovoimalakia ja etsii armollista suhdetta omaan itseensä ja Jumalaan olemassaolon mysteerin viitoittamana.

2021.

This inquiry builds on the work of such thinkers as David Abram and Maurice Merleau-
Ponty; like their work, it addresses the fact that people in the Western developed world,
through their acculturations, sacrifice intimacy with the natural world. The article explores
one remedial measure: the Yamato Kotoba language of the Japanese. This is a language
before the Chinese injection of spoken and written words, one that preserves the earlier
words better suited, the authors propose, to expressing the interpenetrating experience of
the person with—in this case the Japanese—natural setting. Such an intimacy appears, for
instance, in Basho’s Haiku. In the same vein, Japanese Koto Dama deploys the spiritual power
that resides in words—as they are both spoken and unspoken. These linguistic phenomena
are explored and explained insofar as they preserve, capture, and celebrate human intimacy
with nature. In the words of Merleau-Ponty, they re-member humans as “flesh of the world’s
flesh.”

“Orientalisme i certesa d’Andorra: Aproximació als Haikús d’Arinsal d’Agustí Bartra”, Zeitschrift für Katalanistik, 2022, vol. 35, pp. 393-400.

Resum

Entre les imatges romàntiques que les Valls d’Andorra històricament han evocat, un lloc comú ha sigut la d’ésser reserva espiritual del Pirineu. La constitució literària del “mite andorrà” representa certament un exercici d’orientalització, d’exotització, dins del propi domini de la literatura en català (equilibrat d’alguna manera amb tradicions més planeres com la literatura excursionista). El darrer poemari d’Agustí Bartra subsumeix en seixanta poemes l’esperit del mite mitjançant un gènere oriental (l’haiku) i la fenomenologia. En aquesta nota estudiem les claus literàries i filosòfiques d’aquest gegantí exercici poètic que donà a Andorra una de les seus peces immortals.         

Paraules clau: Agustí Bartra, Andorra, haikus, orientalisme, fenomenologia.

In this thesis, I wish to discuss bisexuality as a possible alternative for women who, within the confines of western culture, are expected to maintain a static sexual identity which upholds heterosexuality as its ideal. In attempting to explore the viability and attractiveness of bisexuality for women, the premise will be that the binary oppositions of heterosexuality and homosexuality are a deliberate and alienating social construct. They are not exclusive categories, yet they are compartmentalised in order for society to avoid having to confront and deal with the many variations of behaviour that occur in between. Heterosexuality worldwide is dominant, and most acceptable modus O\operandi for all humans. I believe that it is a pervasive means of control and regulation. As a construct, it supports entrenched patriarchal imperatives through which women are socialised from birth into their particular gender roles in the heterosexual equation, quite often believing that this is the only path they can take. Thus, heterosexuality can be a trap in which many women become ensnared. Heterosexuality also requires the rejection of homosexuality, which discounts the possibility of valuable, rewarding and life-enriching relationships with members of one's own sex. It precludes liberating freedom of choice whilst helping to reinforce patriarchal doctrines.

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

Palabras clave: Poesía japonesa, Haiku, Traducción, Santōka, Siglo XX.

Dottore di ricerca (PhD) in Lettere Cristiane e Classiche (tesi in glottodidattica del latino). Fondatore e responsabile del gruppo di scrittura haiku in latino "Sodalicium haicubus Latine pangendis Romanum Opaca Fronde". Filologo classico, mediolatinista, traduttore e ricercatore nell'ambito della glottodidattica delle lingua classiche; sostenitore attivo delle metodologie induttivo-contestuali (ovvero "naturali") applicate all'insegnamento delle lingue classiche, in particolare tramite l'utilizzo del corso LLPSI / metodo Oerberg ("Lingua Latina per se illustrata"). Studioso dell'opera e della didattica di Arcadius Avellanus (Arkàd Mogyoròssy).

The haiku: those three little lines in concise syllabic patterns have inspired so many words and theories from poets and scholars. Practitioners of the art let their work speak for itself, leaving the reader to discover the perceptual immediacy in the poem.
Throughout this book, Isabella Mori opens aspects of haiku to us in gradual stages, with an easy atmosphere and a light touch. Her book includes haiku she has written herself and reflections on principles of the poetic form. This combination of the experiential and the reflective is also a variation on the poetics of haiku.
Originally German-speaking, fluent in Spanish and English, Mori takes to the Japanese form with an awareness that goes beyond any particular culture nurtured by one language alone. In her hands the form leads to its essential goal: direct unmediated perception. Mori's Vancouver haiku are not lofty or grand. That is not the haiku poetics she references. These haiku are direct refractions of everyday perceptions honed to focus on an instant of recognition. This path strips the poetic art to its most minimal: an indicator of experience preserved as a seed through time. By example and by explication Mori encourages readers to find their own way to this perceptual refinement. In further exploration, Mori takes us beyond the boundary of haiku as it has been previously understood, breaking with tradition to permit the emergence of entirely new forms. True always to the direct percept, these newer forms of haiku offer another take on the tradition's meaning. She also touches upon her process of selecting which of her many haiku to include, showing how this book came about in a randomly-inspired mathematical crystallization of form and content.

