Premodern Japan boasts one of the world's richest and most venerable poetic traditions, with a written history dating back to about the 6
th
century CE. But translations into English of its various ...genres, notably waka and haiku, only began to appear in the mid-19
th
century. The extreme differences between English and premodern literary Japanese and the welter of classical poetic conventions have complicated accurate interpretation and translation. A historical overview of representative examples reveals a trajectory from heavily naturalized renditions to increasingly literal ones in terms of both form and content, as Anglophones became more familiar with Japanese history and culture. This new willingness to let premodern Japanese poetry speak for itself, to "make it old," so to speak, developed in concert with stylistic developments in English poetry, which in turn were influenced by Japanese poetry in English. This overview also reveals that the stylistic choices made by Western translators tended increasingly to diverge from those by their Japanese counterparts. While translations from the mid-19
th
century to the mid-20
th
century receive primary attention here, more recent examples are also selectively considered.
In the psychology of aesthetics, compared with appreciation, there are fewer studies on art creation. This study aims to examine the influence of art creation on appreciation using haiku poetry with ...reference to the Mirror Model—a process model combining creation and appreciation. Although the model has been primarily used to examine visual arts, we examine its applicability to linguistic arts. In addition, we use ink painting to examine whether a generalisation across artistic genres can occur. The 115 participants were divided into two conditions—creation and control. The former created haiku before and after appreciation, while the latter did not create any haiku. The results showed no improvement in evaluation through creation. Additionally, recognising the difficulty related to creation leads to aesthetic evaluation, and this relationship is mediated by awe. These results expand the existing information regarding the Mirror Model in terms of the different art genres.
U radu se opisuje i analizira onaj dio pjesničkoga opusa Tončija Petrasova Marovića koji genološki i poetički ovisi o utjecaju klasičnoga japanskoga lirskoga pjesništva (waka). Budući da dotične ...tekstove nije uvijek moguće jednoznačno odrediti, posebna se pozornost posvećuje njihovoj identifikaciji i interpretaciji. Također se nastoji prepoznati utjecaj najvažnijih pjesnika haikua, koji vrstovno čini najveći dio dotičnoga opusa. Postavljaju se pitanja o tome koliko su klasični japanski elementi haikua – metar, dobnica (kigo) i usjek (kire) – prisutni u Marovićevu pjesništvu i na koji se način ono prema njima određuje. U središtu je
interesa način na koji Marović istovremeno uklapa i inovira japansku liriku u kontekst(u) hrvatske, s obzirom na to da se radi o autoru koji, kako je isticano u literaturi, prvi objavljuje vlastite haikue na hrvatskome jeziku. Radom se nastoji pokazati da ta inovacija nije zanimljiva samo kao književnopovijesni kuriozitet, već i da se radi o pomno promišljenome i oblikovanome korpusu koji treba imati značajno mjesto ne samo u kontekstu autorove lirike već i hrvatske lirike u cjelini.
The proverb hana wa sakuragi, hito wa bushi highlights the significance of cherry blossoms (sakura) as the pinnacle of Japanese aesthetics and floral symbolism. This paper constructed a discourse ...analysis of cherry blossoms portrayed in the haiku by the Great Four - namely Matsuo Basho, Yosa Buson, Kobayashi Issa and Masaoka Shiki. Three poems from each poet were analyzed as samples, accumulating to 12 haiku overall. To avoid equivocality, all 12 haikus observed would explicitly mention sakura with its kanji character or hiragana. The analysis would cover linguistic aspects and metaphorical interpretations associated to convey the portrayal of cherry blossoms in the context of that haiku. Further discussion of the analysis would have the creative representations of cherry blossoms among the four esteemed poets to be compared in six aspects – time, imagery, state, rhetoric, idiomatic expression and contrasting quality. With both linguistic aspect and relativistic viewpoint to form the discourse analysis, this shows that cherry blossoms can act as a form of display for personal philosophical values and personalities of the four Japanese poets specifically as well as the Japanese society in general.
Haiku is the shortest type of poetry known in the World. After leaving the borders of Japan, the first reflections appear especially in French poetry. Haiku, which has Japanese culture and beliefs in ...its background, is not a creed but has a life philosophy with its own. Haiku tries to put forward that philosophy of life in the simplest way. In japanese culture and beliefs, nature takes the first place. Haiku carries the traces of a life identical to nature. Haiku poetry, which entered Turkish literature with French translations, is not a type of poetry adopted until recently, although its name is mentioned from time to time. But in 90’s, haiku has become popular in Turkish poetry. Also in that years, respectable amount of haiku readers begin to emerge in our country. In this article, the brief history of haiku as a genre is mentioned and main points in Turkish poetry were tried to be determined. Finally, the haikus written by Oruç Aruoba, who have made significiant contributions to the recognition and meaning of haiku poetry, have been evaluted. Some of the haikus he wrote were selected and examined in terms of structure and essence, and it was tried to draw attention to the polysemy of haiku.
O artigo investiga como demandas por pluralidade, simultaneidade e não linearidade, próprias da estética contemporânea, podem habitar nas formas do haicai e, paradoxalmente, como o haicai, com suas ...características peculiares de composição, rivaliza com tais demandas do mundo atual nas artes. O estudo ilustra as análises críticas a respeito da modalidade literária haicai por Roland Barthes, Alberto Marsicano, Rodolfo Wilzig Guttilla, Paulo Franchetti, Elza Taeko Doi e Regina Weinreich. Buscam-se correlações e oposições entre os clássicos japoneses, como Bashô, Buson, Issa e Shiki, e os praticantes mais contemporâneos dessa arte, como Paulo Leminski (no cenário nacional), ou Jack Kerouac (no cenário internacional).
This article explores how the notion of
can stem, as well as the one of
, from that
started by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea of
emphasizes the ...importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of such
can be found in the
poetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core of
philosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives.
Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at ...the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions.
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