This dissertation (by publication) is concerned with the introduction of the haiku form of poetry to elementary schooling. Four publications examine a variety of phenomena regarding learning and becoming with haiku practice from multiple angles, drawing on various analytical methods from discourse analysis to conversational analysis, and beyond (towards transaction analysis). The first study examines the discourses of haiku and mindfulness through texts available online and articulates the potential integration of teaching these two practices in education. The second takes a more critical look at the teaching and learning haiku materials to understand the discursive resources of doing haiku. The third study moves to understanding the nature of learning to read haiku by looking at communication between teachers, students, and researchers in a haiku reading event. The fourth study examines emptiness embodied in the practice of writing haiku through examples of Basho’s life and poetry and articulates my personal experience as a teacher of reading and writing haiku. The research and understanding involved in these papers and this dissertation have been for me a journey, which I present here as a haibun. Haibun is a term first used by the Japanese haiku poet, Matsuo Basho, to refer to a poetic literary form combining prose and haiku and which recounts the various journeys of a haiku practitioner. As the title, A Haibun of Learning and Becoming with Haiku Practice, indicates, the following text describes a journey of learning and becoming with haiku practice, holding together and surrounding the four studies as a necklace holds precious stones. This dissertation links these four studies through a narrative of the flux of my research journey with haiku practice from text to life. Drawing on transactional perspectives underlining all four studies, I propose an alternative way of theorizing and understanding the experience of learning and becoming with the practice of haiku as event. The four studies function as four main events (steps) on my research trail and the dissertation presents itself as a lively story in a continuous conversation about researching, teaching, and learning with haiku practice. Finally, and as a last step recorded here, but far from a final step, I offer a haiga (haiku painting) and some haiku lyrics (songs I sing and poems I have written) as an invitation to look back along the path we have walked together to celebrate, and to continue our walk towards a spring of new beginnings in research and haiku reading and writing. / Graduate

Haiku IV für Flöte solo ist eines von mehreren Werken, in denen ich mich mit der japanischen Gedichtform des HAIKU außeinandersetze. Die Struktur 5-7-5, die in der Silbenanzahl dieser Gedichte zu finden ist und die direktheit des Ausdrucks werden auf musikalische Struktur übertragen.

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Com base na teoria da tradução intersemiótica desenvolvida por Julio Plaza, o objetivo central desta pesquisa é analisar o processo de recriação das formas estéticas em traduções intersemióticas de haikai para o universo das artes visuais. Mais especificamente, trata-se de considerar as especificidades desse tipo de poema em seus aspectos sintáticos, semânticos e pragmáticos e analisar como são obtidas as equivalências nesses níveis no processo de transmutação intersígnica. Além disso, tendo em vista a importância dos meios de produção artística, especialmente no caso da tradução intersemiótica, observaremos como o meio pode favorecer a obtenção da equivalência. Como estudo de caso, propomos analisar traduções intersemióticas do haikai Furuikeya, do poeta japonês Matsuo Bash, para artes visuais em três tipos distintos de meio, elencados a partir de suas especificidades semióticas em relação ao processo de produção de imagens: meios artesanais, meios mecânicos e meios eletrônicos. / Based on the theory of Intersemiotic Translation developed by Julio Plaza, the central purpose of this research is to analyse the process of recreation of aesthetical forms in intersemiotic translations of haiku into the universe of visual arts. More specifically, considering the peculiarities of this type of poem in its syntactic, semantic, and pragmatic aspects, we will analyse how the equivalences on these levels will be obtained in the process of intersign transmutation. Besides, since the media of artistic production are important, especially in the case of intersemiotic translation, we will observe how the medium can aid the achievement of equivalence. As a case study, we propose to analyse intersemiotic translations of the haiku Furuikeya (composed by the Japanese poet Matsuo Bash) into visual arts in three different types of medium, chosen from their semiotic peculiarities in relation to the process of image production: craft media, mechanical media, and electronic media.

