Publicação
From Bash¯o to Leminski: the case of war haiku
| Resumo: | In a colloquium devoted to the theme “Cain and Abel: family and conflict”, there is room for a study focused on literary modes of representing war – which is always a combat between men, a fratricide struggle. The chosen genre is the haiku or haicai, which, among its original traits, and besides its extreme brevity and rhetorical restraint, includes paying a special attention to the natural world, to which the contemplative and pacific attitude of the travelling monk and, in the Japanese case, Buddhist philosophy make their contribution. One might say, therefore, that there is nothing as unamenable to the violence of war as the haiku. That is not, however, the reality which confronts the scholar of a genre that, though originating in Japan, came to know a prodigious expansion throughout the entire western world since the late nineteenth century, counting innumerable practitioners in the main idioms of European origin. From the Japanese Bash¯o (eighteenth century) to the Brazilian Paulo Leminski (late twentieth century), via the French poets who fought in the trenches of the First World War (Julien Vocance, René Maublanc, among others) or even the Japanese practitioners of the genre, who, in their own way, were also victims of the second great world conflict, the haijin is confronted, more often that he would probably expect, with the horror of war. And the haiku is another form, sometimes a surprising one, of expressing it. |
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| Autores principais: | Gomes, José António |
| Assunto: | Caim e Abel guerra haiku poesia japonesa poesia francesa poesia brasileira Cain and Abel war haiku japanese potry french poetry brazilian poetry |
| Ano: | 2015 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Instituição associada: | Departamento de Línguas e Culturas da Universidade de Aveiro |
| Idioma: | português |
| Origem: | Forma Breve |
| Resumo: | In a colloquium devoted to the theme “Cain and Abel: family and conflict”, there is room for a study focused on literary modes of representing war – which is always a combat between men, a fratricide struggle. The chosen genre is the haiku or haicai, which, among its original traits, and besides its extreme brevity and rhetorical restraint, includes paying a special attention to the natural world, to which the contemplative and pacific attitude of the travelling monk and, in the Japanese case, Buddhist philosophy make their contribution. One might say, therefore, that there is nothing as unamenable to the violence of war as the haiku. That is not, however, the reality which confronts the scholar of a genre that, though originating in Japan, came to know a prodigious expansion throughout the entire western world since the late nineteenth century, counting innumerable practitioners in the main idioms of European origin. From the Japanese Bash¯o (eighteenth century) to the Brazilian Paulo Leminski (late twentieth century), via the French poets who fought in the trenches of the First World War (Julien Vocance, René Maublanc, among others) or even the Japanese practitioners of the genre, who, in their own way, were also victims of the second great world conflict, the haijin is confronted, more often that he would probably expect, with the horror of war. And the haiku is another form, sometimes a surprising one, of expressing it. |
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