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.
It is commonly assumed that skills involved in reading poetry, such as decoding and assessing the poem, scanning for details arise in social relations with others, which makes reading social. ...However, this is social in a weak sense because these new accomplishments result from people working together. Using an alternative theoretical framework based on Vygotsky’s later work, in this paper I defend the strong social nature of reading poetry for content through an example of how students (K-4) read haiku, a Japanese form of poetry. I illustrate that this sense of social is not constructed in the minds of individuals in a social setting, but it refers to a relation—a visible and irreducible joint production that develops as transactional features of the organization of turns in the haiku reading event. I demonstrate how reading haiku transforms itself as a what-where-when poem in this community. Understanding that reading poetry is social in this sense, through and through, helps us recognize how this socio-cultural practice keeps (re)producing itself in different cultures.
This paper gives an overview of innovations in English-language haiku over the past decade or so, focusing on American haiku in particular. These are described through discussion of examples drawn ...from contemporary journals and anthologies, and are seen to involve the freer use of metaphor and opaque language than is found in normative haiku. Broader contextual factors are also taken into account: most notably, the renewed awareness of modern Japanese haiku that has been enabled by recent works of criticism and translation. While haiku in English still occurs mostly within self-contained communities of writers and publishers, recent developments suggest possibilities for recognition of the genre in a wider field of poetry and literary criticism.
The current study, set within the larger enterprise of Neuro-Cognitive Poetics, was designed to examine how readers deal with the 'cut' - a more or less sharp semantic-conceptual break - in ...normative, three-line English-language haiku poems (ELH). Readers were presented with three-line haiku that consisted of two (seemingly) disparate parts, a (two-line) 'phrase' image and a one-line 'fragment' image, in order to determine how they process the conceptual gap between these images when constructing the poem's meaning - as reflected in their patterns of reading eye movements. In addition to replicating the basic 'cut effect', i.e., the extended fixation dwell time on the fragment line relative to the other lines, the present study examined (a) how this effect is influenced by whether the cut is purely implicit or explicitly marked by punctuation, and (b) whether the effect pattern could be delineated against a control condition of 'uncut', one-image haiku. For 'cut' vs. 'uncut' haiku, the results revealed the distribution of fixations across the poems to be modulated by the position of the cut (after line 1 vs. after line 2), the presence vs. absence of a cut marker, and the semanticconceptual distance between the two images (context-action vs. juxtaposition haiku). These formal-structural and conceptual-semantic properties were associated with systematic changes in how individual poem lines were scanned at first reading and then (selectively) re-sampled in second- and third-pass reading to construct and check global meaning. No such effects were found for one-image (control) haiku. We attribute this pattern to the operation of different meaning resolution processes during the comprehension of two-image haiku, which are invoked by both form- and meaning-related features of the poems.
Les critiques situent un tournant important dans l'écriture du poète romand Philippe Jaccottet, qui se produit vers le début des années 1960, période où les vers, autrefois sombres et austères, sont ...devenus souples et limpides. C'est justement à cette époque-là que Jaccottet découvre le haïku, poésie japonaise qui exercera une influence profonde et durable sur lui, surtout au niveau de sa poétique et de sa perception de l'image de l'auteur. Suivant ces deux pistes, nous envisageons d'étudier comment le poète cherche à intégrer l'art du haïku dans sa propre poésie afin de voir dans quelle mesure le haïku le fascine non seulement par son esthétique mais également par une vision du monde inouïe, qui permet ainsi au poète de sortir du maelstrom spirituel de son temps et de trouver une nouvelle issue tant pour soi que pour la société humaine.
According to Boris A. Novak (2016), haiku has become one of the most popular poetic forms in the world (45). The article elucidates the initial reception and later development of this micro-poetic ...form in the former Yugoslav republics, particularly in Slovenia, Serbia and Croatia. Analyzing some representative poems, with particular attention to understatement as one of the vital aesthetic features of haiku, the article demonstrates that it responds to local socio-political and cultural realities and has the potential to make a distinctive contribution to contemporary public life and interpersonal relations.
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