tag:blogger.com,1999:blog-27162317.post114974478489279672..comments2023-05-02T03:50:11.195-07:00Comments on Haiku Topics, Theory and Keywords .. (WKD - TOPICS ): Shinko and Gendai HaikuGabi Grevehttp://www.blogger.com/profile/16362456518166174106noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-27162317.post-20627884924229317772013-05-22T19:19:38.540-07:002013-05-22T19:19:38.540-07:00Gendai Haiku Translations
Translated by Richard G...Gendai Haiku Translations<br /><br />Translated by Richard Gilbert and Itô Yûki<br /><br />In the early 20th century, Takahama Kyoshi, one of the two main disciples of Masaoka Shiki, presided over the Hototogisu group (and its journal), which he had inherited from Shiki. Due to his dictatorial and uncompromising style, by the 1920s, several prominent poets had broken with him. <br /><br />Paraphrasing Itô Yûki's article,(1) the ‘New Rising Haiku movement’ (shinkô haiku undô) wished to compose haiku on new subjects, and utilize techniques and topics related to contemporary social life. These poets frequently wrote haiku without kigo (muki-teki haiku), and explored non-traditional subjects, such as social inequity, utilizing avant‑garde styles including surrealism, etc. <br /><br />Therefore, along with aesthetic and technique differences, the New Rising Haiku poets, who began the gendai (modern) haiku movement in earnest, had strong philosophical, sociological and intellectual differences with Hototogisu and Kyoshi. During the war, over 40 New Rising Haiku poets were persecuted; they were imprisoned and tortured, and some died in prison. These progressive poets were also made to sign false confessions and denounce their own and others’ poetry and thought. Various progressive journals were banned and printing presses destroyed. Many of these poets, after a stay in prison, were sent to the front lines of the war. Itô writes that Takahama Kyoshi became the president of a haiku branch of the fascist government culture-control/propaganda group known as The Japanese Literary Patriotic Organization (nihon bungaku hôkoku kai), which was devoted to both censorship and persecution, along with a host of other war crimes. At the time, the Director of the society was Ono Bushi, whose title was: The Agent of Investigation of the Minds of the Nation’s Citizens (kokumin jyôsô chosa iin). Perhaps the most notorious statement published by Ono reads:<br /><br /> I will not allow haiku even from the most honorable person, from left-wing, or progressive, or anti-war, groups to exist. If such people are found in the haiku world, we had better persecute them, and they should be punished. This is necessary. (Kosakai, 169; trans. by Itô, with Gilbert)<br /><br />MORE<br />in Roadrunner - 2007<br /><br />http://www.roadrunnerjournal.net/pages72/translation72.htm<br />anonymoushttp://www.roadrunnerjournal.net/pages72/translation72.htmnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-37347878743439513992013-04-02T17:51:42.163-07:002013-04-02T17:51:42.163-07:00昇降機しづかに雷の夜を昇る
shookooki shizuka ni rai no yo o n...昇降機しづかに雷の夜を昇る <br />shookooki shizuka ni rai no yo o noboru<br /><br />the elevator<br />rises quietly in a night<br />with thunder<br /><br />Saito Sanki (Saitoo) 西東三鬼, 1940 <br /><br />Saito uses these metaphors<br />elevator, the uplifting of the Communist Party in Japan<br />rai no yoru, a night where the conditions in Japan are insecure.<br /><br />Gabi Greve - WKDhttp://haikutopics.blogspot.jp/2010/07/elevator.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-65497167069823939612012-10-16T20:52:02.401-07:002012-10-16T20:52:02.401-07:00Gendai poets’ work represents a fusion and hybridi...Gendai poets’ work represents a fusion and hybridization that is not unlike late 20th century music or food, for example. Think of the use of a backwards guitar, sitar, record scratching, or sampling in rock or pop songs? And how were those fusions confronted and reacted to by culture? Foie gras and truffle mayonnaise on your hot dog? Or take the bánh mì sandwich, a result of Western imperialism: the fusing of Vietnamese ingredients with French bread. <br /><br />Ultimately, that is what it is all about: fusion, infusion, adaption, and change. Nature. Sometimes effortlessly, other timeswith great noise, violence, and upheaval. <br />.