The subject of the thesis is theoretical and empirical analysis of literary form haiku concerning the place of origin (Japan), circumstances of its spreading in czech area and finally interdisciplinary analysis of this form. The papier aims to point out the connection of this artistic form with specific aspects of cultural psychology comparing the attitudes of Japanese and Czech culture. The used method is based on qualitative collection data, including the selective research in the field of Czech art in the spirit of haikai.

Researchers at Mobile Life Centre are working on a project called “Delete by Haiku - Concept development and visualization of persistence/an SMS log dilemma” (subproject of “Re-Mobiling -breaking apart time and technology”, 2012-). The purpose of that project is to evaluate an approach of handling the growing amount of users’ digital data in phones (especially SMS logs) by trying to create, in the deletion process of old SMS, something potentially meaningful in a playful manner: poems. The students’ project aimed to develop a concretized demo for their idea, an SMS log deleting and poetry generating application, more particularly the Japanese poetry form “haiku” as chosen style, developed on the mobile platform Android. The goal: to give the researchers a basis to proceed with into the user study and demonstration phase of their project. The result of the development process was a full scale working demo application, although naturally left with many improvement and addition possibilities due to the limited time plan for the student project, and presentation of solved solutions of arisen programming and design implementation challenges. / Forskare på forskningscentret Mobile Life Centre jobbar på projekt kallat “Delete by Haiku –konceptutveckling och föreställning av behållning/ett SMS-log dilemma” (delprojekt av ”Re-Mobiling – isärbrytning av tid och teknologi”, 2012-). Syftet av det projektet är att utvärdera ett sätt att hantera den växande mängden av användares digitala data i telefoner (speciellt SMS-loggar) genom att försöka skapa, i raderingsprocessen av gamla SMS, någonting potentiellt meningsfullt i lekfull stil: dikter. Studenternas projekt var att utveckla en konkretiserad demo för deras idé, en SMS-log-raderande och poesigenerande applikation, mer bestämt den japanska poesiformen ”haiku” som valt format, utvecklat på den mobila plattformen Android. Målet: att ge forskarna en grund att fortsätta med in i användarstudie- och demonstrationsfasen av deras projekt. Resultatet av utvecklingsprocessen var en fungerande demoapplikation i full skala, emellertid givetvis lämnad med många förbättrings och tilläggsmöjligheter på grund av den begränsade tidsplanen för studentprojektet, och presentationer av lösta programmeringsoch designimplementationsutmaningar.

Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.

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Haiku is the shortest form of poetry in the world. Through its usage of seasonal words, anchored in cultural imagery, haiku manages to convey deep and profound meanings to the reader. It is also these seasonal words which places the haiku in a time and a place. Each seasonal word is attached to its seasons and the essence of that season. An autumnal word such as ‘apple’ thus has to carry its own associations as well as the essence of its season. How this is implemented heavily depends on the poet and their preferred style. This paper has examined how Shiki Masaoka and a group of likeminded traditionalist haiku poets has used ‘apple’ to express autumn-ness in their poetry. By looking at the structural aspects as well as the contextual implications this paper has found that even a simple word such as ‘apple’ can greatly benefit the sense of season in a haiku.

Le haïku est un genre poétique japonais né au XIXe siècle, constitué de 17 syllabes. De nos jours, le Japon compterait quelque 10 millions d’amateurs et de professionnels de haïku pour une population totale de 127 millions. Ces Japonais composent des haïkus afin d'exprimer leur sensibilité, mais aussi de les montrer aux autres qui les jugent, dans le cadre de réunions poétiques de groupes associatifs, dans des rubriques haïkistes de journaux et de magazines, lors de compétitions, ou encore à l’école. Le haïku interpelle l’imagination et l’empathie des autres pour s’épanouir pleinement en tant qu’œuvre. Cherchant la reconnaissance des autres, le haïku est une activité sociale grand public au Japon. Plusieurs mécanismes propres à la pratique du haïku empêchent l’établissement d’une hiérarchie complète dans ce vaste monde des haïkistes japonais : notation sous anonymat (donc égalité lors de l’appréciation), utilisation de pseudonymes, liberté d’appartenance à plusieurs groupes de son choix, absence de critères poétiques absolus. Le haïku offre de multiples possibilités de participations, répond à de multiples désirs tels que se montrer, être reconnu, découvrir autrui, jouer sous une autre identité. Ainsi le haïku attire-t-il de nombreux adeptes. La brièveté extrême du haïku assure une grande accessibilité et facilite des échanges sur peu de temps. Être bref accentue le côté ludique de la poésie et crée une forte sociabilité. Par ailleurs, cette concision oblige systématiquement les haïkistes à avoir une retenue vis-à-vis de soi et des autres. Restant courtois, les haïkistes continuent interminablement ce jeu de « présentation – appréciation » dans lequel chacun a l’assurance d’être écouté. / Haiku is a type of Japanese poem originating from the 19th century, consisting of 17 syllables. Nowadays, Japan has nearly 10 million amateur and professional haiku poets, from a total population of 127 million. These people compose haikus to express themselves, and also to present their poems to be judged by others. They present them in poetry clubs, in haiku columns in newspapers and magazines, in various competitions, or in classes at school. In order to fully flourish as a work, haiku challenges the imagination and empathy of others. Through seeking recognition from other people, haiku has become a social activity of the general public in Japan. Several mechanisms specific to the practice of haiku writing impede the establishment of a proper hierarchy in the wide world of haiku poetry such as assessing under anonymity (resulting in equality during the judging), the use of pseudonyms, the freedom to join multiple haiku groups of their choice and the absence of absolute poetic criteria. There are various reasons why people participate in writing haiku, fulfilling several desires such as to express oneself, to be applauded, to meet other people, and to assume a different identity. For these reasons, haiku attracts many enthusiasts. The extreme brevity of haiku enables wide accessibility and rapid exchanges. Its brevity accentuates the recreational side of the poem and creates strong sociability between participants. In addition, brevity compels haiku poets to be discreet towards themselves and towards others. By remaining courteous, the haiku poets continue an interminable game of "presentation - appreciation" in which everyone has the assurance of being listened to.