For many years I have taken interest in the invention of
imaginary worlds. In childhood, worldplay, as I call it, often
begins in those special places where persistent make-believe
happens: a woodland glade, perhaps, or a Lego block house,
or a hand-drawn map of a treasure island. In adulthood,
imaginary world invention is highly (though not exclusively)
associated with the literary arts, with compelling visions of
a Wessex or a Middle-earth. I am particularly fascinated by
what it takes to evoke the “realness” of a parallel place or
paracosm: a skein of associations, a visual image or two, a
handful of words? In many of the sumi-e paintings, haiku,
and “haibun-ga” of Lidia Rozmus these questions take flight.
full moon
between me and Mole Hill
headless snowman1
What follows is an edited version of a conversation with the
poet-painter, which took place in August 2013 at the Haiku
North America Conference held on the Queen Mary in Long
Beach, California.

Il poeta giapponese Masaoka Shiki  (1867-1902) deve la sua fama non soltanto ai numerosi e pregevoli haiku e tanka  che compose, ma anche all'aver saputo insufflare nuova forza in questi due generi poetici che stavano attraversando una fase di crisi. Shiki, che viene ricordato anche per la sua attività di critico letterario, è noto infatti soprattutto per la concettualizzazione e diffusione di un nuovo ideale estetico: lo shasei. Il termine, come illustreremo più avanti, si può tradurre con "riproduzione dal vero", e comporta l'osservazione diretta dell'oggetto della poesia e la sua riproduzione fedele ("ari no mamani utsusu", ossia "riprodurre così com'è"). Entrambi i princìpi sembrano trasformare il poeta in un semplice mezzo per riportare ai lettori, nella maniera più oggettiva possibile, qualcosa a cui loro non assistono direttamente. Sembrano quindi essere esclusi a priori i sentimenti e l'immaginazione, e il far poesia sembra trasformarsi più che altro in una sorta di "giornalismo poetico". In realtà, analizzando il pensiero e la produzione poetica di Shiki nel corso degli anni, ci si accorge che il poeta riesce a conciliare realismo e immaginazione, e quest'ultima risorsa diventerà per lui irrinunciabile quando, ormai troppo malato (cfr. nota 1), rimarrà isolato dal mondo esterno. In questo articolo verrà quindi analizzata la funzione dell'immaginazione nell'ambito della produzione poetica di Shiki attraverso l'analisi del saggio Kuawase no tsuki ("Il tema della luna, in una gara di haiku), in cui il poeta illustra il processo creativo che porta alla composizione di haiku, e verrà messo in luce il modo in cui, con il tempo, cambierà la sua maniera di intendere il realismo

late evening
a vase of red tulips
on the kitchen table

“This collection was born on Epiphany. For three days, snow has been lighting roofs and resting on branches. Ontario is in the middle of lockdown, and I have time to sit by my window. I am reminded of the kitchen windows in the farmhouse: if you couldn’t see the highway across the fields, then snow was drifting in from the lake; in the other direction, not being able to see the neighbour’s home at the near corner meant it was time to stay inside. One memory led to another.

I completed this collection on Pentecost. January 2021 Ontario is still in stay-at-home lockdown. The apple blossoms have come and gone, and the lilacs are in full bloom. May2021”

-  Kocher, Philomene, “new boards on the barn,” The Haiku Foundation Digital Library
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“Walking down the street where I had lived for nine years, something caught my attention: on my neighbour’s rosebush were rose hips, roses, and buds. It was late August, and I was amazed at seeing buds still. As a haiku poet, it is often when I am surprised that I am moved to write. It is also often true that this happens when I am walking, perhaps because I am closer to nature despite the sidewalks and traffic, and because I have slowed down. And so I wrote this poem: 

rose hips and roses and buds
on the same bush
August evening

I recorded my awareness of a particular moment. Reflecting on it later, I realized how much this image spoke also to my life circumstances. I was only months away from my fortieth birthday, and I pondered the parts of my life that were mature, that were blooming, and that were still in bud. After almost two decades exploring haiku, I am still astonished at how much story can be distilled into such small poems.  The potential of haiku to capture so much experience with so few words has always fascinated me.”