<br />http://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.html<br />.<br /><br />anonymoushttp://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-49129531603210624302012-10-16T20:50:45.884-07:002012-10-16T20:50:45.884-07:00Still, the haiku tradition in the West has been ex...Still, the haiku tradition in the West has been extremely warped because of poor and skewed translations, a lack of awareness of wordplay, allusions, and metaphor, and a promotion of very specific interpretive methods. <br />The emphasis has been on the insularity of Zen and Buddhism, ignoring the fact that these are entwined deeply with Taoism, Shintoism, ancient Chinese and Japanese literature, folktales and mythologies, and local environs and culture — what Haruo Shirane has called the “horizontal axis” (the present/contemporary world) largely absent of the “vertical axis” (”the movement across time … leading back into the past, into history, into other poems”).<br /><br /> Because of that emphasis, preference for objectivity/realism and the imagistic over subjective or language-based haiku was seen as the true way of understanding the genre. Who is to know whether or not the lack of explication on 20th and 21st century work in this anthology will not have the same effect now and in the future. <br /><br />Translators beware. Rev your engines. Still, it is exciting and challenging to ingest the work in all its nakedness and to find connections with and inspiration from them in this form. Creative misreadings can take us to exciting places too. <br />.<br />http://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.html<br /><br />anonymoushttp://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-46596032601545991452012-10-16T20:45:13.835-07:002012-10-16T20:45:13.835-07:00To offer a quick overview, Japanese haiku during t...To offer a quick overview, Japanese haiku during the 20th century touched upon such diverse topics and concepts as: <br />the free-form (non–5–7–5), traditional (pre-Shiki ideas, as well as <br />shasei /objective realism), natural beauty, individualism/individuality, subjectivity, <br />muki non-seasonal/keyword), <br />humanism, proletarianism, socialism, the imaginary, the human spirit,<br />haiku without a center of interest, <br />“the essence” of haiku, the avant-garde, <br />French Symbolism, Surrealism, and formatting (4-line haiku).<br />.<br />http://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.html<br /><br />anonymoushttp://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-88668872168069631952012-10-16T20:43:33.752-07:002012-10-16T20:43:33.752-07:00A few more words from Hasegawa:
There are also va...A few more words from Hasegawa:<br /><br />There are also various problems related to the current state of Western haiku. They are not, however, the same problems facing Japanese haiku. Rather, the problems are even more complicated. While the biggest problem facing Japanese haiku is that of how to reconcile haiku, a traditional form of literature indigenous to Japan, with the realism learned from the West. <br /><br />Haiku in the West have, in addition, the even greater problem of how to root this traditional form of literature indigenous to Japan in the cultural soil of the West. It seems to me that the current state in which “a lot of haiku written today in the English language by Western practitioners fall short of memorability and depth, and appear to be formula based” has occurred just because they have become the “victim of realism.” I think that there are deeper underlying problems even before that — for example, the problem of the fundamental understanding of what a haiku is. <br /><br />http://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.html<br />anonymoushttp://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-47875311591267680332012-10-16T20:41:31.373-07:002012-10-16T20:41:31.373-07:00The Haiku Universe for the 21st Century