This dissertation is a sociolinguistic study of the ideologies about language, culture and ethnicity among Japanese immigrants and descendants in Brazil (hereafter, Nikkeis) who gather at a local Japanese cultural association, searching for what it means to be “Japanese” in Brazil. This study focuses on how linguistic behaviors are ideologically understood and associated with cultural activities and ethnic identities. Using the language ideologies framework, it seeks to describe the ways in which Nikkeis negotiate and create social meanings of language in both local and transnational contexts. Nikkeis are an overwhelmingly celebrated minority group in Brazil. In this context, the cultural association serves as a site where symbolic cultural differences are constructed by those Nikkeis who strive to identify themselves as a prestigious minority. This study demonstrates that the Japanese language is one of the important resources in performing the Nikkei identity. At the same time, due to an on-going language shift, Portuguese as a means of communication is becoming increasingly more important for cultural transmission. Thus, the members of the association, which include both Japanese monolinguals and Portuguese monolinguals, are in constant negotiation, trying to strike a balance between symbolic values of Japanese, pragmatic values of Portuguese, as well as their own language competencies. The goal of this project is to answer the following three research questions: 1) What social meanings do Nikkeis assign to Japanese and Portuguese, and how does this perception affect Nikkeis’ identity formation? 2) What are the characteristics of linguistic practices in the association and how do the speakers use available linguistic resources to construct identities? 3) How can this study inform us about the transforming reality of the Japanese Brazilian community in this global age? Contributions of this study include furthering of the sociolinguistic research on language ideologies, linguistic practices and identity construction in an immigrant community. It also contributes to the study of language shift, by underscoring the role of language ideologies in rationalizing language choices. This project is also significant for the study of Japanese diaspora in Latin America, providing the first sociolinguistic investigation of a Japanese cultural association in Brazil. / text

This study aims to analyse the interconnection between human memory and digital media technology, and its relation to forgetting and deletion. The main focus area is related to short messages (SMS) as a form of digital memory and mobile application Delete by Haiku that assists the user in creating poetry out of stored messages. The reception analysis approach was chosen and individual in-depth interview method was combined with focus group interview. The collected data regarding human memory and media indicates similarities between theoretical claims and respondents’ views; memory could be perceived as a narrative, storytelling, fading away. Informants’ relation to memorabilia and their deleting practices are very dependent on the personal and professional characteristics. Besides, deleting practices could be related to organization of a physical space. Delete by Haiku app could be seen as an invitation to engage into playful process of creation through deletion, however mostly for the people attached to memorabilia.

This paper proposes that SOUND SYMBOLISM, and more specifically PHONEMIC ICONICITY, plays a role in conveying emotional weight in the context of poetry. Previous research has indicated that the ratio of plosives to nasals in poetry predicts overall perception of emotional affect, with plosives designating activity and pleasantness, and nasals designating inactivity and unpleasantness (Auracher, Albers, Zhai, Gareeva, & Stavniychuk 2010); however, this research has ignored the influence of such potentially mitigating factors as orthography and lexical meaning. The current study involves naive English L1 speakers listening to recordings of selected haiku from Matsuo Basho's Oku No Hosomichi (`Narrow Road to the Deep North') in the original Japanese, and as such, the potential of orthography and lexical meaning to influence perception of emotion is eliminated. After listening to each haiku twice, subjects were asked to rate the appropriateness of eight emotion words that ranged from active and positive to inactive and positive, and from active and negative to inactive and negative, on a five-point Likert scale. Emotion words were chosen on the basis of their respective positions on the Circumplex Model of Affect, in which each emotion is conceptualized in terms of its location along two intersecting axes measuring valence (negative - positive) and arousal (inactive - active) (Russell 1980). The selected words occupied regularly spaced positions along this two-dimensional circular model. Results indicate that plosive to nasal ratio may indeed play a role in the perception of emotion in poetry, particularly in the case of poems with high plosive to nasal ratios, which were perceived as markedly more active and positive than other poems. Wider implications of the discernible patterns of perception of emotional affect based on plosive to nasal ratio include the possibility that phonemic iconicity plays a role in general language processing. As this research involves Japanese L2 phonemic perception by naÃ&hibar;ve English L1 listeners, current L2 phonological perceptual theory is discussed, and taken into account in the analysis of the results. Specific consideration is given to the potential of English L1 speakers to perceive the Japanese rhotic /r/, which does not appear in English, as the plosives /t/ or /d/, and the Japanese affricate /ts/, which commonly appears syllable-initially in Japanese, but is much rarer in this position in English, as /s/ (Nozawa 2008). Future research on English L1 speakers' underlying perceptual categorizations of targeted sounds in Japanese is also proposed.