- Inviting connection through the gap in haiku PHILOMENE KOCHER Language and Literacy Volume 11, Number 1, Spring 2009

The article presents analyses of a numerous group of Polish contemporary poems which are close to genre determinants of haiku. The key categories of description are sensual mimesis and modern
epiphany. The author pays attention to the traps the poets producing the miniatures inspired by Japanese 17-syllable poems may fall into, which are, on the one hand, triviality and antitheticality of compositions, and, on the other hand, excessive (in the perspective of haiku) stylistic richness and intellectualisation of the pieces. The following parts of the sketch are devoted to the strategies of refreshing the poetics of the genre: defamiliarisation of perception, metaphorisation and conceptism. The
author also focuses on strictly semantic issues: using ambiguity, exploiting oriental topoi, transgressing the taboo of haiku – erotism, death. The final part of the paper provides an answer to the question
whether the authors of “most real” Polish haiku are continuators of Eastern tradition or epigones.

Haiku poetry developed over centuries in Japan, taking on such distinct characteristics that protective Japanese haikuists regard it as an inimitable part of their literature, aesthetics, and culture. At the same time, teachers all over the world have children write “haiku” poems in their own languages. There are also many English haiku contests and anthologies, some including Japanese judges, sponsors, editors or entrants, suggesting the internationalization of haiku. Therefore to decide between the conflicting claims as to whether non-Japanese are able to write real haiku poetry or not, the essential characteristics of this genre must be clarified.

“rainy day
on the floor a puzzle piece
of blue sky

Today a puzzle piece takes over. It’s the perfect poem for today as the sun has relented a little and we are not sweltering, but upon my opening Taj’s ... rendering of Grant’s poem, the  sky has become blue again."

Read more by Claudia Radmore, Writer & Publisher
https://claudiaradmore.com/2015/08/25/grant-savagemasud-taj/

Viviamo davvero in un'epoca liquida e digitale, come amiamo e sentiamo ripetere di continuo? No, e ce lo ricorda opportunamente Fabrizio Tonello nell'intervento di apertura dell'Alfadomenica di oggi, dedicato a un saggio uscito negli Stati Uniti e non ancora da noi, Behemoth di Joshua Freeman, sulla storia e l'evoluzione delle grandi fabbriche. Poi, ancora libri (Ambrosino su Beltrametti, Lorenzini su Sanguineti, D'Elia su Haern, Parisi su Gajdanov) e in chiusura l'Alfagola di Alberto Capatti. Buona lettura! Fabrizio Tonello, Behemoth, ascesa (e trionfo) della grande fabbrica Marco Ambrosino, Franco Beltrametti, sì, viaggiare Niva Lorenzini, Sanguineti e la funzione di verità Raffaella D'Elia, Lafcadio Hearn, esperimento con il Giappone Valentina Parisi, Gazdanov, le notti e i giorni di un anomalo émigré Alberto Capatti, Alfagola / Biblioteca colturale di gastronomia del dopolavoro Alfadomenica # 3 -settembre 2018 -Alfabeta2 https://www.alfabeta2.it/2018/09/16/alfadomenica-3-settembre-2018/

RESUMO
Este artigo pretende explorar as referências interculturais do haicai na linguagem do romance Rakushisha de Adriana Lisboa (1970). A confluência entre Oriente e Ocidente que se espelha na estrutura do romance permite uma prosa-poética que utiliza o haicai em seu processo de composição. A leitura de Rakushisha será abordada sob a prática da leitura intertextual, corroborada pelas reflexões teórico-críticas de estudiosos como Haroldo de Campos (1929- 2003), Haruo Shirane (1951) e Roland Barthes (1915- 1980), que dedicaram um espaço considerável à presença poética do haicai nas estéticas ocidentais.
Palavras-chave: haicai; Rakushisha; intertextualidade; romance; contemporâneo.

ABSTRACT
This paper intends to explore the intercultural references of haikai on the language of Adriana Lisboa’s novel Rakushisha. The confluence between Eastern and Western allows a structure which a poetic prose dialogs with the aesthetics of haiku in its composition process. The lecture of Rakushisha will be on practice of intertextual reading, underpinned by Haroldo de Campos (1929- 2003), Haruo Shirane (1951) and Roland Barthes (1915- 1980) who dedicated on studying of the presence of haiku on western aesthetic.
Keywords: haiku; Rakushisha; intertextuality; novel; contemporary.

This 10th anniversary issue cements The Mamba's reputation as Africa's most prestigious international haiku voice. The issue includes new haiku voices from Jordan, Macedonia, Slovenia, and other places. The founders of Africa Haiku Network, as well as The Mamba's publisher, mark a milestone with this issue, which includes the Africa Haiku Prize 2020, a first-time historic international haiku contest open to both African and non-Africans. It also includes works by seasoned haijins such as Bob Lucky (Portugal), Jay Friedenberg (USA), Myron Lysenko (Australia), and renowned French haijin Jolle Giniox-Duvivier who makes her debut.