by Modern ...The Haiku Universe for the 21st Century<br />by Modern Haiku Association<br /><br /><br />“Gendai haiku” means literally “modern or contemporary haiku,” and loosely refers to expansive ideas of the haiku form arising from the 1920s on, and more particularly to the direct progenitors of the gendai haiku movement.… Literally, the word [gendai] means “contemporary” but just as with “modern art,” something more is implied, in terms of movements, categories, history and personages.… Gendai haiku offer the reader the shape of who we are in the shape of things to come, in resonance with archaic myth, (and) the formal insights of previous ages.… <br /><br />Gendai haiku partake of a tradition and culture in which, unlike that of the historical Judeo-Christian West, nature and culture were not extensively polarized. So in gendai haiku exists an invitation to the present and a future, in congruence with the past. <br />This congruency is also an uprooting, accomplished via expansive and often experimental avant-garde language and techniques. Yet the old is likewise held in the new, in plying the form.”<br /><br />http://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.htmlanonymoushttp://www.modernhaiku.org/bookreviews/ModernHaikuAssociation2009.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-60684262449928984852007-11-16T16:55:00.000-08:002007-11-16T16:55:00.000-08:00NEW RISING HAIKUThe Evolution of Modern Japanese H...NEW RISING HAIKU<BR/><B><BR/>The Evolution of Modern Japanese Haiku and the Haiku Persecution Incident</B><BR/><BR/>Itô Yûki, Ph.D. (cand.), Kumamoto University, Graduate School of Cultural and Social Sciences<BR/><BR/>Monograph: Red Moon Press, May 2007<BR/><BR/>ISBN 978-1-893959-64-4<BR/><BR/>at Simply Haiku, Winter 2007<BR/>http://www.poetrylives.com/SimplyHaiku/SHv5n4/features/Ito.htmlAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-42020860534489448922007-07-22T17:49:00.000-07:002007-07-22T17:49:00.000-07:00Janus-Faced Justice: political criminals in imperi...Janus-Faced Justice: political criminals in imperial Japan<BR/><BR/>http://blog.goo.ne.jp/yousan02/m/200705Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-2730055492207293992007-07-22T17:47:00.000-07:002007-07-22T17:47:00.000-07:00嶋田青峰(しまだ せいほう)と言っても知らない人が多いだろうが、新興俳句運動に理解を示していたという...嶋田青峰(しまだ せいほう)と言っても知らない人が多いだろうが、新興俳句運動に理解を示していたというだけで、1941(昭和16)年、「治安維持法」による新興俳句派に対する弾圧事件「俳句事件」に連坐して起訴され、3年後に留置場で喀血して釈放されたが、5月31日病状が悪化し亡くなった。<BR/><BR/>私も彼の略歴など特別知っているわけではないので、以下参考に記載のもの等を参考に書くと概ね以下の通りである。<BR/>http://blog.goo.ne.jp/yousan02/m/200705Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-50160411034746084112007-07-22T17:38:00.000-07:002007-07-22T17:38:00.000-07:00The Spirit of FreedomAspects of Contemporary Haiku...The Spirit of Freedom<BR/>Aspects of Contemporary Haiku <BR/><BR/>© Richard Gilbert talks with Udo Wenzel <BR/>http://www.haiku-heute.de/Archiv/Richard_Gilbert_03-2007/Richard_Gilbert_e_03-2007/richard_gilbert_e_03-2007.html<BR/><BR/>Udo Wenzel: <BR/>Since the nineties you have been living, teaching and researching in Japan at Kumamoto University. During this time you have gotten a deeper insight into contemporary Japanese haiku life. Besides so-called “traditional haiku” there are also “gendai (modern) haiku.” What are the main differences between these two trends?<BR/><BR/>Richard Gilbert: <BR/>Prior to my arrival in Japan, like most of my American-poet friends, I had virtually no knowledge of gendai haiku, was looking forward to researching the classical tradition and haiku fundaments. It was only after living here for a couple of years that I began reading more gendai haiku, and meeting poets. I can say that I found the poetry, techniques, and critical ideas to be eye-opening. <BR/><BR/>Your question about the differences between gendai and traditional haiku is challenging, because a reasonable answer involves a bit of relevant history, and not only aesthetic but also socio-political considerations. Ito Yūki (Ph.D. candidate, Kumamoto University), has just completed an article on the origins and evolution of gendai haiku, tentatively titled, “New Rising Haiku: The Evolution of Modern Japanese Haiku and the Haiku Persecution Incident”. He focuses especially on the wartime persecution of the New Rising Haiku poets – instrumental to an understanding of contemporary Japanese haiku. Unfortunately, his paper has not yet been published; in fact, it’s not certain he can easily publish it. Below, I’ll paraphrase from two relevant sections (though would have preferred to quote directly).