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The Routledge Global Haiku Reader ushers haiku into the twenty-first century in a critically minded and historically informed manner for a new generation of readers and writers and will appeal to students and researchers in literary studies, Asian studies, comparative literature, cultural studies and creative writing.
The Routledge Global Haiku Reader ushers haiku into the twenty-first century in a critically minded and historically informed manner for a new generation of readers and writers and will appeal to students and researchers in literary studies, Asian studies, comparative literature, cultural studies and creative writing.
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Autorenporträt
James Shea is the author of two books of poetry, The Lost Novel and Star in the Eye. A recipient of grants from the Hong Kong Arts Development Council, National Endowment for the Arts, and the Fulbright U.S. Scholar Program, he is the Director of the Creative and Professional Writing Program in the Department of Humanities and Creative Writing at Hong Kong Baptist University. Grant Caldwell is a senior lecturer in the Creative Writing Program at the University of Melbourne. His research interests are the writing of poetry and fiction, the psychology of composition, the teaching of creative writing, contemporary Australian poetry, the history and writing of haiku, and concrete poetry. Dr. Caldwell has published thirteen books of creative work (poetry, short fiction, and novels) and a critical monograph. He has received two Australia Council for the Arts Established Writers' Fellowships.
Inhaltsangabe
List of Contributors List of Permissions Acknowledgments Introduction I Haiku in Transit 1 Beyond the Haiku Moment: Bash¿, Buson, and Modern Haiku Myths 2 Hearn, Bickerton, Hubbell: Translation and Definition 3 Reading an Evening Breeze: Buson's Hokku in Translation II Haiku and Social Consciousness 4 A Second-Class Art: On Contemporary Haiku 5 From the 2.26 Incident to the Atomic Bombs: Haiku During the Asia-Pacific War 6 New Rising Haiku: The Evolution of Modern Japanese Haiku and the Haiku Persecution Incident 7 Translations and Migrations of the Poetic Diary: Roy Kiyooka's Wheels III Haiku and Experimentation 8 Ezra Pound, Yone Noguchi, and Imagism 9 Haiku as a Western Genre: Fellow-Traveler of Modernism 10 Marking Time in Native America: Haiku, Elegy, Survival 11 The Disjunctive Dragonfly: A Study of Disjunctive Method and Definitions in Contemporary English-Language Haiku IV The Future of Global Haiku 12 Non-Japanese Haiku Today 13 One Hundred Bridges, One Hundred Traditions in Haiku 14 In the Shade of the Cherry Blossoms: The Reception of Haiku in Post-Soviet Russia 15 From Haiku to the Short Poem: Bridging the Divide 16 Future of World Haiku V Afterword Afterword Bibliography Index
List of Contributors List of Permissions Acknowledgments Introduction I Haiku in Transit 1 Beyond the Haiku Moment: Bash¿, Buson, and Modern Haiku Myths 2 Hearn, Bickerton, Hubbell: Translation and Definition 3 Reading an Evening Breeze: Buson's Hokku in Translation II Haiku and Social Consciousness 4 A Second-Class Art: On Contemporary Haiku 5 From the 2.26 Incident to the Atomic Bombs: Haiku During the Asia-Pacific War 6 New Rising Haiku: The Evolution of Modern Japanese Haiku and the Haiku Persecution Incident 7 Translations and Migrations of the Poetic Diary: Roy Kiyooka's Wheels III Haiku and Experimentation 8 Ezra Pound, Yone Noguchi, and Imagism 9 Haiku as a Western Genre: Fellow-Traveler of Modernism 10 Marking Time in Native America: Haiku, Elegy, Survival 11 The Disjunctive Dragonfly: A Study of Disjunctive Method and Definitions in Contemporary English-Language Haiku IV The Future of Global Haiku 12 Non-Japanese Haiku Today 13 One Hundred Bridges, One Hundred Traditions in Haiku 14 In the Shade of the Cherry Blossoms: The Reception of Haiku in Post-Soviet Russia 15 From Haiku to the Short Poem: Bridging the Divide 16 Future of World Haiku V Afterword Afterword Bibliography Index
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