100
WORK IN PROGRESS. . . .
Came across this in an e-mail
Which tracked back to this
Tackle Any Issue With a List of 100
Interesting challenge
let's test it out. . . .
WHAT IS A HAIKU?
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small slab of evocative text originating in Japan
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hai-ku (interesting-small text) = singular/plural (as in sheep)
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English language haiku are (mostly) written in three lines
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three-line haiku stanzas (mostly) do not rhyme
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haiku are non-rhyming tercets
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sometimes 2 or even 1 line is enough
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2-liner = couplet, 1-liner = monostich
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best length of English language haiku is free form brevity
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Japan uses their own sound-bites (on/ji/morae) of 5-7-5
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5-7-5 syllable substitute does not work well in English language haiku
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English language syllables are more lengthy than Nippon on/ji/morae.
[London = 2 syllables - in on/j/moraei = lo/n/do/n sound units]
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because of its use in early learning 5-7-5 error is an ipso facto genre
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Haiku typically require 2 sensory images (which produce a conclusion)
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Juxtaposition is the term
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The punchline is the last section of a haiku [L3]
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Single-image haiku are postulated by some
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The parts of a haiku are separated by kireji
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Kireji are cutting words
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In Japanese these are words, in English they are punctuation
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Kireji serve to separate the 2 images and punchline of haiku
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Kireji key a reactive suggestion to an image
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Kireji create a ma-space
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Ma is used as an aesthetic tool in Japanese sensibilities
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Ma is used in Noh theatre to link scenes with pauses for reflection
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Ma in haiku is regarded a imagination space
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We read about an image [L1] and in the ma-pause we reflect
QUARTER WAY
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Then, we read the next image and visualise in ma
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Then we read the punchline and experience the movie in ma
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Originally haiku were seasonal
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Kigo is the term used in Japan
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Seasonal reference is the term used in English language haiku
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There is a difference between kigo and seasonal reference
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Kigo requires mythic consciousness to operate
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Seasonal reference typically addresses time only
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Without a seasonal reference we tend to get Imagist minimalism
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Senryu cover non-seasonal ku
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Epigrams are NOT haiku or senryu
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Aside from the basic haiku form we have haiku sensibility
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There are several terms which cover the haiku ethos
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Experience comes before all others
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Haiku mantra: SHOW not tell
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Haiku words are a delivery system for an experience
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Haiku words sign the way but do not explain
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Haiku's sensory image (in ma) SHOWS
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[Makoto Kokoro Furyu Karumi .......]
fuga no makoto
http://www.stillinthestream.com/files/glossary.html
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HALF WAY!
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THREE QUARTERS WAY
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PENULTIMATE!
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ALMOST. . . .
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DONE.
NOTE
To extend the 100-list beyond its own standalone value each of the entries can be linked to a full blog-item, or the list can be rationalised and re-listed (in reduced form or topped up). This is a useful working method. The list can be short or long, depending on what its purpose is to be. For example, a short, medium or long blog-item might generate from a short, medium or long list. Lists can be the start of an outline for any body of text. In the first instance a regurgitation of free association, vamping on a simple stimulus question.
looking through a list
written on
frost
The above haiku belongs to that class of haikai which deal with alternative, somewhat ephemeral, writing (and drawing) mediums found in nature. Condensation (steamy windows) and frost (et al) on glass is a fairly common experience (childhood) and substantial compared to, say. . . .
with a twig
in English meltwater—
Siddhartha
ELEMENTS
earth: soil//rock/concrete.... plus, all solids in general
MORE ELEMENTS (same analytic fractioning into infinity)
water
fire
air
space
This technique (along with other' themed filters') may be used to 'calibrate mind' prior to ginko (haiku walk) or in haiku studio. . . . (Will blog this important idea of 'calibration' separately, along the way. Basically, though, what is on our mind, albeit amped down and on the back burner, will influence our haiku perception - unless we really get out the box of conceptual comfort.)
jp
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03-11-11