Haiku and Modernist Poetics

Abstract

This page intentionally left blank Noguchi's later poetry, collected in The Pilgrimage and Japanese Hokkus, and his literary criticism, The Spirit of Japanese Poetry, in particular, were widely circulated in the West. Noguchi played a principal role in relating Japanese poetics to Western intentions in early modernism. Among the various sources of influence and assimilation, the Imagists responded directly to the example of their fellow poet Noguchi. In Japan, on the other hand, his associations with poets in the West had

Transnational Imagination of China in Ezra Pound’s and William Carlos Williams’ Poetics

“…It is apparent that before Pound resorted to the appropriation of Chinese poetry in his own poetry writing he had aspired to attain a cosmopolitan poetics via borrowing from different literary styles in different countries. For instance, "In his essay 'Vorticism', Pound acknowledged for the first time in his career his indebtedness to Japanese poetics in general and the art of haiku in particular" [8]. It was also in this essay that his famous haiku-like poem "In a Station of the Metro" appeared.…”

José-Miguel Ullán y el haiku como cauce poético neobarroco

“…Esta categoría fue recuperada, por ejemplo, por José María Castellet (1971) para explicar la poesía de Salvador Espriu. Pero también puede ser identificada en buena parte del Modernismo anglosajón, como ha estudiado Yoshinobu Hakutani (2009), por tratarse de un género que, además de ser extremada muestra de franqueza y concisión, "es enteramente imagen" (Rodríguez-Izquierdo, 2005: 22 En resumidas cuentas, el haiku se convirtió en un nuevo cauce de expresión poética con sus consecuentes implicaciones: su resignificación total dentro de otras tradiciones y corrientes poéticas. No queremos decir con esto que Ullán esté escribiendo un poemario enciclopédico en los términos de Frye, sino que esta ha sido una de las posibles significaciones que la tradición occidental, especialmente en el caso del modernismo anglosajón y el vanguardismo, ha otorgado al rensaku.…”

The Masculine Urge of Jack Kerouac's Haiku

“…Those critics who examine the Zen elements of Kerouac's haiku—specifically Sarah Haynes and Yoshinobu Hakutani—tend to draw on the poet's familiarity with Reginald H. Blyth's four‐volume Haiku . From Blyth, Kerouac would have learned that haiku had evolved over time to its current form as a three‐line, seventeen‐syllable poem arranged in five, seven, and five ji‐on (syllable sounds).…”