<BR/><BR/>In the early 20th century, Takahama Kyoshi, one of the two main disciples of Masaoka Shiki, presided over the Hototogisu group (and its journal), which he had inherited from Shiki. Due to his dictatorial and uncompromising style, by the 1920s, several prominent poets had broken with him. Paraphrasing Ito, the ‘New Rising Haiku movement’ (shinkô haiku undô) wished to compose haiku on new subjects, and utilize techniques and topics related to contemporary social life. <BR/><BR/>These poets frequently wrote haiku without kigo (muki-teki haiku), and explored non-traditional subjects, such as social inequity, utilizing avant‑garde styles including surrealism, etc. Therefore, along with aesthetic and technique differences, the New Rising Haiku poets, who began the gendai (modern) haiku movement in earnest, had strong philosophical, sociological and intellectual differences with Hototogisu and Kyoshi. <BR/><BR/>During the war, over 40 New Rising Haiku poets were persecuted; they were imprisoned and tortured, and some died in prison. These progressive poets were also made to sign false confessions and denounce their own and others’ poetry and thought. Various progressive journals were banned and printing presses destroyed. Many of these poets, after a stay in prison, were sent to the front lines of the war. <BR/><BR/>Ito writes that Takahama Kyoshi became the president of a haiku branch of the fascist government culture-control/propaganda group known as The Japanese Literary Patriotic Organization (nihon bungaku hôkoku kai), which was devoted to both censorship and persecution, along with a host of other war crimes. <BR/><BR/>At the time, the Director of the society was Ono Bushi, whose title was: The Agent of Investigation of the Minds of the Nation’s Citizens (kokumin jyôsô chosa iin). Perhaps the most notorious statement published by Ono reads:<BR/><BR/>I will not allow haiku even from the most honorable person, from left-wing, or progressive, or anti-war, groups to exist. If such people are found in the haiku world, we had better persecute them, and they should be punished. This is necessary. (Kosakai, 169; trans. by Ito, with Gilbert)<BR/><BR/>At least one poet who survived imprisonment reported that he was commanded by the Secret Police to “write haiku in the style of Hototogisu” (Kosakai, 79). <BR/><BR/>According to the fascist‑traditionalists, to write haiku without kigo meant anti-tradition, which in turn meant anti-Imperial order and high treason. As such, all New Rising Haiku was to be annihilated. Ito writes, “We are reminded of how the Nazis preserved so-called pure nationalist art, while persecuting the modern styles of so‑called ‘degenerate art.’” (Cf.Kosakai, Shôzô. (1979). Mikoku: Showa haiku danatsu jiken [Betrayer/Informer: Showa era haiku persecution]. Tokyo: Daimondo.)<BR/><BR/>One sees that,historically, “freedom of expression” in the gendai haiku movement was not an idle aesthetic notion. A significant context to modern Japanese haiku history links certain influential persons and groups promoting traditionalist haiku culture with Japanese national-socialism. It would be a mistake to assume, regarding these facts, that traditional approaches are inherently lacking or that traditional haiku culture is by nature nationalist, particularly these days – however, history leaves little to the imagination; more light needs to be shed on these facts, if only so that people outside of Japan can obtain a clearer understandingthe context of gendai haiku. <BR/><BR/>The war ended half a century ago, and much of this information has been surprisingly hard to dig up, Ito has found. Clearly, the spirit of the gendai poets in the face of fascism, repression and persecution is laudable. <BR/><BR/>The liberal, democratic spirit and freedom of expression exhibited by the New Rising Haiku poets remains at the core of gendai haiku.<BR/><BR/>Read more in the given LINK.Anonymousnoreply@blogger.com