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논문 기본 정보

자료유형
학술대회자료
저자정보
저널정보
동북아시아문화학회 동북아시아문화학회 국제학술대회 발표자료집 동북아시아문화학회 제14차 국제학술대회
발행연도
2007.6
수록면
140 - 144 (5page)

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초록· 키워드

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Haiku means "beginning-verse" in Japanese-perhaps because the form may have originated in a game. Players, given a haiku, were supposed to extend its three lines into a longer poem. Haiku(the word can also be plural)consist mainly of imagery, but as we saw in Buson's lines about the cold comb, their imagery is short that they depend upon imagery to trigger associations and responses in the reader. A haiku in Japanese is rimeless: its seventeen syllables are traditionally arranged in three lines, usually following a pattern of five, seven, and five syllables.
English haiku frequently ignore such a pattern, being rimed or unrimed as the poet capture the intensity of a particular moment, usually by linking two concrete images. There is little room for abstract thoughts or general observations.
Haiku poets look out upon a literal world, seldom looking inward to discuss their feelings. Japanese haiku tend to be seasonal in subject, but because they are so highly compressed, they usually just imply a season: a blossom indicates spring; a crow on a branch, autumn; snow, winter. Not just pretty little sketches of nature (as some Westerners think), haiku assume a view of the universe in which observer and nature are not separated.
Soon after the form first captured the attention of Western poets at the end of the nineteenth century, it became immensely influential to modem poets like Ezra Pound, William Carlos Williams, and R.D., as a model for the kind of verse they wanted to write-concise, direct, and imagistic.

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