Made available in DSpace on 2016-04-28T19:58:49Z (GMT). No. of bitstreams: 1 Carla Brogliato Cardoso de Moura.pdf: 887230 bytes, checksum: be64349f56f823181970ad5316e60ab3 (MD5) Previous issue date: 2013-05-29 / The main goal of this study is to investigate how the poet Paulo Leminski reveals language awareness under the haiku form, and expresses his sensibility thought it. Particularly questions how far his poetry reveals the haiku s intellectual structure. To guide our research on Paulo Leminski s work, we studied different procedures present in the eastern haiku, like the connection with the Zen gesture, the rhythm and the visual presentation of the letters and words, trying to capture them throughout his poetries. All kinds of poems and different structure options were selected for the analysis, so we could point its plurality. By translating different imagistic procedures, Leminski builds up a form for his own Brazilian haiku, presenting us the craft of his poetry / O objetivo central desta pesquisa é investigar como Paulo Leminski, em sua produção poética, manifesta consciência de linguagem sobre a forma do haicai e expressa nela sua sensibilidade. Especialmente, interroga até que ponto a poesia leminskiana revela a linha de pensamento construtora do haicai. Para orientar nossa reflexão acerca da poesia leminskiana, averiguamos distintos procedimentos presentes no haicai oriental, como a articulação com o gesto Zen, a visualidade das letras e palavras, o ritmo, o movimento, buscando apreendê-los na produção do poeta. A fundamentação teórico-crítica baseouse nos estudos de Caetano Veloso e do próprio Leminski sobre o contexto da época, assim como, para a reflexão sobre o hacai, nos de Ernest Fenollosa, Haroldo de Campos, Octavio Paz e Paulo Leminski. Selecionamos, para análise, poemas com diferentes procedimentos de construção, para que pudéssemos evidenciar sua pluralidade poética. Ao traduzir diferentes procedimentos imagéticos, o poeta constrói uma forma para o seu haicai brasileiro, ensinando a ver a forma de sua poesia

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2017-08-15T21:18:19Z No. of bitstreams: 1 Disserta??o de Walm?ria Oliveira Dantas.pdf: 17755932 bytes, checksum: b3fa9c3bd887f6cf62a7f06bb9e56b53 (MD5) / Made available in DSpace on 2017-08-15T21:18:19Z (GMT). No. of bitstreams: 1 Disserta??o de Walm?ria Oliveira Dantas.pdf: 17755932 bytes, checksum: b3fa9c3bd887f6cf62a7f06bb9e56b53 (MD5) Previous issue date: 2016-11-24 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present master's thesis (PROFLETRAS) is based on the qualitative research, focusing on the action research, presents as a proposal of intervention a didactic work based on the discursive genres (BAKHTIN, 2003), according to National Curricular Parameters guidelines (BRASIL, 1997) , With activities of reading and production of haiku and photographs, that approach the teaching of the language from the theoretical orientation of study of the genres, within a proposal sociointeractionist of the language. It seeks to contribute to the promotion of literacy levels and literacy of a group of seventh-year primary school students. The data of the research were collected through participant observation concomitant to the notes in the researcher's logbook, videotapes, questionnaires and testimonials of the participants. This work searches in the vast literature on literacy (KLAIMAN, 2007, SOARES, 2002), literary literacy (COSSON, 2014), haiku (FRANCHETTI, 2014, GOGA, 1988; PAZ, 1999), photography (BARTHES, 1984; FLUSSER, 1985) and didactic sequence (DOLZS, NOVERRAZ and SCHNEUWLY, 2004), among others, find ways to enable the student to develop reading skills and language skills so necessary for the exercise of citizenship. The analysis of the data evidences the importance of teacher mediation in the formation of the student reader and shows that the Didactic Sequence can be an efficient methodology to assist teachers in the motivation of their students, with a view to the promotion of literary literacy. / A presente disserta??o de mestrado (PROFLETRAS) baseia-se na pesquisa qualitativa, com foco na pesquisa-a??o, apresenta como proposta de interven??o um trabalho did?tico fundamentado nos g?neros discursivos (BAKHTIN, 2003), segundo orienta??es dos Par?metros Curriculares Nacionais (BRASIL, 1997), com atividades de leitura e produ??o de haicais e fotografias, que abordam o ensino da l?ngua a partir da orienta??o te?rica de estudo dos g?neros, dentro de uma proposta sociointeracionista da linguagem. Busca contribuir para a promo??o dos n?veis de leitura e letramento liter?rio de uma turma de alunos do s?timo ano do Ensino Fundamental. Os dados da pesquisa foram coletados por meio da observa??o participante concomitante ?s anota??es no di?rio de bordo da pesquisadora, v?deo grava??es, question?rios e depoimentos dos sujeitos participantes. Esse trabalho busca na vasta literatura existente sobre letramento (KLAIMAN, 2007; SOARES, 2002), letramento liter?rio (COSSON, 2014), haicais (FRANCHETTI, 2014; GOGA, 1988; PAZ, 1999), fotografia (BARTHES, 1984; FLUSSER, 1985) e sequ?ncia did?tica (DOLZS, NOVERRAZ e SCHNEUWLY, 2004), dentre outros, encontrar caminhos que possibilitem ao aluno, o desenvolvimento das habilidades de leitura e capacidades de linguagem t?o necess?rias para o exerc?cio da cidadania. A an?lise dos dados evid?ncia a import?ncia da media??o do professor na forma??o do aluno leitor e mostra que a Sequ?ncia Did?tica pode ser uma metodologia eficiente para auxiliar professores na motiva??o de seus alunos, com vistas ? promo??o do letramento liter?rio.

Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013 sheds new light on the hitherto neglected engagements of African American writers and thinkers with various literary, cultural, and artistic traditions of Asia. Starting with a reevaluation of Lewis G. Alexander's transcultural remaking of haiku in 1923, this dissertation interrogates and revises the familiar interracial (read as "black-white") terms of the African American struggle for freedom and equality. While critics have long taken for granted these terms as the sine qua non of the African American literary imagination and practice, this dissertation demonstrates how authors like Alexander defied not only the implicit dichotomy of black-and-white but also the critical bias that represents African American literature as a nationally segregated tradition distinctly cut off from cultural sources beyond the border of the United States and made legible only within its narrowly racialized and racializing contexts. / African and African American Studies

El presente trabajo analiza la aproximación al haiku de Javier Sologuren y Alfonso Cisneros Cox en el marco del creciente interés por este género a nivel latinoamericano. El análisis se centra en la comparación de los haikus con el modelo clásico japonés, tal como lo practicó Matsuo Bashō, siguiendo las teorías de los estudiosos Keene, Rodríguez Izquierdo, Rubio, Blyth y Haya Segovia. El haiku es valorado y ponderado como una expresión poética orientada a evocar un instante de experiencia en la naturaleza, logrando despertar el asombro ante la maravilla de la existencia. Los resultados del trabajo revelan la íntima afinidad de ambos poetas con el género, las modalidades de apropiación que practicaron, la priorización de ciertos aspectos estilísticos y espirituales en su comprensión del haiku, la innovación en los recursos para lograrlo y la singularidad de sus creaciones, basada en la mezcla auténtica del género con sus propias poéticas. La principal conclusión que puede desprenderse de este trabajo es que los autores asimilaron este género poético para dar forma y expresión a su particular sensibilidad e integrarlo a la tradición poética peruana. / Tesis

Com base na teoria da tradução intersemiótica desenvolvida por Julio Plaza, o objetivo central desta pesquisa é analisar o processo de recriação das formas estéticas em traduções intersemióticas de haikai para o universo das artes visuais. Mais especificamente, trata-se de considerar as especificidades desse tipo de poema em seus aspectos sintáticos, semânticos e pragmáticos e analisar como são obtidas as equivalências nesses níveis no processo de transmutação intersígnica. Além disso, tendo em vista a importância dos meios de produção artística, especialmente no caso da tradução intersemiótica, observaremos como o meio pode favorecer a obtenção da equivalência. Como estudo de caso, propomos analisar traduções intersemióticas do haikai Furuikeya, do poeta japonês Matsuo Bash, para artes visuais em três tipos distintos de meio, elencados a partir de suas especificidades semióticas em relação ao processo de produção de imagens: meios artesanais, meios mecânicos e meios eletrônicos. / Based on the theory of Intersemiotic Translation developed by Julio Plaza, the central purpose of this research is to analyse the process of recreation of aesthetical forms in intersemiotic translations of haiku into the universe of visual arts. More specifically, considering the peculiarities of this type of poem in its syntactic, semantic, and pragmatic aspects, we will analyse how the equivalences on these levels will be obtained in the process of intersign transmutation. Besides, since the media of artistic production are important, especially in the case of intersemiotic translation, we will observe how the medium can aid the achievement of equivalence. As a case study, we propose to analyse intersemiotic translations of the haiku Furuikeya (composed by the Japanese poet Matsuo Bash) into visual arts in three different types of medium, chosen from their semiotic peculiarities in relation to the process of image production: craft media, mechanical media, and electronic media.

No description available.