tag:blogger.com,1999:blog-820047071744679108.post1921948070032401160..comments2023-05-23T03:54:17.181-07:00Comments on Introducing Haiku Poets and Topics . . . . . WKD: Nishiyama Soin DanrinGabi Grevehttp://www.blogger.com/profile/16362456518166174106noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-820047071744679108.post-42782406379666569302013-02-10T15:58:24.940-08:002013-02-10T15:58:24.940-08:00bare branches
cherry blossom
sleepingbare branches<br />cherry blossom <br />sleepinggael bagenoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-71610073578142836902008-07-28T22:51:00.000-07:002008-07-28T22:51:00.000-07:00AAS Meeting 2004 / quotesPopularization and Its Di...AAS Meeting 2004 / quotes<BR/><BR/>Popularization and Its Discontents: The Shômon (Bashô School) and the Haikai of the Seventeenth and Eighteenth Centuries: Sponsored by Early Modern Japan Network<BR/><BR/>Organizer and Chair: Cheryl Crowley, Emory University<BR/><BR/>Discussant: Eri F. Yasuhara, California State University, San Bernardino<BR/><BR/>Keywords: Japanese literature, early modern Japan, haikai, poetry, Matsuo Bashô , Shômon, Kagami Shikô, Zhuangzi, Yosa Buson.<BR/><BR/>In the seventeenth century, the number of haikai practitioners grew steadily, and the genre attracted an enthusiastic audience in urban and rural settings all over Japan. However, the success of haikai was problematic, as some poets equated popularization with vulgarization. Most prominent among them were Matsuo Bashô (1644–94) and his disciples, the Shômon. The Shômon competed for influence with other haikai schools, particularly those who practiced tentori (point-garnering) haikai and maekuzuke (verse-capping) whose main objective was amusement rather than literary expression. While they deplored such "popular" haikai, at the same time Shômon poets capitalized on the reputation of their school’s founder to attract students and secure their own positions within the haikai community.<BR/><BR/>This panel explores how poets associated with the Shômon were active in both resisting and promoting the popularization of haikai. David Cannell examines tentori haikai and maekuzuke—often dismissed by scholars as unliterary and beneath consideration—which shed light on the value structures of the Genroku period. Peipei Qiu studies the works of Bashô disciple Kagami Shikô (1665–1731), showing how his interpretations of the Zhuangzi adapted to demands of a growing audience of haikai writer-readers in the early eighteenth century. Cheryl Crowley explores the complex relationship of Yosa Buson (1716–83) with the Shômon, arguing that though Shômon poets were useful allies in Buson’s efforts to reform haikai they also were a source of anxiety, as they represented a challenge to his carefully constructed literary identity.<BR/><BR/>................................<BR/><BR/>The Changing Views of the Zhuangzi in Shikô’s Haikai Theory<BR/><BR/>Peipei Qiu, Vassar College<BR/><BR/>The use of Daoist ideas in haikai during the late seventeenth and the early eighteenth centuries was a prominent phenomenon. While presenting different interpretations, three major haikai schools of the period, the Teimon, the Danrin, and the Shômon (Bashô school), shared a conspicuous interest in using Daoist ideas to justify haikai and to construct its themes, theories, and values. The Shômon, in particular, sought inspiration in the correspondences between Daoist principles and the Chinese recluse tradition, and the leader of the school, Matsuo Bashô (1644–94), made the Zhuangzi a fundamental source of his poetry that opposed market values. After Bashô’s death, Shômon poets remained interested in Daoist sources, but they tended to shift away from the spiritual and literary values that Bashô had emphasized. Consequently, allusions to Daoist texts in Shômon writings of the post-Bashô period were often regarded as no more than catchphrases or ornaments showcasing their author’s Chinese learning.<BR/><BR/>This paper takes a close look at such seemingly meaningless use of Daoist sources in the works of the productive but controversial Shômon theorist, Kagami Shikô (1665–1731). Tracing Shikô’s changing interpretations of the Zhuangzi, I examine how his view of the fundamental way of haikai gradually moves away from Bashô’s concepts that are deeply informed by Daoist ideas, and how Shikô’s replacing Daoist principles with Confucian values at the center of his haikai theory reflects an impulse to meet the taste of the public and the demands of the popularization of haikai at the time.<BR/><BR/>...................................<BR/><BR/>Issues of Value in Genroku Haikai<BR/><BR/>David Cannell, University of California, Irvine<BR/><BR/>This paper is an examination of the notions of value that structure haikai practice and discourse in the Shômon (Bashô school) and, by way of contrast, in commercialized forms such as tentori (point-garnering) haikai and maekuzuke (verse-capping). Matsuo Bashô (1644–94) and his circle of poet-disciples were powerful critics of commercial haikai, and in the past most scholars have tended to follow his lead in dismissing it as frivolous, lacking distinctive literary value, and even as an unredeemable capitulation to the market. Recent work on tentori haikai verse by scholars in Japan, however, suggests that the verdict may still be pending on the literary merit of this kind of haikai.<BR/><BR/>With this in mind, my paper examines the nature of the so-called capitulation on the part of tentori and maekuzuke to uncover what insights it might yield into the value structures of the urban haikai field. In doing so, I show how structures of value—socioeconomic as well as literary—are refracted in literary practices, representations, and poetic images of the Genroku period (1688–1704). I also bring to bear on this topic an analysis of Ihara Saikaku’s (1641–93) writings on merchant culture, as Saikaku’s fascination with the fungibility of just about everything in the new commercial economy makes him an indispensable source of any consideration of value in Genroku Japan.<BR/><BR/><BR/>..................................<BR/><BR/>Yosa Buson and the Shômon (Bashô School): The Anxiety of Reception<BR/><BR/>Cheryl Crowley, Emory University<BR/><BR/>While haikai was enormously popular in the middle of the eighteenth century, many poets felt that the genre was in a state of crisis. One factor was the dominance of tentori (point-garnering) haikai, in which people competed to see who could score the most points; another was the proliferation of factions whose leaders’ main interest was attracting the maximum number of students in order to gain the most profits. In response to this, the Back to Bashô movement, a loose affiliation of poets who called for a return to the ideals of Matsuo Bashô (1644–94), began to emerge in the 1760s. A leader of this movement was Yosa Buson (1716–83), whose Yahantei school became a center of activities aimed at resisting what its members viewed as the negative effects of the popularization of haikai. For Buson, however, the Back to Bashô movement was a source of anxiety as well as support. This was not an anxiety of influence, as Buson’s concern was not with outperforming his great poetic predecessor, who represented an important source of authority. Rather, Buson’s anxiety centered on his reception by readers, particularly his own acquaintances within the Shômon (Bashô school), who were rivals as much as they were colleagues.<BR/><BR/>This paper focuses on Buson’s letters and prose works such as Shin hanatsumi (New "Flower gathering") and the Shundei kushû (Shundei verse anthology) preface to explore the anxiety surrounding his relationship with the Shômon and his efforts to establish an independent identity as a poet.<BR/><BR/>http://www.aasianst.org/absts/2004abst/Japan/sessions.htmAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-70204616363246540262008-07-16T22:52:00.000-07:002008-07-16T22:52:00.000-07:00西山宗因につき、含蓄あるお話有難うございました。芭蕉との微妙な関係も良く判りました。蕉風成立の面白い...西山宗因につき、含蓄あるお話有難うございました。芭蕉との微妙な関係も良く判りました。蕉風成立の面白い時期ですね。<BR/><BR/>sakuoAnonymoushttps://www.blogger.com/profile/02339113092010273351noreply@blogger.com