• Journal of Contemporary Eastern Asia
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• v.12 no.2
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• pp.35-47
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• 2013

This study aims to understand haiku phenomena from the viewpoint of communication, which emerges from reciprocal relationships among haiku poets, haiku societies, media on haiku, and other establishments relating to haiku. Such an analytic point of view, which tries to consider both the operation of each autonomous agent and that of the whole system consisted by the agents, is included in the realm of second-order cybernetics. The operation of a system cannot be reduced completely to a system's individual components, which is why such a viewpoint is required. Fundamental informatics, which is employed as a theoretical framework, and two haiku movements, which include shin keiko haiku ("new-trend" haiku) and dento ha haiku (Hototogisu-school haiku), forming an important part of modern haiku history, are the focus of this study. As a result, modern haiku history is considered to be an evolution of a haiku system, whose main incentive is an awareness of the production mechanism of haiku communication occurring through second-order observations in the system. This study also illuminates how haiku poets, haiku societies, and media covereage of haiku play roles in the evolution of the haiku system.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.632-637
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• 2009

Recently Renku (Haikai no Renga) is getting popular as well as Haiku in Japan. It was built up by Basho Matsuo, who was the most famous Haiku poet. It is said that Kyoshi Takahama proposed the name of "Renku" to distinguish it from "Renga" and "Haiku" in 1904. Renku meetings are held like Haiku ones regularly now in each place, and in several universities, they conduct a class exercise of Renku continuously. It is very important for plural persons to work together cooperatively. Poetry, Tanka, Haiku and Renku are usually composed of only letters. It sometimes happens that we add pictures to make them more attractive and to aim at synergy by collaboration (letters and pictures). However, the study to produce 3DCG animations of Renku has not been reported very much. Sowe studied to produce 3DCG animations work based on the rule of Renku and its evaluation.

• Journal of Digital Convergence
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• v.16 no.3
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• pp.505-512
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• 2018

The purpose of this study was to investigate the effects of Haiku writing on mindfulness and empathy cultivating of the graduate students majoring in clinical psychology, and that it would also serve as enhancements of self-compassion and acceptance. Twenty-two graduate students in clinical psychology were to writing a Haiku poem about nature, the situation and themselves during a semester. Before and after the Haiku Writing Programme, mindfulness, empathy, self-compassion, and acceptance were measured and the subjective responses were analyzed after the programme was completed. The results of the study are as follows : First of all, quantitative analyses shows that Haiku writing has a significant effects on mindfulness, empathy, self-compassion and acceptance. Even in qualitative analyses, there are positive changes on those constructs in Haiku writing. Finally, the meaningfulness of the study, limitations, and recommendations for future work were discussed.

• (The)Study of the Eastern Classic
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• no.68
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• pp.539-570
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• 2017

This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa's adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa's Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa's original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa's Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

• Journal of the Korean Institute of Navigation
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• v.1 no.1
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• pp.1-16
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• 1977

The aspects of Omega phase prediction are briefly reviewed, and Swanson's Model and Pierce's Model are presented. The equations for the Omega phase prediction and the most probable coefficients of the propagating equations are derived on the base of Pierce's Model by the least square method. The coefficients are calculated from the data which are the phase differences between the pairs of the Station A (Aldra, Norway), C(Haiku, Hawaii), and D(La Mour, North Dakota) observed at Busan Harbor of the South Coast of Korea in June and September, 1976. It is clearly shown that the standard deviations of the observed lane values at Busan Harbor are as followed: 1. June, 1976. Pair (A-C) : 0.1446 Pair (C-D) : 0.2598 2.September, 1976. Pair (A-D) : 0.3958 Pafr (C-D) : 0.3278 As a conclusion of the above investigation, it is shown that the Omega phase velocity can be predicted by the method, proposed in this paper, of analyzing the diurnal and seasonal variations of the Omege phase velocity except SID, PCD and AZD. If more observed data are employed, more exact Omega phase velocity is expected to be obtained.

• English & American cultural studies
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• v.14 no.1
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• pp.169-191
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• 2014

This explores an African American male poet, Etheridge Knight, and his poems. He died in 1991 and had been wounded in the battle field during the Korean War (1950-1953). Particularly, engaged in the war as a boy soldier, due to his wound, he had turned to a drug addict. Despite his experience in the war, Knight didn't write poems much about the war and wartime experience. Rather than war experience, for Knight, the prison gave him a strong motivation to be a poet with Gwendolyn Brooks' help. Further, Korean scholars are not familiar with contemporary African American poets, and my study is an introduction of those poets. Since in Korea researches on African American poets have been relatively rare, it is needed to sincerely work on those poets. The none-white writers, above all, penetrate the undercurrent of canonized American poets and poems. By examining Knight's poems, I eventually align a notion of the ethnic with racial minorities in the U. S.

• The Journal of the Convergence on Culture Technology
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• v.3 no.3
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• pp.7-19
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• 2017

Korean standard poetry with a fixed form are Rated Sijo. These Rated Sijos can be found in the 24 number of Gosijos. Then, why should Korean standard poetry be Rated Sijo? This is because only the Rated Sijo has a fixed form frame. Rated Sijo naturally tailored by a rigid framework is the best representation of Koreans' unique breath and temperament. Also, Rated Sijo is superior to general sijo or poem in terms of literary therapeutic utility for human body. If Haiku omits the end of narrative with the rated number of sounds and invites different imaginations to each reader, the Rated Sijo presents a certain frame to the direction of the human's rated signal by constructing the essence of the narrative with the rated number of sounds. Thus, the Rated Sijo suggests the way of human harmony and communication by inducing different imagination of readers cooperating in a certain direction. So, the famous poem of Korea, Rated Sijo, presents our future as a framework of literature that can contribute to the improvement of human communication and quality of life. Therefore, research to preserve and develop the value of the Rated Sijo should now be initiated and continued.

• English & American cultural studies
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• v.10 no.2
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• pp.1-27
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• 2010

By taking the form of a fictional autobiography, a Japanese American woman writer Lydia Minatoya tries to solve the inexpressible confliction which Japanese Americans experience in their living in America. In her first published fiction, Talking to High Monks in the Snow, the writer faithfully tries to follow the Japanese I-story tradition where meandering of personal petit histories and frequent self-pities are constructed without solid action, characters and plot. Here appear many accidental others whom function as significant yet fleeting subalterns. In contrast, in the second fiction, The Strangeness of Beauty published seven years later, the I-narratives undergoes some drastic transformations by authorial intrusion, dramatic and haiku styles, and appearances of actorial agents. Just working as an invisible yet important stagehand (kuroko in Japanese) behind the stage of life, the author now handles her own self-inquiry through more controllable distance and maturity as directors or photographers often do. However, despite achieving dramatic actions and artistic elegance mainly thanks to her adoption of western masterpieces's grand narratives, Minatoya seems to stop in the midway in her tallying work of fiction with fact by delaying the larger imaginable conflict through which the temporarily gained autonomy can be turned into a disaster anytime. Nonetheless, the reader feels relieved and encouraged after recognizing the fragile Asian female self's transformation as a new, flexible and autonomous self by her unwavering contact with two contrasting cultures and providing silent minority female characters with gradually stronger and uncannier voices.